prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which filmmaker was known for animation, Lev Yilmaz or Pamela B. Green?

The following are given passages.
Context 1: Passage 1:
Pamela B  Green
Pamela B  Green is a two-time Emmy-nominated, award-winning American film director and producer known for her work in feature film titles and motion graphics  She is the director, writer, editor and producer of the documentary Be Natural: The Untold Story of Alice Guy-Blaché  In 2020, she was awarded the Jane Mercer Researcher of the Year award at the FOCAL International awards for her work on Be Natural 

PIC Collective
In 2005, Green co-founded PIC Collective, an audiovisual communications studio focused on entertainment and motion design  PIC Collective designs and produces content for motion pictures, television, and commercials, and has done main title sequences for over 100 feature films and for every major Hollywood studio  Since PIC Collective's founding, Green has creative-directed and produced main titles and marketing campaigns for The Kingdom, Twilight, The Cabin in the Woods, The Muppets, 42, and numerous others, as well as TV show packages for the Academy Awards, the Billboard Awards, the Critics’ Choice Awards, and the mini-documentary sequences for VH1ʼs Soul Divas: History of Soul Music The title sequence for The Kingdom was honored with a place on the Independent Film Channel's list “The 50 Greatest Opening Title Sequences of All Time”  PIC Collective was also awarded a 2013 Key Art Award in Audio/Visual Technique for the titles of The Wolverine On November 21, 2019, PIC Collective won Silver for a Clio Award in the category best Audio Visual Technique in Motion Graphics 

Be Natural
In 2012, Green began working on Be Natural: The Untold Story of Alice Guy-Blaché, a feature-length documentary about the first female film director  Green produced, directed, wrote and edited the documentary with executive producer Robert Redford  In 2013, Green and her team raised over $200,000 via Kickstarter to further fund the documentary   
In addition, Green was a recipient of the Sundance Institute Documentary Fund  The film premiered in the Official Selection of Cannes Classics 2018 and then had its North American premiere at the Telluride Film Festival, followed by the Deauville American Film Festival, New York Film Festival, and the BFI London film Festival  It was acquired by Zeitgeist Films in association with Kino Lorber and was released in theaters in April 2019  The film was well-received by most critics, with Deadline's Pete Hammond calling it "the Best Film In Cannes" and Katie Walsh for the Los Angeles Times calling it "illuminating"  Be Natural was nominated by the Critics Choice Documentary Awards in the  Best First Documentary Category  Be Natural was recently awarded Best Documentary at the 2020 Vancouver International Women in Film Festival  On November 17, 2019, after a screening of the film at the Barrymore Film Center, the Fort Lee Film Commission awarded director Pamela B  Green with the Barrymore Film Center Alice Guy-Blaché Award and narrator Jodie Foster with the Barrymore Film Center Award 
Be Natural was nominated for five awards at the 2020 FOCAL International Awards and took home the prize for Best Use of Footage in a Cinematic Feature and the Jane Mercer Researcher of the Year Award 
In December, the film was named one of the 50 Best Films of 2020 in the UK by The Guardian  
Later in December, the film was named one of the 10 Best Documentaries in Peter Bradshaw's film picks of 2020 In 2021, Be Natural was nominated for a Peabody Award 

Legwork Collective
In 2018, Green founded Legwork Collective, a media company that focuses on telling inspiring and moving scripted and unscripted stories that bring overlooked figures to the forefront via film, television, and audio In 2020, Legwork Collective received a grant from The Redford Center to direct a nonpartisan Public Service Announcement encouraging young people to Take Action and Vote!

