Problem: What was the man that Lesra Martin's family helps nicknamed in his boxing days?  Answer the above question based on the context below:  The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison. A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey. In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police. Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences.

A: The Hurricane


Problem: Why does Dr. T exit quickly when he sees his assistant under his desk?  Answer the above question based on the context below:  Dr. Sullivan Travis (aka "Dr. T.") (Richard Gere) is a wealthy Dallas gynecologist for some of the wealthiest women in Texas who finds his life beginning to fall apart starting when his wife, Kate, suffers a rare type of infantalizing syndrome of wealthy women, receding into a childlike state and, after she disrobes in a shopping mall fountain is committed to the state mental hospital.  When Dr. T visits  Kate , she rebuffs his kisses as improper and he sees her pre-teen psychic age cannot be brought back to adulthood by his affection. Dr. T's eldest daughter, Dee Dee, is planning to go through with her approaching wedding despite the secret that she is romantically involved with Marilyn, the maid of honor. Dr. T's youngest daughter, Connie, is a spunky conspiracy theorist who has her own agenda including sharing with her father how she discovered Dee Dee and Marilyn are lovers.  While Marilyn is on his examining table for the first time, she surmises her condition is caused by the stress of being the maid of honor for her friend Dee Dee. Dr. T  realizes she is Dee Dee's lover and becomes embarrassed mid-examination asking Carolyn, Dr. T's loyal secretary, (Shelley Long) to finish.   Carolyn has romantic feelings for him, which are not mutual: in a farcical scene at the workday end, she locks the office door and gives him a shoulder-massage from behind his chair, secretly disrobing while emphasizing his need for a loving wife. Refreshed but unaware of her intentions , he goes to the coat closet, turns and finds she has vanished. From under the desk, she says he never empties his trash baskets. Approaching the desk he glimpses her state of dress and quickly leaves. Dr. T's sister-in-law, Peggy, meddles in every situation she stumbles into.

A: he glimpses her state of dress


Problem: What is the name of the piece that calls for an intermission after the fourth movement?  Answer the above question based on the context below:  A composer may also respond to a text by expanding a choral symphony beyond the normal bounds of the symphonic genre. This is evident in the unusual orchestration and stage directions Berlioz prepared for his Roméo et Juliette. This piece is actually in seven movements, and calls for an intermission after the fourth movement – the "Queen Mab Scherzo" – to remove the harps from the stage and bring on the chorus of Capulets for the funeral march that follows. Berlioz biographer D. Kern Holoman observed that, "as Berlioz saw it, the work is simply Beethovenian in design, with the narrative elements overlain. Its core approaches a five-movement symphony with the choral finale and, as in the [Symphonie] Fantastique, both a scherzo and a march.... The 'extra' movements are thus the introduction with its potpourri of subsections and the descriptive tomb scene [at the end of the work]."Mahler expanded the Beethovenian model for programmatic as well as symphonic reasons in his Second Symphony, the "Resurrection", the vocal fourth movement, "Urlicht", bridging the childlike faith of the third movement with the ideological tension Mahler seeks to resolve in the finale. He then abandoned this pattern for his Third Symphony, as two movements for voices and orchestra follow three purely instrumental ones before the finale returns to instruments alone. Like Mahler, Havergal Brian expanded the Beethovenian model, but on a much larger scale and with far larger orchestral and choral forces, in his Symphony No. 1 "The Gothic". Written between 1919 and 1927, the symphony was inspired by Goethe's Faust and Gothic cathedral architecture. The Brian First is in two parts. The first consists of three instrumental movements; the second, also in three movements and over an hour in length, is a Latin setting of the Te Deum.

A:
Roméo et Juliette