Background: The North American fur trade was the industry and activities related to the acquisition, trade, exchange, and sale of animal furs in North America. Aboriginal peoples in Canada and Native Americans in the United States of different regions traded among themselves in the Pre-Columbian Era, but Europeans participated in the trade beginning from the time of their arrival in the New World and extended its reach to Europe. The French started trading in the 16th century, the English established trading posts on Hudson Bay in present-day Canada in the 17th century, and the Dutch had trade by the same time in New Netherland. The 19th-century North American fur trade, when the industry was at its peak of economic importance, involved the development of elaborate trade networks.
Context: French explorer Jacques Cartier in his three voyages into the Gulf of St. Lawrence in the 1530s and 1540s conducted some of the earliest fur trading between European and First Nations peoples associated with sixteenth century and later explorations in North America. Cartier attempted limited fur trading with the First Nations in the Gulf of St. Lawrence and along the St. Lawrence River. He concentrated on trading for furs used as trimming and adornment. He overlooked the fur that would become the driving force of the fur trade in the north, the beaver pelt, which would become fashionable in Europe. The earliest European trading for beaver pelts dated to the growing cod fishing industry that spread to the Grand Banks of the North Atlantic in the 16th century. The new preservation technique of drying fish allowed the mainly Basque fishermen to fish near the Newfoundland coast and transport fish back to Europe for sale. Drying fish enabled gathering greater yields, which justified the economic cost and time of long voyages across the Atlantic. The fisherman sought suitable harbors with ample lumber to dry large quantities of cod. This generated their earliest contact with local Aboriginal peoples, with whom the fisherman began simple trading. The fishermen traded metal items for beaver robes made of sewn-together, native-tanned, beaver pelts. They used the robes to keep warm on the long, cold return voyages across the Atlantic. These castor gras in French (or "beaver coat" in English) became prized by European hat makers in the second half of the 16th century, as they converted the pelts to fur felt. The discovery of the superior felting qualities of beaver fur, along with the rapidly increasing popularity of beaver felt hats in fashion, transformed the incidental trading of fishermen in the sixteenth century into a growing trade in the French and later English territories in the next century.
Question: Where was he established when doing these trades?
Answer: Cartier attempted limited fur trading with the First Nations in the Gulf of St. Lawrence and along the St. Lawrence River.

Background: Kenneth Lauren Burns (born July 29, 1953) is an American filmmaker, known for his style of using archival footage and photographs in documentary films. His widely known documentary series include The Civil War (1990), Baseball (1994), Jazz (2001), The War (2007), The National Parks: America's Best Idea (2009), Prohibition (2011), The Roosevelts (2014), and The Vietnam War (2017). He was also executive producer of both The West (1996, directed by Stephen Ives), and Cancer: The Emperor of All Maladies (2015, directed by Barak Goodman).
Context: Burns was born on July 29, 1953, in Brooklyn, New York, the son of Lyla Smith (nee Tupper) Burns, a biotechnician, and Robert Kyle Burns, at the time a graduate student in cultural anthropology at Columbia University in Manhattan. The documentary filmmaker Ric Burns is his younger brother. Burns' academic family moved frequently. Among places they called home were Saint-Veran, France; Newark, Delaware; and Ann Arbor where his father taught at the University of Michigan. Burns' mother was found to have breast cancer when he was three and she died when he was 11, a circumstance that he said helped shape his career; he credited his father-in-law, a psychologist, with a significant insight: "He told me that my whole work was an attempt to make people long gone come back alive." Well-read as a child, he absorbed the family encyclopedia, preferring history to fiction. Upon receiving an 8 mm film movie camera for his 17th birthday, he shot a documentary about an Ann Arbor factory. He graduated from Pioneer High School in Ann Arbor in 1971. Turning down reduced tuition at the University of Michigan, he attended Hampshire College, an alternative school in Amherst, Massachusetts, where students are graded through narrative evaluations rather than letter grades and where students create self-directed academic concentrations instead of choosing a traditional major. He worked in a record store to pay his tuition. Studying under photographers Jerome Liebling, Elaine Mayes and others, Burns earned his Bachelor of Arts degree in film studies and design in 1975.
Question: Did he attend any other schools?
Answer:

Background: Christopher D'Olier Reeve (September 25, 1952 - October 10, 2004) was an American actor. He achieved stardom for his acting achievements. In particular, he is best known for his motion picture portrayal of the classic DC comic book superhero Superman, beginning with the acclaimed Superman (1978), for which he won a BAFTA Award. Reeve appeared in other critically acclaimed films such as The Bostonians (1984), Street Smart (1987) and The Remains of the Day (1993).
Context: After graduating from Princeton Day School in June 1970, Reeve acted in plays in Boothbay, Maine and planned to go to New York City to find a career in theater. Instead, at the advice of his mother, he applied for college. He was accepted into Brown, Carnegie Mellon, Columbia, Cornell, Northwestern, and Princeton. Reeve claimed that he chose Cornell primarily because it is a three-and-a-half-hour drive from New York City, where he planned to start his career as an actor, despite the fact that Princeton and Columbia are considerably closer to the city than Cornell, with Columbia being in New York City, just a few miles uptown from the theater district. Reeve joined the theater department in Cornell and played Pozzo in Waiting for Godot, Segismundo in Life Is a Dream, Hamlet in Rosencrantz and Guildenstern Are Dead, and Polixenes in The Winter's Tale. Late in his freshman year, Reeve received a letter from Stark Hesseltine, a high-powered agent who had discovered Robert Redford and represented actors such as Richard Chamberlain, Michael Douglas, and Susan Sarandon. Hesseltine had seen Reeve in A Month in the Country and wanted to represent him. The two met and decided that instead of dropping out of school, Reeve could come to New York once a month to meet casting agents and producers to find work for the summer vacation. That summer, he toured in a production of Forty Carats with Eleanor Parker. The next year, Reeve received a full-season contract with the San Diego Shakespeare Festival, with roles as Edward IV in Richard III, Fenton in The Merry Wives of Windsor, and Dumaine in Love's Labour's Lost at the Old Globe Theatre. Before his third year of college, Reeve took a three-month leave of absence. He flew to Glasgow and saw theatrical productions throughout the United Kingdom. He was inspired by the actors and often had conversations with them in bars after the performances. He helped actors at the Old Vic with their American accents by reading the newspaper aloud for them. He then flew to Paris, where he spoke fluent French for his entire stay; he had studied it from third grade until his second year in Cornell. He watched many performances and immersed himself in the culture before finally returning to New York to reunite with his girlfriend.
Question: Was he successful?
Answer:
played Pozzo in Waiting for Godot, Segismundo in Life Is a Dream, Hamlet in Rosencrantz and Guildenstern Are Dead, and Polixenes in The Winter's Tale.