Filmmaker
Green directed the 2008 short Compact Only, which was nominated for Best Short at the Milan International Film Festival, for the Audience Award in the Fresno Film Festival, Best Short at the Beverly Hills Shorts Festival, and for the Best Short at The Int'l Fest of Cinema and Technology  The film won Best Short at the Tallahassee Film Festival, Best Short at the Treasure Coast International Film Festival, Accolade Film Award Winner, Best Comedy Short at the Gone With the Film Festival, Winner Aloha Accolade Award Honolulu, and much more 
Green was a co-producer on the 2010 documentary Bhutto about the 11th Prime Minister of Pakistan, Benazir Bhutto 
In 2011, Green directed the music video for The Click Five's song “Don’t Let Me Go”, which was created in partnership with MTV EXIT and featured a message to raise awareness about human trafficking 
In 2012, Green directed a commercial for Super-Max Razors which starred actor Gerard Butler In 2012, Bhutto was nominated for an Emmy for Outstanding Continuing Coverage of a News Story – Long Form In 2014, Green was included in Saul Bass's book Anatomy of Film Design, listing her as being part of a "wholly digitally trained generation of title designers "In 2014, Green was selected to serve as a juror for Excellence in Title Design category at the 2014 South by Southwest Film Festival In 2016, Green directed an Audi commercial 
In 2016, Green was selected to serve as a judge for The Motion Awards for motionographer com In 2018, Green's documentary Be Natural: The Untold Story of Alice Guy-Blaché premiered at Cannes 
In 2020, Green directed the nonpartisan PSA, Take Action and Vote! for the Redford Center In 2021, Green's documentary Be Natural: The Untold Story of Alice Guy-Blaché was nominated for a Peabody In 2021, Be Natural was nominated for an Emmy for Outstanding Research:Documentary Green is currently working with co-writer Joan Simon and co-producer Cosima Littlewood on a feature biopic script about the mother of cinema, Alice Guy-Blaché, which will feature new material not seen in the documentary Be Natural Green has also developed Aces Never Sleep, a female-driven detective series, with Jamie Wolf's Foothill Productions and former CAA agent John Ptak, and they are in talks with different financiers  The series takes place during a pandemic, social unrest, economic crisis, racism and a polarized America   Kate Warn and her team of lady operatives are behind the true origins of the Pinkerton Detective Agency, founded by fervent abolitionist Allan Pinkerton  Historical figures appear throughout the series, including Frederick Douglass and Abraham Lincoln, notably when the agency's most valued Ace Kate Warn and fellow detectives thwart an assassination attempt on the President-Elect 

Awards and accolades
Selected filmography
See also
Alice Guy-Blaché
Passage 2:
Anani ben Sason
Rabbi Anani ben Sason (Hebrew: רבי ענני בר ששון; also called 'Anani, 'Inani, and 'Inyani) was a Jewish Talmudist who lived in the Land of Israel in the third century (third generation of amoraim) 

Teachings
He was a contemporary of Rabbi Ammi  He rarely discussed Halakhot, and his discussions of them were not original  Once he recited a Halakhah in the patriarch's mansion, without naming its author, which provoked Ammi to ask: "Is it his own? It is what Rabbi Eleazar had reported in the name of Rabbi Oshaiah" In aggadah, he sometimes reported the sayings of others, but more often he was original  Thus, to explain the juxtaposition of the laws of sacrifice and priestly vestments, he argues that the priestly vestments were to provide atonement just as the sacrifices do  He represents the miter as atoning for haughtiness, and cites R  Chanina as saying, "That which rests highest on the priest atones for one's considering himself high"; and similarly with the rest of the priestly garments Referring to God's appearance in the burning bush he remarks, "The Holy One—blessed be He!—said to Moses, 'When I will it, one of my angels stretches forth his hand from heaven and reaches to the ground,' as Scripture says, 'He put forth the form of a hand, and took me by a lock of my head'; and when it so pleases me, I make three angels sit under one tree; when I choose, my glory fills the universe, as it is written, 'Do I not fill heaven and earth? says the Lord'; and when I so willed, I spoke to Job in a whirlwind, as it is said "The Lord answered Job out of the whirlwind"" The same idea, though in different form, is found elsewhere in the name of R  Chanina b  Issi (Sissi)  As the name of the subject of this article is sometimes written 'Inani and also 'Inyani—which forms are dialectic variations of Chanina, though with the initial aleph instead of ayin—the circumstance probably suggested the identity of the two names  But this identification meets with insuperable chronological difficulties, Chanina b  Sissi being a contemporary of Johanan, while 'Anani was younger even than Johanan's pupils 
Isaac Reichlin aptly suggests that Anani's real name was Ananiel, as it is still preserved in Exodus Rabbah 3:7, and that its apocopated form was adopted to avoid the mention of the name "El" (God) in common speech 
Passage 3:
Lev Yilmaz
Levni Yilmaz (born 1973) is an American independent film maker, artist and publisher, best known for his "Tales of Mere Existence" animated comic series  He is based in San Francisco 

