input: The nomadic tribes historically survived on hunting and gathering, and the American Bison was one primary resource for items which people used for everyday life, including food, cups, decorations, crafting tools, knives, and clothing. The tribes followed the seasonal grazing and migration of buffalo. The Plains Indians lived in teepees because they were easily disassembled and allowed the nomadic life of following game. When horses were obtained, the Plains tribes rapidly integrated them into their daily lives. People in the southwest began to acquire horses in the 16th century by trading or stealing them from Spanish colonists in New Mexico. As horse culture moved northward, the Comanche were among the first to commit to a fully mounted nomadic lifestyle. This occurred by the 1730s, when they had acquired enough horses to put all their people on horseback. The Spanish explorer Francisco Vasquez de Coronado was the first European to describe the Plains Indian culture. While searching for a reputedly wealthy land called Quivira in 1541, Coronado came across the Querechos in the Texas panhandle. The Querechos were the people later called Apache. According to the Spaniards, the Querechos lived "in tents made of the tanned skins of the cows (bison). They dry the flesh in the sun, cutting it thin like a leaf, and when dry they grind it like meal to keep it and make a sort of sea soup of it to eat....They season it with fat, which they always try to secure when they kill a cow. They empty a large gut and fill it with blood, and carry this around the neck to drink when they are thirsty." Coronado described many common features of Plains Indians culture: skin tepees, travois pulled by dogs, Plains Indian Sign Language, and staple foods such as jerky and pemmican. The Plains Indians found by Coronado had not yet obtained horses; it was the introduction of the horse that revolutionized Plains culture. By the 19th century, the typical year of the Lakota and other northern nomads was a communal buffalo hunt as early in spring as their horses had recovered from the rigors of the winter. In June and July the scattered bands of the tribes gathered together into large encampments, which included ceremonies such as the Sun Dance. These gatherings afforded leaders to meet to make political decisions, plan movements, arbitrate disputes, and organize and launch raiding expeditions or war parties. In the fall, people would split up into smaller bands to facilitate hunting to procure meat for the long winter. Between the fall hunt and the onset of winter was a time when Lakota warriors could undertake raiding and warfare. With the coming of winter snows, the Lakota settled into winter camps, where activities of the season ceremonies and dances as well as trying to ensure adequate winter feed for their horses. On the southern plains, with their milder winters, the fall and winter was often the raiding season. Beginning in the 1830s, the Comanche and their allies often raided for horses and other goods deep into Mexico, sometimes venturing 1,000 miles (1,600 km) south from their homes near the Red River in Texas and Oklahoma.

Answer this question "What were the differences between men and women in their culture?"
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Question: Charles-Edouard Jeanneret, known as Le Corbusier (French: [l@ koRby'zje]; 6 October 1887 - 27 August 1965), was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. He was born in Switzerland and became a French citizen in 1930. His career spanned five decades and he designed buildings in Europe, Japan, India, and North and South America.

Le Corbusier moved to Paris definitively in 1917 and began his own architectural practice with his cousin, Pierre Jeanneret (1896-1967), a partnership that would last until the 1950s, with an interruption in the World War II years In 1918, Le Corbusier met the Cubist painter Amedee Ozenfant, in whom he recognised a kindred spirit. Ozenfant encouraged him to paint, and the two began a period of collaboration. Rejecting Cubism as irrational and "romantic", the pair jointly published their manifesto, Apres le cubisme and established a new artistic movement, Purism. Ozenfant and Le Corbusier began writing for a new journal, L'Esprit Nouveau, and promoted with energy and imagination his ideas of architecture. In the first issue of the journal, in 1920, Charles-Edouard Jeanneret adopted Le Corbusier (an altered form of his maternal grandfather's name, Lecorbesier) as a pseudonym, reflecting his belief that anyone could reinvent themselves. Adopting a single name to identify oneself was in vogue by artists in many fields during that era, especially in Paris. Between 1918 and 1922, Le Corbusier did not build anything, concentrating his efforts on Purist theory and painting. In 1922, he and his cousin Pierre Jeanneret opened a studio in Paris at 35 rue de Sevres. His theoretical studies soon advanced into several different single-family house models. Among these was the Maison "Citrohan", a pun on the name of the French Citroen automaker, for the modern industrial methods and materials Le Corbusier advocated using for the house. Here, Le Corbusier proposed a three-floor structure, with a double-height living room, bedrooms on the second floor, and a kitchen on the third floor. The roof would be occupied by a sun terrace. On the exterior Le Corbusier installed a stairway to provide second-floor access from ground level. Here, as in other projects from this period, he also designed the facades to include large uninterrupted banks of windows. The house used a rectangular plan, with exterior walls that were not filled by windows but left as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior aesthetically spare, with any movable furniture made of tubular metal frames. Light fixtures usually comprised single, bare bulbs. Interior walls also were left white.

Using a quote from the above article, answer the following question: Did they do anything other than painting?
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Answer:
Ozenfant and Le Corbusier began writing for a new journal, L'Esprit Nouveau, and promoted with energy and imagination his ideas of architecture.