Q: Read the following paragraph and extract the answer for the question: What did the agoras of the city that had a culture based on local Semitic tradition, and influenced by Greece and Rome more closely resemble?  The scarce artifacts found in the city dating to the Bronze Age reveal that, culturally, Palmyra was most affiliated with western Syria. Classical Palmyra had a distinctive culture, based on a local Semitic tradition, and influenced by Greece and Rome. To appear better integrated into the Roman Empire, some Palmyrenes adopted Greco-Roman names, either alone or in addition to a second native name. The extent of Greek influence on Palmyra's culture is debated. Scholars interpreted the Palmyrenes' Greek practices differently; many see those characters as a superficial layer over a local essence. Palmyra's senate was an example; although Palmyrene texts written in Greek described it as a "boule" (a Greek institution), the senate was a gathering of non-elected tribal elders (a Near-Eastern assembly tradition). Others view Palmyra's culture as a fusion of local and Greco-Roman traditions. The culture of Persia influenced Palmyrene military tactics, dress and court ceremonies. Palmyra had no large libraries or publishing facilities, and it lacked an intellectual movement characteristic of other Eastern cities such as Edessa or Antioch. Although Zenobia opened her court to academics, the only notable scholar documented was Cassius Longinus.Palmyra had a large agora. However, unlike the Greek Agoras (public gathering places shared with public buildings), Palmyra's agora resembled an Eastern caravanserai more than a hub of public life. The Palmyrenes buried their dead in elaborate family mausoleums, most with interior walls forming rows of burial chambers (loculi) in which the dead, laying at full length, were placed. A relief of the person interred formed part of the wall's decoration, acting as a headstone. Sarcophagi appeared in the late second century and were used in some of the tombs. Many burial monuments contained mummies embalmed in a method similar to that used in Ancient Egypt.
A: Eastern caravanserai

Q: Read the following paragraph and extract the answer for the question: What's the full name of the person that the gambler is killed by?  In 1906 San Francisco, Frisco Jenny Sandoval, a denizen of the notorious Tenderloin district, wants to marry piano player Dan McAllister, but her saloonkeeper father Jim is adamantly opposed to it. An earthquake kills both men and devastates the city. In the aftermath, Jenny gives birth to a son, whom she names Dan. With financial help from crooked lawyer Steve Dutton, who himself came from the Tenderloin, she sets herself up in the vice trade, providing women on demand. Jenny has one loyal friend, the Chinese woman Amah, who helps take care of the baby. At a party in Steve's honor, he catches gambler Ed Harris (an uncredited J. Carrol Naish) cheating him in a back room. In the ensuing struggle, Steve kills him, with Jenny the only eyewitness. The pair are unable to dispose of the body before it is found and are questioned by the police. However, neither is charged. The scandal forces Jenny to temporarily give up her baby to a very respectable couple who owe Steve a favor to keep the child from being taken away from her. After three years, she tries to take her son back, but the boy clings to the only mother he can remember, so she leaves him where he is. He grows up and goes to Stanford University, where he becomes a football star, graduates with honors, and becomes first a lawyer, then an assistant district attorney. Jenny lovingly follows his progress. Meanwhile, she takes over the vice and bootlegging in the city.
A: Steve Dutton

Q: Read the following paragraph and extract the answer for the question: What is the last name of the person who designed all of Nirvana's releases on DGC?  Cobain originally wanted to name the album I Hate Myself and I Want to Die, a phrase that had originated in his journals in mid-1992.  At the time, the singer used the phrase as a response whenever someone asked him how he was doing.  Cobain intended the album title as a joke; he stated he was "tired of taking this band so seriously and everyone else taking it so seriously".  Novoselic convinced Cobain to change the title due to fear that it could potentially result in a lawsuit.  The band then considered using Verse Chorus Verse—a title taken from its song "Verse Chorus Verse", and an earlier working title of "Sappy"—before eventually settling on In Utero.  The final title was taken from a poem written by Courtney Love.The art director for In Utero was Robert Fisher, who had designed all of Nirvana's releases on DGC.  Most of the ideas for the artwork for the album and related singles came from Cobain.  Fisher recalled that "[Cobain] would just give me some loose odds and ends and say 'Do something with it.'"  The cover of the album is an image of a Transparent Anatomical Manikin, with angel wings superimposed.  Cobain created the collage on the back cover, which he described as "Sex and woman and In Utero and vaginas and birth and death", that consists of model fetuses, a turtle shell and models of turtles, and body parts lying in a bed of orchids and lilies.  The collage had been set up on the floor of Cobain's living room and was photographed by Charles Peterson after an unexpected call from Cobain.  The album's track listing and re-illustrated symbols from Barbara G. Walker's The Woman's Dictionary of Symbols and Sacred Objects were then positioned around the edge of the collage.
A: Fisher

Q: Read the following paragraph and extract the answer for the question: Who steals supplies from other trucks?  Cooper and Durazno knock out a truck driver and steal his rig. They take it back to a shop where it is repainted and the numbers are filed. In it they find a truckload of carburetors. Cooper abandons Durazno at a gas station and sets out as an independent driver of the yellow Peterbilt. He picks up a hitchhiker but refuses to also give a ride to the man's accompanying woman and dog. At a diner the two notice the Duke of Interstate 40 (Hector Elizondo) eating at another table. Cooper asks him about his rig, which annoys the Duke. Cooper and the hitchhiker watch Samson and Delilah at a drive-in as Cooper discusses professions he's considered as a means to make money and how he reads the almanac so that he can be learning and earning money at the same time. Cooper visits a shopkeeper and attempts to earn money by either selling some of the stolen carburetors or hustling work as an independent hauler but is turned down because the shopkeeper works with the wholesalers. The hitchhiker finds several prospective customers in the meantime and they pack the already-full truck with tiles and live chickens to be hauled, stealing food and supplies from other trucks. They visit the place where Cooper says his wife lives but she is not there. They are pulled over by a policeman and Cooper lies that he recently returned from the war to get the officer to let him go quickly without checking the contents of the truck. During the night Cooper takes Benzedrine to stay awake while driving.
A:
Cooper