Question: 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).

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).

Using a quote from the above article, answer the following question: Do the men get henna tattoos as well?
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Answer: The groom will enter where the bride is, they well both get their henna done, and the groom will then offer the bride


Question: Winchell was born Paul Wilchinsky in New York City on December 21, 1922, to Solomon Wilchinsky and Clara Fuchs. His father was a tailor; his grandparents were Jewish immigrants from Russian Poland and Austria-Hungary. Winchell's initial ambition was to become a doctor, but the Depression wiped out any chance of his family's ability to afford medical school tuition. At age 13, he contracted polio; while recovering, he happened upon a magazine advertisement offering a ventriloquism kit for ten cents.

Winchell's best-known ventriloquist dummies were Jerry Mahoney and Knucklehead Smiff. Mahoney was carved by Chicago-based figure maker Frank Marshall. Sometime later Winchell had basswood copies of Jerry's head made by a commercial duplicating service. One became the upgraded Jerry Mahoney that is seen primarily throughout Winchell's television career. The television versions of Jerry and Knucklehead also featured Winchell's innovation of actors slipping their hands into the sleeves of the dummies, giving the visual effect of gesturing with their hands while "conversing" with each other. He modified two other copies to create Knucklehead Smiff. The original Marshall Jerry Mahoney and one copy of Knucklehead Smiff are in storage at the Smithsonian Institution. The other two figures are in the collection of illusionist David Copperfield.  Winchell's first show as a ventriloquist was on radio with Jerry Mahoney in 1943. The program was short-lived, however, as he was overshadowed by Edgar Bergen. Winchell also created Ozwald, a character that resembled Humpty Dumpty. The effect was accomplished by painting eyes and a nose on his chin, then adding a "body" covering the rest of his face, and finally electronically turning the camera image upside down. In 1961, Berwin Novelties introduced a home version of the character that included an Oswald body, creative pencils to draw the eyes and nose and a "magic mirror" that automatically turned a reflection upside down.  In 1948, Winchell and Joseph Dunninger were featured on Floor Show on NBC. Recorded via kinescope and replayed on WNBQ-TV in Chicago, Illinois, the 8:30-9 p.m. Central Time show on Thursdays was the station's first mid-week program.  During the 1950s, Winchell hosted children's and adult programs with his figures for NBC Television, and later for syndication. The NBC Saturday morning program, sponsored by Tootsie Roll, featured a clubhouse motif and a theme song co-written by Winchell and his longtime bandleader and on-air sidekick, Milton DeLugg. The theme song was entitled "HOORAY, HOORAH" which featured the secret password "SCOLLY WALLY DOO DOO". An ending song entitled "Friends, Friends, Friends" was sung by the children in the audience. On one episode, The Three Stooges appeared on the show to promote their joint feature film venture, Stop, Look, and Laugh, in late 1959. He made an appearance on Nanny and the Professor (Season 2, Episode 13) as a "mean old man" (a puppeteer who had retired into seclusion after losing his wife in an accident). In 1996, Winchell contracted with figure maker Tim Selberg to construct a more contemporary version of Jerry Mahoney, which Winch described as "Disney-esque". Winchell used the new figure version to pitch a new TV series idea to Michael Eisner. In 2009 Winchell was featured in the comedy documentary I'm No Dummy, directed by Bryan W. Simon.

Using a quote from the above article, answer the following question: What was his ventrolioquist work?
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Answer:
Winchell's best-known ventriloquist dummies were Jerry Mahoney and Knucklehead Smiff.