Background: Canadian comics refers to comics and cartooning by citizens of Canada or permanent residents of Canada regardless of residence. Canada has two official languages, and distinct comics cultures have developed in English and French Canada. The English tends to follow American trends, and the French Franco-Belgian ones, with little crossover between the two cultures. Canadian comics run the gamut of comics forms, including editorial cartooning, comic strips, comic books, graphic novels, and webcomics, and are published in newspapers, magazines, books, and online.
Context: Canadian cartoonists often found it hard to succeed in the field of comic strips without moving to the US, but in 1921, Jimmy Frise, one of Ernest Hemingway's drinking buddies during the journalist's days in Toronto, sold Life's Little Comedies to the Toronto Star's Star Weekly. This strip was later retitled Birdseye Center, and became the longest-running strip in English Canadian history. In 1947, Frise brought the strip to the Montreal Standard, where it was renamed Juniper Junction. Nova Scotia-born artist J. R. Williams single-panel strip about rural and small-town life, Out Our Way, began in 1922 and was syndicated in 700 newspapers at its peak. Two new comic strips appeared on the same day in 1929 in American newspapers and fed the public's desire for escapist entertainment at the dawn of the Great Depression. They were the first non-humorous adventure strips, and both were adaptations. One was Buck Rogers; the other, Tarzan, by Halifax native Hal Foster, who had worked as illustrator for catalogues from Eaton's and the Hudson's Bay Company before moving to the US in his late 20s. Other adventure strips soon followed and paved the way for the genre diversity that was seen in comic strips in the 1930s. In 1937, Foster began his own strip, Prince Valiant, which has become his best-known work for Foster's dextrous, realistic artwork. After struggling to support himself at various Toronto-based publications, Richard Taylor, under the pen name "Ric", became a regular at The New Yorker and relocated to the US, where the pay and opportunities for cartoonists were better. The Toronto Telegram began to run Men of the Mounted in 1933, the first home-grown adventure strip, written by Ted McCall and drawn by Harry Hall. McCall later penned the strip Robin Hood and Company, which made its appearance in comic books when McCall founded Anglo-American Publishing in 1941.
Question: What are the two first non-humorous adventure strips called?
Answer: One was Buck Rogers; the other, Tarzan,

Background: Arabic weddings (Arabic: zff, frH, or 'rs) have changed greatly in the past 100 years. Original traditional Arabic weddings are supposed to be very similar to modern-day Bedouin weddings and rural weddings, and they are in some cases unique from one region to another, even within the same country. it must be mentioned that what some people today call "Bedouin" wedding is in fact the original true traditional Arab Islamic wedding without foreign influence. The marriage process usually starts with meetings between the couple's families, and ends with the wedding's consummation (leilat al-dokhla).
Context: In Old Palestine, the henna night was a night used to prepare all the necessary wedding decorations and last minute arrangements. It was also a chance for the families to celebrate together before the wedding. The groom's family would sahij or dance through the streets of the village until reaching the house of the bride. Once there, the family would mix henna together, which would then be used to decorate the bride and grooms hands (with the groom's being merely the initials of his bride and himself), and then offer the bride her mahr (usually gold as it does not decline in value like other wealth). The families would then dance and sing traditional Palestinian music. In modern times, particularly those not living in Palestine, the henna night remains traditional in customs, but is very similar to a bachelorette party; the bride's female friends and relatives join her in celebrating, which includes food, drinks, and a lot of dancing. A women's group plays Arabic music, sometimes Islamic music, while everyone dances. A woman draws henna or mehndi, a temporary form of skin decoration using henna, on the bride and guests' skin -- usually the palms and feet, where the henna color will be darkest because the skin contains higher levels of keratin there, which binds temporarily to lawsone, the colorant of henna. The men will also have a party, in which the groom's family and friends will dance to traditional Palestinian music. In some village customs, the groom's face is shaven by a close family member or friend in preparation for his wedding. The tradition of giving the bride her gold is also still used. The groom will enter where the bride is, they well both get their henna done, and the groom will then offer the bride her mahr. Thus, the wedding being merely dancing and celebration. An important element of the henna night in both traditional and non-traditional henna parties, is the dress adorned by the Palestinian women and the groom. The women dress in traditional (usually hand embroidered) gowns, known as Palestinian ithyab. The brides thobe would be extravagant and exquistely embroidered. The groom will wear the usual traditional Arab men's thobe and hata (head covering).
Question: What is Henna night?
Answer: In Old Palestine, the henna night was a night used to prepare all the necessary wedding decorations

Background: Bradbury was born on August 22, 1920, in Waukegan, Illinois, to Esther (nee Moberg) Bradbury (1888-1966), a Swedish immigrant, and Leonard Spaulding Bradbury (1890-1957), a power and telephone lineman of English descent. He was given the middle name "Douglas" after the actor Douglas Fairbanks. Bradbury was related to the American Shakespeare scholar Douglas Spaulding and descended from Mary Bradbury, who was tried at one of the Salem witch trials in 1692.
Context: The family lived about four blocks from the Uptown Theater on Western Avenue in Los Angeles, the flagship theater for MGM and Fox. There, Bradbury learned how to sneak in and watched previews almost every week. He rollerskated there, as well as all over town, as he put it, "hell-bent on getting autographs from glamorous stars. It was glorious." Among stars the young Bradbury was thrilled to encounter were Norma Shearer, Laurel and Hardy, and Ronald Colman. Sometimes, he spent all day in front of Paramount Pictures or Columbia Pictures and then skated to the Brown Derby to watch the stars who came and went for meals. He recounted seeing Cary Grant, Marlene Dietrich, and Mae West, whom he learned made a regular appearance every Friday night, bodyguard in tow. Bradbury relates the following meeting with Sergei Bondarchuk, director of Soviet epic film series War and Peace, at a Hollywood award ceremony in Bondarchuk's honor: They formed a long queue and as Bondarchuk was walking along it he recognized several people: "Oh Mr. Ford, I like your film." He recognized the director, Greta Garbo, and someone else. I was standing at the very end of the queue and silently watched this. Bondarchuk shouted to me; "Ray Bradbury, is that you?" He rushed up to me, embraced me, dragged me inside, grabbed a bottle of Stolichnaya, sat down at his table where his closest friends were sitting. All the famous Hollywood directors in the queue were bewildered. They stared at me and asked each other "Who is this Bradbury?" And, swearing, they left, leaving me alone with Bondarchuk...
Question: What happened at the meeting?
Answer:
Bondarchuk shouted to me; "Ray Bradbury, is that you?" He rushed up to me, embraced me, dragged me inside,