Problem: Slavery and slaves were part of the social order; there were slave markets where they could be bought and sold. Many slaves were freed by the masters for services rendered; some slaves could save money to buy their freedom. Generally, mutilation and murder of slaves was prohibited by legislation. However, Rome did not have a law enforcement arm. All actions were treated as "torts," which were brought by an accuser who was forced to prove the entire case himself. If the accused were a noble and the victim, not a noble, the likelihood of finding for the accused was small. At most, the accused might have to pay a fine for killing a slave. It is estimated that over 25% of the Roman population was enslaved.
Around what percentage of the Roman populace were thought to be slaves?
The answer is the following: over 25%

Problem: The early 1990s additionally saw the rise in mainstream US popularity for house music. Pop recording artist Madonna's 1990 single "Vogue" became an international hit single and topped the US charts. The single is credited as helping to bring house music to the US mainstream.
how well did madonna's single "vogue" do in the us?
The answer is the following: topped the US charts

Problem: By the late 19th century, the most conservative elements within the Qing court could no longer ignore China's military weakness. In 1860, during the Second Opium War, the capital Beijing was captured and the Summer Palace sacked by a relatively small Anglo-French coalition force numbering 25,000. The advent of modern weaponry resulting from the European Industrial Revolution had rendered China's traditionally trained and equipped army and navy obsolete. The government attempts to modernize during the Self-Strengthening Movement were initially successful, but yielded few lasting results because of the central government's lack of funds, lack of political will, and unwillingness to depart from tradition.
How big was the French-British army?
The answer is the following: 25,000

Problem: Many architects resisted modernism, finding it devoid of the decorative richness of historical styles. As the first generation of modernists began to die after WWII, a second generation of architects including Paul Rudolph, Marcel Breuer, and Eero Saarinen tried to expand the aesthetics of modernism with Brutalism, buildings with expressive sculptural facades made of unfinished concrete. But an even new younger postwar generation critiqued modernism and Brutalism for being too austere, standardized, monotone, and not taking into account the richness of human experience offered in historical buildings across time and in different places and cultures.
Who disagreed with the aesthetic of Brutalism?
The answer is the following:
postwar generation