Early life
Yilmaz was born in Boston, Massachusetts to parents Karen Carlson and physicist Hüseyin Yılmaz (the author of the Yilmaz theory of gravitation)  He is of Turkish and Swedish descent He attended art school in Boston before he moved to San Francisco in 1998 

Tales of Mere Existence
The "Tales of Mere Existence" series began in 2002 as a series of animated comics that were shown at film festivals 
Each video in the "Tales of Mere Existence" series shows a series of static cartoons, which appear gradually as if being drawn by an invisible hand   Yilmaz' technique is inspired by the French documentary The Mystery of Picasso (1956), which similarly shows Picasso's paintings appearing from the other side 
Yilmaz writes, draws, films, edits, and narrates all of the "Tales of Mere Existence" videos  He often recounts personal anecdotes and observations and discusses his views on interpersonal relationships, society and human behavior  His videos are told from a rather pessimistic viewpoint and  tend to have a sarcastic undertone 
In 2003, Yilmaz began to sell DVDs that contained some of his short comic films  Along with the DVD came the first print version of the "Tales of Mere Existence" book  Over the next six years, Yilmaz published three more books, as his fan base grew to thousands  His first official book, Sunny Side Down, was published by Simon & Schuster in 2009 

Popularity
In recent years Yilmaz gained a large fan base with millions of followers around his animated comics on YouTube  He uses this online popularity to promote his books and DVDs, which are sold from his personal website  
Yilmaz has made appearances in New York for events such as Rooftop Film Festival, performing live readings from his books 
In October 2010, his comic God was featured on Franco-German TV Network arte  In December 2010 A Few of My High School Teachers  aired on Showtime 

Publications
Tales of Mere ExistenceTales of Mere Existence I (2003)
Tales of Mere Existence II (2004)
The 7 Habits of Highly Negative People (2006)
Sunny Side Down (2009)
The Doom Room (2013)
Passage 4:
AES+F
AES+F is a collective of four Russian artists: Tatiana Arzamasova (born 1955), Lev Evzovich (born 1958), Evgeny Svyatsky (born 1957), and Vladimir Fridkes (born 1956)  It was first formed as AES Group in 1987 by Arzamasova, Evzovich, and Svyatsky, becoming AES+F when Fridkes joined in 1995  The collective works in photography, video, installation, and animation, as well as more traditional media, such as painting, drawing, and sculpture  AES+F's early work included performance, installation, painting, and illustration  Well known for their monumental video-art installations that Gareth Harris describes as "monumental painting set in motion", AES+F create grand visual narratives that explore contemporary global values, vices and conflicts 

Members
Tatiana Arzamasova
Tatiana Arzamasova was born in 1955 in Moscow, where she graduated from Moscow Architectural Institute (MArchI) – State Academy in 1978  Prior to founding AES Group, Arzamasova was a conceptual architect  She participated in conceptual architecture exhibitions in London, Paris, and Venice 

Lev Evzovich
Evzovich was born in 1958 in Moscow, where he graduated from Moscow Architectural Institute (MARCHI) – State Academy in 1982  Prior to founding AES Group, Evzovich also worked in conceptual architecture  He participated in conceptual architecture exhibitions in Milan, Frankfurt-on-Main, and Paris  He also worked as an art director in film 

Evgeny Svyatsky
Evgeny Svyatsky was born in 1957 in Moscow, where he graduated from the Moscow University of Print Design in 1980  Prior to founding AES Group, Svyatsky worked in book illustration, advertising, and graphic design  He also worked as the creative director for publishing houses in Moscow 

Vladimir Fridkes
Vladimir Fridkes was born in Moscow in 1956, where he worked as a fashion photographer prior to joining the collective  His work was published in many leading fashion magazines: VOGUE, Harper's Bazaar, ELLE, Marie Claire, Cosmopolitan and the Sunday Times Style 

