[Q]: This article: Lyon Gaultier is a paratrooper in the French Foreign Legion, stationed in Djibouti, North Africa. His brother, who is married to an American woman in Los Angeles, is burned alive during a drug deal gone wrong and suffers third-degree burns, dying shortly afterward. Lyon deserts his legion when he finds out they have been withholding letters from his brother's wife and ultimately refuse to let him see his dying brother. He steals a jeep and escapes through the desert, finding work on a tramp steamer headed for the U.S. Meanwhile, the Legion Commandant travels to Paris, arriving at the government Consulate, where he is told that Lyon's desertion is ranked at low importance with the LAPD, so the Commandant suggests sending two of his own men to bring Gaultier back, which is approved. Lyon arrives pennyless in New York City and is attracted to an illegal street fighting match that is being run by a New Yorker called Joshua, a man who runs fights for money. Gaultier steps forward to take part in the next fight and destroys his opponent, leaving Joshua looking astounded at what he just saw. Joshua takes Lyon to meet a person called Cynthia, also known as 'The Lady' who organizes underground fights for the rich elite and she decides to sponsor him. Figuring that this would be the best way to earn the money he needs to get to L.A., Lyon fights in a no-holds-barred bare-knuckle fights to finance the trip. Once in L.A. Lyon goes to the hospital where his brother was taken. He learns that he cannot avenge his brother's murder, as he failed to identify his killers before dying. Grief-stricken, Lyon asks the help of Joshua who tracks down his brother's widow's address. However she refuses to accept any financial aid from him, even though she obviously needs it, because she is angry with Lyon for "deserting" his brother years ago. She threatens to call the cops and Lyon has no choice but to leave. contains an answer for the question: What is the full name of the person whose brother failed to identify his killers before dying?, what is it ?
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[A]: Lyon Gaultier


[Q]: This article: The Metacomet Ridge picks up elevation again with the Pocumtuck Ridge, beginning on Sugarloaf Mountain and the parallel massif of Mount Toby, 1,269 feet (387 m), the high point of the Metacomet Ridge geography. Both Sugarloaf Mountain and Mount Toby are composed of erosion-resistant sedimentary rock. North of Mount Sugarloaf, the Pocumtuck Ridge continues as alternating sedimentary and traprock dominated strata to Greenfield, Massachusetts. From Greenfield north to 2 miles (3 km) short of the Vermont–New Hampshire–Massachusetts tri-border, the profile of the Metacomet Ridge diminishes into a series of nondescript hills and low, wooded mountain peaks composed of sedimentary rock with dwindling traprock outcrops.In Connecticut, the high point of the Metacomet Ridge is West Peak of the Hanging Hills at 1,024 feet (312 m); in Massachusetts, the highest traprock peak is Mount Tom, 1,202 feet (366 m), although Mount Toby, made of sedimentary rock, is higher. Visually, the Metacomet Ridge is narrowest at Provin Mountain and East Mountain in Massachusetts where it is less than 0.5 miles (1 km) wide; it is widest at Totoket Mountain, over 4 miles (6 km). However, low parallel hills and related strata along much of the range often make the actual geologic breadth of the Metacomet Ridge wider than the more noticeable ridgeline crests, up to 10 miles (16 km) across in some areas. Significant river drainages of the Metacomet Ridge include the Connecticut River and tributaries (Falls River, Deerfield River, Westfield River, Farmington River, Coginchaug River); and, in southern Connecticut, the Quinnipiac River.The Metacomet Ridge is surrounded by rural wooded, agricultural, and suburban landscapes, and is no more than 6 miles (10 km) from a number of urban hubs such as New Haven, Meriden, New Britain, Hartford, and Springfield. Small city centers abutting the ridge include Greenfield, Northampton, Amherst, Holyoke, West Hartford, Farmington, Wallingford, and Hamden. contains an answer for the question: Within how many miles are the urban centers from the ridge that is up to 10 miles wide in some areas?, what is it ?
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[A]: 6


[Q]: This article: After this, Holst tackled his final attempt at opera in a cheerful vein, with The Wandering Scholar (1929–30), to a text by Clifford Bax. Imogen refers to the music as "Holst at his best in a scherzando (playful) frame of mind"; Vaughan Williams commented on the lively, folksy rhythms: "Do you think there's a little bit too much 6/8 in the opera?" Short observes that the opening motif makes several reappearances without being identified with a particular character, but imposes musical unity on the work.Holst composed few large-scale works in his final years. A Choral Fantasia of 1930 was written for the Three Choirs Festival at Gloucester; beginning and ending with a soprano soloist, the work, also involving chorus, strings, brass and percussion, includes a substantial organ solo which, says Imogen Holst, "knows something of the 'colossal and mysterious' loneliness of Egdon Heath". Apart from his final uncompleted symphony, Holst's remaining works were for small forces; the eight Canons of 1932 were dedicated to his pupils, though in Imogen's view that they present a formidable challenge to the most professional of singers. The Brook Green Suite (1932), written for the orchestra of St Paul's School, was a late companion piece to the St Paul's Suite. The Lyric Movement for viola and small orchestra (1933) was written for Lionel Tertis. Quiet and contemplative, and requiring little virtuosity from the soloist, the piece was slow to gain popularity among violists. Robin Hull, in Penguin Music Magazine, praised the work's "clear beauty—impossible to mistake for the art of any other composer"; in Dickinson's view, however, it remains "a frail creation". Holst's final composition, the orchestral scherzo movement of a projected symphony, contains features characteristic of much of Holst's earlier music—"a summing up of Holst's orchestral art", according to Short. Dickinson suggests that the somewhat casual collection of material in the work gives little indication of the symphony that might have been written. contains an answer for the question: What was the name of the piece that was slow to gain popularity among violists?, what is it ?
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[A]: