Article: Roman beliefs about an afterlife varied, and are known mostly for the educated elite who expressed their views in terms of their chosen philosophy. The traditional care of the dead, however, and the perpetuation after death of their status in life were part of the most archaic practices of Roman religion. Ancient votive deposits to the noble dead of Latium and Rome suggest elaborate and costly funeral offerings and banquets in the company of the deceased, an expectation of afterlife and their association with the gods. As Roman society developed, its Republican nobility tended to invest less in spectacular funerals and extravagant housing for their dead, and more on monumental endowments to the community, such as the donation of a temple or public building whose donor was commemorated by his statue and inscribed name. Persons of low or negligible status might receive simple burial, with such grave goods as relatives could afford.

Question: What did later Romans invest in rather than grave offerings?
Ans: monumental endowments

Article: The movie industry was born in Paris when Auguste and Louis Lumiere projected the first motion picture for a paying audience at the Grand Cafe on 28 December 1895. Many of Paris' concert/dance halls were transformed into movie theatres when the media became popular beginning in the 1930s. Later, most of the largest cinemas were divided into multiple, smaller rooms. Paris' largest cinema room today is in Le Grand Rex theatre with 2,700 seats.
Big multiplex movie theaters have been built since the 1990s. UGC Cine Cite Les Halles with 27 screens, MK2 Bibliotheque with 20 screens and UGC Cine Cite Bercy with 18 screens are among the largest.

Question: Where was the first movie projected for a paying audience in Paris?
Ans: Grand Cafe

Article: The instruments used are a mixture of Anatolian and Central Asian instruments (the saz, the baglama, the kemence), other Middle Eastern instruments (the ud, the tanbur, the kanun, the ney), andlater in the traditionWestern instruments (the violin and the piano). Because of a geographic and cultural divide between the capital and other areas, two broadly distinct styles of music arose in the Ottoman Empire: Ottoman classical music, and folk music. In the provinces, several different kinds of folk music were created. The most dominant regions with their distinguished musical styles are: Balkan-Thracian Turkus, North-Eastern (Laz) Turkus, Aegean Turkus, Central Anatolian Turkus, Eastern Anatolian Turkus, and Caucasian Turkus. Some of the distinctive styles were: Janissary Music, Roma music, Belly dance, Turkish folk music.

Question: What are the three most used Anatolian and central asian instruments in Ottoman Classical music?
Ans: the saz, the baglama, the kemence

Article: Instruments have divided Christendom since their introduction into worship. They were considered a Catholic innovation, not widely practiced until the 18th century, and were opposed vigorously in worship by a number of Protestant Reformers, including Martin Luther (14831546), Ulrich Zwingli, John Calvin (15091564) and John Wesley (17031791). Alexander Campbell referred to the use of an instrument in worship as "a cow bell in a concert". In Sir Walter Scott's The Heart of Midlothian, the heroine, Jeanie Deans, a Scottish Presbyterian, writes to her father about the church situation she has found in England (bold added):

Question: What was the name of the book in which Jeanie Deans is the protagonist?
Ans:
The Heart of Midlothian