Career
AES+F began their career as AES Group, with Arzamasova, Evzovich, and Svyatsky forming the group in 1987  The collective exhibited internationally for the first time in 1989 with a solo show at Howard Yezerski Gallery in Boston, and a performance at the Carpenter Center at Harvard University in Cambridge  The group expanded with the addition of the photographer Vladimir Fridkes in 1995 and subsequently changed its name to AES+F  
The collective achieved wider recognition in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with Last Riot (2007), the first in a trilogy of large-scale, multi-channel video installations  The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011  Together, all three projects premiered as The Liminal Space Trilogy in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city  The Trilogy was shown in the Museum of Fine Arts in La Chaux-de-Fonds, Switzerland (June–September 2014)  Most recently all three videos were shown at Albright–Knox Art Gallery, Buffalo, NY (June–September 2015) AES+F have exhibited at numerous international festivals: (namely the biennales of Venice, Lyon, Sydney, Gwangju, Moscow, Gothenburg, Havana, Tirana, Istanbul, Bratislava, Seoul etc ), ARS-06 (KIASMA, Helsinki)  Their works appear in some of the world's most important collections, such as Moderna Museet (Stockholm), Musée de l'Elysée (Lausanne), MOCAK (Kraków), Sammlung Goetz (Munich), ZKM (Karlsruhe), Maison européenne de la photographie (Paris), Art Gallery of South Australia (Adelaide), and the Museum of Old and New Art (Tasmania), Centro de Arte Dos de Mayo (Madrid), Centre Georges Pompidou (Paris), and the Louis Vuitton Foundation (Paris)  Their work is represented in some of Russia's principal national museums, such as Tretyakov Gallery (Moscow), Russian Museum (St  Petersburg), and the Multimedia Art Museum (Moscow) AES+F's project Inverso Mundus was presented at the 56th Venice Biennale as a collateral event at the Magazzini del Sale and later presented at COME ALIVE (Niet Normaal INT) in Het Nieuwe Muntgebouw, Utrecht, The Netherlands On 22 April 2022, they publicly denounced the Russian invasion of Ukraine, declaring "The Putin regime continues to commit war crimes, destroying Ukrainian cities, killing thousands of people, depriving millions of their homes, families and futures"  They thus called for people to donate to NGO charities helping war refugees 

Works
Islamic Project (1996-2003)
Islamic Project began in 1996 as a performance and public intervention  AES+F created the "AES Travel Agency to the Future," an imitation of a travel office with subversive materials - souvenirs from a future in which the influence of Islam has been superimposed upon all of Western culture in the form of architectural and cultural transformations  In one of the images, the artists transformed the Statue of Liberty to show her in a Burka, holding a Quran; in another, they prophetically depict the New York skyline absent of the Twin Towers  The project has been met with attempts to censor certain imagery when it was shown in the New Art Gallery in Walsall, United Kingdom in 2006 In 2000, AES+F created another installation in the form of a Bedouin tent titled "Oasis", consisting of a series of traditional carpets, each with imagery from the Islamic Project printed on silk in the center " Oasis was first exhibited at the La Caixa Foundation in Barcelona, Spain 

King of the Forest (2001-2003)
The King of the Forest is a trilogy of projects inspired by Erlkönig, the Ogre - a mythological creature of medieval Europe and also the subject of an eponymous novel by Michele Tournier  The King of the Forest stole beautiful children from nearby villages and kept them in his palace  According to AES+F, this series of projects concerns itself with the theft of youth by mass media culture - a contemporary analogue to the medieval Ogre In AES+F's King of the Forest, the artists created three videos on different continents - Le Roi des Aulnes in St  Petersburg, More than Paradise in Cairo, and KFNY in New York  The first in the series, Le Roi des Aulnes, was shot at Catherine the Great's palace in Tsarskoye Selo  The second, More than Paradise, was shot at the Mosque of Muhammad Ali  The final project in the series, KFNY, was shot on Military Island in Times Square 

The Liminal Space Trilogy
The Liminal Space Trilogy attempts to analyze the 21st century from the perspective of a centuries-old art-historical tradition of depicting Hell, Heaven, and Purgatory  The trilogy is presented as three projects consisting of video installations, prints, drawings, paintings, and sculptures  It is set respectively in a video game landscape, an exotic luxury resort, and a futuristic airport, each of which is depicted as a unique surrealistic fantasy that explores contemporary themes 

