Problem: Background: Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofe several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano. The editors of the Cambridge Music Handbooks opined that "The Rhapsody in Blue (1924) established Gershwin's reputation as a serious composer and has since become one of the most popular of all American concert works."
Context: Rhapsody in Blue premiered in an afternoon concert on Tuesday, February 12, 1924, held by Paul Whiteman and his band Palais Royal Orchestra, entitled An Experiment in Modern Music, which took place in Aeolian Hall in New York City. Many important and influential composers of the time such as John Philip Sousa and Sergei Rachmaninoff were present. The event has since become historic specifically because of its premiere of the Rhapsody.  The purpose of the experiment, as told by Whiteman in a pre-concert lecture in front of many classical music critics and highbrows, was "to be purely educational". It would "at least provide a stepping stone which will make it very simple for the masses to understand, and therefore, enjoy symphony and opera". The program was long, including 26 separate musical movements, divided into 2 parts and 11 sections, bearing titles such as "True form of jazz" and "Contrast: legitimate scoring vs. jazzing". Gershwin's latest composition was the second to last piece (before Elgar's Pomp and Circumstance March No. 1). Many of the numbers sounded similar and the ventilation system in the concert hall was broken. People in the audience were losing their patience, until the clarinet glissando that opened Rhapsody in Blue was heard.  The Rhapsody was performed by Whiteman's band, with an added section of string players, and George Gershwin on piano. Gershwin decided to keep his options open as to when Whiteman would bring in the orchestra and he did not write down one of the pages for solo piano, with only the words "Wait for nod" scrawled by Grofe on the band score. Gershwin improvised some of what he was playing, and he did not write out the piano part until after the performance, so it is unknown exactly how the original Rhapsody sounded.  The opening clarinet glissando came into being during rehearsal when; "... as a joke on Gershwin, [Ross] Gorman (Whiteman's virtuoso clarinettist) played the opening measure with a noticeable glissando, adding what he considered a humorous touch to the passage. Reacting favourably to Gorman's whimsy, Gershwin asked him to perform the opening measure that way at the concert and to add as much of a 'wail' as possible."
Question: What did gershwin do?
Answer: Gershwin's latest composition was the second to last piece

Problem: Background: The Iberians (Latin: Hiberi, from Greek: Iberes, Iberes) were a set of peoples that Greek and Roman sources (among others, Hecataeus of Miletus, Avienus, Herodotus and Strabo) identified with that name in the eastern and southern coasts of the Iberian peninsula, at least from the 6th century BC. The Roman sources also use the term Hispani to refer to the Iberians. The term Iberian, as used by the ancient authors, had two distinct meanings. One, more general, referred to all the populations of the Iberian peninsula without regard to ethnic differences (Pre-Indo-European, Celts and non-Celtic Indo-Europeans).
Context: The Iberians produced sculpture in stone and bronze, most of which was much influenced by the Greeks and Phoenicians, and other cultures such as Assyrian, Hittite and Egyptian influences. The styles of Iberian sculpture are divided geographically into Levantine, Central, Southern, and Western groups, of which the Levantine group displays the most Greek influence. Iberian pottery and painting was also distinct and widespread throughout the region.  The Iberian polytheistic religion was influenced by the Greek and Phoenician practices, as it is evident in their sculptures. The man-bull Bicha of Balazote (possibly a fertility deity) and various depictions of sphinxes and lions bear a resemblance to eastern Mediterranean mythological creatures. The Lady of Elche and Lady of Guardamar show clear Hellenistic influence. Phoenician and Greek deities like Tanit, Baal, Melkart, Artemis, Demeter and Asclepius were known in the region and worshiped. Currently few native Iberian gods are known, though the oracular healing deity "Betatun" is known from a Latin inscription at Fuertes del Rey. There was clearly an important female deity associated with the earth and regeneration as depicted by the Lady of Baza and linked with birds, flowers and wheat. The horse was also an important religious figure and an important sanctuary dedicated to Horses has been found in Mula (Murcia). There are many depictions of a "horse taming god" or "lord of the horses" (despotes hippon). The female goddess Ataegina is also widely attested in the inscriptions.  Iberians performed their rites in the open and also maintained sanctuaries in holy places like groves, springs and caves. Archaeological evidence suggests the existence of a priestly class and Silius Italicus mentions priests in the region of Tartessos at a temple of Melqart. Evidence from pottery reveals some information about Iberian myth and ritual. Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey known as the "Bastetania dance" and the confrontation between the deceased and a wolf figure. Ritual sacrifice of animals was also common.  The Iberians incinerated their dead and placed their ashes in ceremonial urns, the remains were then placed in stone tombs.  Iberians venerated the war god Cariociecus.
Question: Did archaeologist find any other interesting artifacts?
Answer:
Common themes are a celebratory ritual dance described by Strabo [c.f. 3.3.7.] and seen in a relief from Fuerte del Rey