Problem: Sir George Henry Martin (3 January 1926 - 8 March 2016) was an English record producer, arranger, composer, conductor, audio engineer, and musician. He was referred to as the "Fifth Beatle", including by Paul McCartney, in reference to his extensive involvement on each of the Beatles' original albums. Martin produced 30 number-one hit singles in the United Kingdom and 23 number-one hits in the United States. Martin produced comedy and novelty records in the early 1950s, working with Peter Sellers, Spike Milligan, and Bernard Cribbins, among others.

Following his graduation, he worked for the BBC's classical music department, then joined EMI in 1950 as an assistant to Oscar Preuss, the head of EMI's Parlophone Records from 1950 to 1955. Although having been regarded by EMI as a vital German imprint in the past, it was then not taken seriously and only used for EMI's insignificant acts. After taking over Parlophone, as head of artists and repertoire, when Preuss retired in 1955, Martin recorded classical and Baroque music, original cast recordings, and regional music from around Britain and Ireland. Martin also produced numerous comedy and novelty records. His first hit for Parlophone was the "Mock Mozart" single by Peter Ustinov with Antony Hopkins - a record reluctantly released in 1952 by EMI, only after Preuss insisted they give his young assistant, Martin, a chance. Later that decade Martin worked with Peter Sellers on two very popular comedy LPs. One was released on 10 format and called The Best Of Sellers, the second was released in 1957, being called Songs for Swinging Sellers (a spoof on Frank Sinatra's LP Songs for Swingin' Lovers!). As he had worked with Sellers, he also came to know Spike Milligan, with whom he became a firm friend, and best man at Milligan's second marriage: "I loved The Goon Show, and issued an album of it on my label Parlophone, which is how I got to know Spike." The album was Bridge on the River Wye. It was a spoof of the film The Bridge on the River Kwai, being based on the 1957 Goon Show episode "An African Incident." It was intended to have the same name as the film, but shortly before its release, the film company threatened legal action if the name was used. Martin edited out the 'K' every time the word Kwai was spoken, with Bridge on the River Wye being the result. The River Wye is a river that runs through England and Wales. The album featured Milligan, Sellers, Jonathan Miller, and Peter Cook, playing various characters. Other comedians Martin worked with included Bernard Cribbins, Charlie Drake, Terry Scott, Bruce Forsyth, Michael Bentine, Dudley Moore, Flanders and Swann, Lance Percival, Joan Sims, Bill Oddie, and The Alberts. Martin worked with both Jim Dale and the Vipers Skiffle Group, with whom he had a number of hits. In early 1962, under the pseudonym "Ray Cathode," Martin released an early electronic dance single, "Time Beat" - recorded at the BBC Radiophonic Workshop. As Martin wanted to add rock and roll to Parlophone's repertoire, he struggled to find a "fireproof" hit-making pop artist or group. As a producer, Martin recorded the two-man show featuring Michael Flanders and Donald Swann, At the Drop of a Hat, which sold steadily for twenty-five years, although Martin's breakthrough as a producer came with the Beyond the Fringe show cast album, which starred Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller, and he would also produce the accompanying soundtrack album for David Frost's satirical BBC TV show That Was the Week That Was in 1963. Martin's work transformed the profile of Parlophone from a "sad little company" to a very profitable business.

can you tell me more about The 2 man show?

Answer with quotes: which sold steadily for twenty-five years,

Problem: Plains Indians, Interior Plains Indians or Indigenous people of the Great Plains and Canadian Prairies are the Native American tribes and First Nation band governments who have traditionally lived on the greater Interior Plains (i.e. the Great Plains and the Canadian Prairies) in North America. Their historic nomadic culture and development of equestrian culture and resistance to domination by the government and military forces of Canada and the United States have made the Plains Indian culture groups an archetype in literature and art for American Indians everywhere. Plains Indians are usually divided into two broad classifications which overlap to some degree. The first group became a fully nomadic horse culture during the 18th and 19th centuries, following the vast herds of buffalo, although some tribes occasionally engaged in agriculture.

The earliest Spanish explorers in the 16th century did not find the Plains Indians especially warlike. The Wichita in Kansas and Oklahoma lived in dispersed settlements with no defensive works. The Spanish initially had friendly contacts with the Apache (Querechos) in the Texas Panhandle. Three factors led to a growing importance of warfare in Plains Indian culture. First, was the Spanish colonization of New Mexico which stimulated raids and counter-raids by Spaniards and Indians for goods and slaves. Second, was the contact of the Indians with French fur traders which increased rivalry among Indian tribes to control trade and trade routes. Third, was the acquisition of the horse and the greater mobility it afforded the Plains Indians. What evolved among the Plains Indians from the 17th to the late 19th century was warfare as both a means of livelihood and a sport. The Plains Indians raided each other, the Spanish colonies, and, increasingly, the encroaching frontier of the Anglos for horses, and other property. They acquired guns and other European goods primarily by trade. Their principal trading products were buffalo hides and beaver pelts. Although they could be tenacious in defense, Plains Indians warriors took the offensive mostly for material gain and individual prestige. The highest military honors were for "counting coup"--touching a live enemy. Battles between Indians often consisted of opposing warriors demonstrating their bravery rather than attempting to achieve concrete military objectives. The emphasis was on ambush and hit and run actions rather than closing with an enemy. Success was often counted by the number of horses or property obtained in the raid. Casualties were usually light. "Indians consider it foolhardiness to make an attack where it is certain some of them will be killed." Due to their mobility, endurance, horsemanship, and knowledge of the vast plains that were their domain, the Plains Indians were often victors in their battles against the U.S. army in the American era from 1803 to about 1890. However, although Indians won many battles, they could not undertake lengthy campaigns. Indian armies could only be assembled for brief periods of time as warriors also had to hunt for food for their families. The exception to that was raids into Mexico by the Comanche and their allies in which the raiders often subsisted for months off the riches of Mexican haciendas and settlements. The basic weapon of the Indian warrior was the short, stout bow, designed for use on horseback and deadly, but only at short range. Guns were usually in short supply and ammunition scarce for Native warriors.

Who did the plains indians have battles with

Answer with quotes:
Three factors led to a growing importance of warfare in Plains Indian culture. First, was the Spanish colonization of New Mexico