Last Riot (2005-2007)
The project consists of an HD video installation (3- and 1-channel versions), series of stills from the video, series of pictures, series of drawings, series of sculptures
Last Riot premiered at the Russian pavilion at the Venice Biennale in 2007  The work depicts an imagined future digitally manipulated where snow-capped mountains sit next to desolate beaches, neon dragons rest atop oil platforms, planes collide without flames, and a band of attractive teens with completely ambiguous and detached facial expressions are engaged in ritualistic battle with one another and with themselves Conceived as a reflection of the 21st century, Last Riot raises questions regarding Western values, and reflects contemporary Western mythology without passing judgment  The visual ethos of Last Riot is rife with allusions to art history, from Caravaggio and Baroque painting, to Romanticism, combined with contemporary visual culture in the form of advertising, film, and video games, and traversing the aesthetic line between beauty and ugliness 

The Feast of Trimalchio (2009-2010)
The second project in the Liminal Space Trilogy, The Feast of Trimalchio, is titled as such in reference to the epic "Satyricon" by Gaius Petronius Arbiter, namely, the Cena Trimalchionis, which describes the life of a wealthy former slave who hosts gluttonous and orgiastic feasts  In AES+F's The Feast of Trimalchio, an imaginary island with an absurdly luxurious resort-hotel, which is a de-personification of Petronius' Trimalchio, serves as a "temporary paradise" that guests pay to enter   The guests of the hotel indulge in all of the contemporary pleasures perpetuated in advertisements of resort getaways, from leisurely fitness to "body purification," while the viewer sees any notion of social hierarchy dissipate as the masters begin to court the servants, acting out their fantasies of a Roman Saturnalia The project consists of an HD video installation (9-, 3-, and 1-channel versions), series of pictures, series of stills from the video, series of portfolios with photographs and drawings 

Allegoria Sacra (2011-2013)
The project consists of an HD video installation (5-, 3-, and 1-channel versions), series of pictures, series of stills from the video 
Allegoria Sacra is the final part of the Liminal Space Trilogy  Named after Giovanni Bellini's eponymous painting which hangs in the Uffizi Gallery, AES+F's Allegoria Sacra represents Purgatory  Taking place in a futuristic international airport, Allegoria Sacra serves as a metaphor for limbo, where the souls of "righteous sinners" await their fate  The characters that inhabit Giovanni Bellini's masterpiece, from biblical figures to mythological creatures, were transposed and sometimes reinterpreted by AES+F  The Saracen-Muslim was transformed into a group of refugees  St  Sebastian became a young, shirtless traveler, hitchhiking his way through tropical countries, while Apostle Paul is represented as an airport policeman  However, AES+F's piece is more of an allegory of contemporary life than a reinterpretation of Giovanni Bellini's painting  As the travelers enter dream-like states, the airport and the aircraft undergo several metamorphoses, while the landscape and the climate go through four phases - from being a snowy field to a desert, a jungle, and finally becoming an endless river Styx Maintaining their signature style, AES+F combine recognizable motifs from art-history and pop-culture, such as the numerous allusions to Stanley Kubrick's film 2001: A Space Odyssey  Allegoria Sacra weaves complex global issues into visually compelling metaphors, letting them unfold in the neutral transitory space of an airport, where all kinds of things can temporarily coexist before going to their destination 
Allegoria Sacra won the Sergey Kuryokhin Award (2011), the main award of the Kandinsky Prize (2012), the main award of the Nordart Festival (2014), and the Pino Pascali Prize (2015) (18th Edition) 
Passage 5:
Aryanto Yuniawan
Aryanto Yuniawan (born June 18, 1977 in Magelang; age 40) is Chief Executive Officer of PT Mataram Surya Visi Sinema, a multimedia and animation movie company located in Jogja Indonesia  Ary (his nickname) is best known as a director of Battle of Surabaya, the first 2D animation movie in Indonesia which got some awards i e  Gold Remi Award USA 2016, GrandPrize Winner of SICAF 2016 in South Korea, Winner of Nice International Filmmaker Festival 2017 in France,  Winner of Nioda International Film Festival in India and others  He is also acclaimed as a writer, a producer, and currently working on several articles and books related to his job and hobby  He started his career from directing and producing independent animation films including music videos  He was trusted to be one of the juries of several film festivals such as Festival Film Indonesia (FFI 2016), Noida International Film Festival (NIFF 2016), and Seoul International Cartoon and Animation Festival (SICAF 2017) 
Aryanto Yuniawan was chosen to be an individual recipient of the National Intellectual Property Award 2016 from the Directorate General of Intellectual Property, Ministry of Justice and Human Rights, Republic of Indonesia (DJKI Kemenkumham RI)  The award was submitted by Vice-president of the Republic of Indonesia (Vice-president), M  Jusuf Kalla to him with eight other recipients 

Education
Aryanto was born in Magelang, Central Java, Indonesia   He is the oldest of two siblings  After finishing the middle school from SMPN 2 Magelang and highschool from SMAN 1 Magelang, he studied at STMIK Amikom (now University Amikom) in Diploma degree   He gained his bachelor of computer science then and completed his master in the same university in 2017 

Filmography
As director
Battle of Surabaya (2015)
The Profesional (2012)
Petualangan Abdan (2011)
Goodbye World (2010)
Lestari (2010)
The Letter of Heaven (2010)
Jatayu (2009)
Lembah Halilintar (2009)

Achievements
Career
Lecturer at STMIK AMIKOM Yogyakarta
General manager of PT Mataram Surya Visi Pictures (2003-2014)
Chief executive Officer of PT Mataram Surya Visi Sinema (2014–Present)

Awards
Best Animation  The International Filmmaker Festival of World Cinema  2017  Nice, France 
Gold Remi Award  Houston International Film Festival  2016  Houston, Texas 
Grand Prize  Seoul International Cartoon and Animation Festival   2016  Seoul, Korea 
Best Animation  Noida International Film Festival  2016  New Delhi, India 
Winner of People's Choice Award  International Movie Trailer Festival  2013  California, Amerika Serikat 
Official Selection  Holland Animation Film Festival  2016  Utrecht, Belanda 
Official Selection  Dingle International Film Festival  2016  Dublin, Irlandia 
Official Selection  Fantoche Internasional Animation Festival Film  2016  Baden, Swiss 
Special Screening  Athena Animfest  2016  Athena, Yunani 
Special Screening  New Chitose Internasional Animation Festival  2016  Hokkaido, Jepang 
Nominee of Best Foreign Animation Trailer  Annual Golden Trailer Award  2014  California, Amerika Serikat 
Nominee of Apresiasi Film Indonesia  Art and Film Board of Ministry of Culture & Education  2012  Jakarta, Indonesia 
First Winner of Indigo Fellowship Category  PT Telekomunikasi Indonesia  2012  Jakarta, Indonesia 
Winner of ICT Award Category  Digital Animation Inaicta   Minister for Communication and Information Technology  2012  Jakarta, Indonesia 
Nominee of Animafest 2D Short Animated Film MNCTV  (Briptu Dorman)  2011  Jakarta, Indonesia 
Second Winner of Digital Animation (The Adventure of Abdan – Honesty)  Exhibition of Indonesian Production   Minister of Industry Republic of Indonesia  2009  Jakarta, Indonesia 
Nominasi International Urbanimation  (The Adventure of Abdan – Kites)  2008  Jakarta, Indonesia 
Merit Winner ICT Award Category  Digital Animation Inaicta  Minister for Communication and Information Technology  2000  Jakarta, Indonesia 
Passage 6:
Seasoned Veteran
Seasoned Veteran is the third studio album by American rapper Richie Rich  It was released November 5, 1996 on Def Jam Recordings, and to date is the only major label release for the artist  The album was produced by Ali Malik, DJ Daryl, Doug Rasheed, Jermaine Dupri, Lev Berlak, Mike Mosley, Richie Rich and Rick Rock  It peaked at number 11 on the Billboard Top R&B/Hip-Hop Albums and at number 35 on the Billboard 200  Two of the singles released, "Let's Ride" and "Do G's Get To Go To Heaven?", both appeared on multiple Billboard singles charts  The album features guest performances by 2Pac, E-40, Luniz, D'wayne Wiggins, T-Boz, and Rame Royal of Rhythm & Green 
Along with the single, a music video was produced for the song, "Let's Ride"  A second single, "Do G's Get To Go To Heaven?", was also released as a music video, featuring Bo-Roc, and is dedicated to the memory of Tupac Shakur 
In the song "Niggas Done Changed" Feat  Tupac, 2Pac predicts his own death by saying “I been shot and murdered, can't tell you how it happened, word for word / But best believe niggas gonna get what they deserve ”

Critical reception
The Source – "   Seasoned Veteran is one of the few albums available in the reality rap genre that lives up to its name and comes close to meeting the listener's expectations   "

Track listing
Samples
Fresh Out

"For the Love of Money" by The O'JaysLet's Ride

"(Not Just) Knee Deep" by FunkadelicPillow

"(Lay Your Head on My) Pillow" by Tony! Toni! Toné!

Chart history
AlbumSingles

Personnel
Passage 7:
Lev Kuleshov
Lev Vladimirovich Kuleshov (Russian: Лев Владимирович Кулешов; 13 January [O S  1 January] 1899 – 29 March 1970) was a Russian and Soviet filmmaker and film theorist, one of the founders of the world's first film school, the Moscow Film School  He was given the title People's Artist of the RSFSR in 1969  He was intimately involved in development of the style of film making known as Soviet montage, especially its psychological underpinning, including the use of editing and the cut to influence the emotions of audience, a principle known as the Kuleshov effect  He also developed the theory of creative geography, which is the use of the action around a cut to connect otherwise disparate settings into a cohesive narrative 

Life and career
Lev Kuleshov was born in 1899 into an intellectual Russian family  His father Vladimir Sergeyevich Kuleshov was of noble heritage; he studied art in the Moscow School of Painting, Sculpture and Architecture, despite his own father's disapproval  He then married a village schoolteacher Pelagia Aleksandrovna Shubina who was raised in an orphanage, which only led to more confrontation  They gave birth to two sons: Boris and Lev 
At the time Lev Kuleshov was born, the family became financially broke, lost their estate and moved to Tambov, living a modest life  In 1911 Vladimir Kuleshov died; three years later Lev and his mother moved to Moscow where his elder brother was studying and working as an engineer  Lev Kuleshov decided to follow the steps of his father and entered the Moscow School of Painting, although he didn't finish it  In 1916 he applied to work at the film company led by Aleksandr Khanzhonkov  He produced scenery for Yevgeni Bauer's pictures, such as The King of Paris, For Happiness and others  With time Kuleshov became more interested in film theory  He co-directed his first movie Twilight in 1917  His next film was released under the Soviet patronage During 1918–1920 he covered the Russian Civil War with a documentary crew  In 1919 he headed the first Soviet film courses at the National Film School  Kuleshov may well be the very first film theorist as he was a leader in the Soviet montage theory – developing his theories of editing before those of Sergei Eisenstein (briefly a student of Kuleshov)  He contributed the article "Kinematografichesky naturshchik" to the first issue of Zrelishcha in 1922  Among his other notable students were Vsevolod Pudovkin, Boris Barnet, Mikhail Romm, Sergey Komarov, Porfiri Podobed, Vladimir Fogel and Aleksandra Khokhlova who became his wife  For Kuleshov, the essence of the cinema was editing, the juxtaposition of one shot with another  To illustrate this principle, he created what has come to be known as the Kuleshov effect  In this now-famous editing exercise, shots of an actor were intercut with various meaningful images (a casket, a bowl of soup, etc ) in order to show how editing changes viewers' interpretations of images  Another one of his famous inventions was creative geography, also known as artificial landscape  Those techniques were described in his book The Basics of Film Direction (1941) which was later translated into many languages 
In addition to his theoretical and teaching work, Kuleshov directed a number of feature-length films  Among his most notable works are an action-comedy The Extraordinary Adventures of Mr  West in the Land of the Bolsheviks (1924), a psychological drama By the Law (1926) adapted from the short story by Jack London and a biographical drama The Great Consoler (1933) based on O  Henry's life and works  In 1934 and 1935 Kuleshov went to Tajikistan to direct there Dokhunda, a movie based on the novel by Tajik national poet Sadriddin Ayni, but the project was regarded with suspicion by the authorities as possibly exciting Tajik nationalism, and stopped  No footage survives 

After directing his last film in 1943, Kuleshov served as an artistic director and an academic rector at VGIK where he worked for the next 25 years  He was a member of the jury at the 27th Venice International Film Festival, as well as a special guest during other international film festivals 
Lev Kuleshov died in Moscow in 1970  He was buried at the Novodevichy Cemetery  He was survived by his wife Aleksandra Khokhlova (1897–1985) – an actress, film director and educator, granddaughter of Pavel Tretyakov and Sergey Botkin – and Aleksandra's son Sergei from her first marriage 

Awards and honours
Order of the Red Banner of Labour (1944)
Order of Lenin (1967)
People's Artist of the RSFSR (1969)

Filmography
Passage 8:
Pamela B  Davis
Pamela B  Davis is a pediatric pulmonologist specializing in cystic fibrosis research  She has been Dean of the School of Medicine at Case Western Reserve University since 2007  She was elected to the Institute of Medicine in 2014 
Passage 9:
Pamela Gilbert
Pamela B  Gilbert (born October 3, 1958) is an American lawyer and has been a partner of the law firm Cuneo Gilbert & LaDuca, LLP since 2003, where she heads the firm's lobbying practice   Gilbert is a noted consumer rights advocate who has testified before Congress over fifty times and made dozens of appearances in the national print and electronic media  Gilbert leads the Committee to Support Antitrust laws (COSAL), an organization supportive of antitrust legislation 

Early career and education
Gilbert graduated magna cum laude from Tufts University with a B A  in Mathematics in 1980 and received her J D  degree from New York University in 1984  She was a Root-Tilden scholar at NYU Law School After law school, Gilbert served as Consumer Program Director at the U S  Public Interest Research Group from 1984-1989 where she specialized in consumer protection issues  She led the effort for congressional enactment of legislation to protect children from toxic art supplies From 1989-1994, Gilbert was Legislative Director and later Executive Director of Public Citizen's Congress Watch, a Washington-based consumer advocacy organization 

Public service
Gilbert served as Executive Director of the U S  Consumer Product Safety Commission (CPSC) from 1995-2001   In 2001 she left the government to serve as Chief Operating Officer of M&R Strategic Services, a national firm set up to lobby and conduct grassroots and media campaigns around public policy issues 
In 2009, after the election of President Barack Obama, Gilbert headed the Presidential Transition Team for the Consumer Product Safety Commission 

Post-government career
Gilbert represented the National Association of Shareholder and Consumer Attorneys to oppose efforts in Congress to change the rules for bringing class action lawsuits   Gilbert subsequently represented the Center for Justice & Democracy, opposing efforts in Congress to impose Federal government restrictions on malpractice laws 

2007-2009
In 2007, Gilbert worked with public interest organizations and victims of Enron's collapse to persuade the Securities and Exchange Commission (SEC) and the Bush Administration to adopt a position in a case pending before the U S  Supreme Court – Stoneridge Investment Partners LLC v  Scientific-Atlanta Inc  and Motorola Inc  – that would ensure that people slighted by Enron could sue the investment banks that participated in the frauds that led to Enron's failure   Gilbert's firm held press conferences in Washington, D C  and elsewhere, meeting with administration officials such as then-SEC Chairman Christopher Cox 
On November 15 of that same year, Gilbert testified before the Subcommittee on Commercial and Administrative Law of the House Committee on the Judiciary on "Protecting the Playroom: Holding Foreign Manufacturers Accountable for Defective Products "In 2008, Gilbert worked with the Center for Justice and Democracy to bring before Congress families with children who developed lead poisoning from hazardous toys, to urge the passage of the Consumer Product Safety Improvement act of 2008   This landmark legislation placed limits on the amount of lead that can be used in children's products 
Also that year, Gilbert testified before the Federal Communications Commission on behalf of consumers who were assessed fees for switching cell phone companies before their contracts expired  Her position was that such fees were unfair   She urged the FCC not to preempt state laws and state-based lawsuits intended to protect consumers from these allegedly unfair practices by cell phone companies Over the course of three years from 2007–2009, Gilbert organized a coalition of over a dozen labor and nonprofit organizations to support legislation that would provide a pathway for the approval of generic versions of costly medicines   A version of this legislation was later incorporated in national health care reform policies 
In 2009, Gilbert worked with people injured by defects in Chrysler and General Motors vehicles to urge the Obama administration and the automobile companies to modify their bankruptcy agreements to ensure that personal injury victims would have an opportunity to receive compensation   As a result, the agreements were modified to allow people injured in the future by vehicles manufactured before the bankruptcy to be compensated for their injuries 

2010
On February 4, 2010, Gilbert participated in a webcast sponsored by OMB Watch on "The Obama Administration and Public Protections "On behalf of the Committee to Support the Antitrust Laws, Gilbert worked with Congress and the Obama Administration to amend the Antitrust Criminal Penalty Enhancement and Reform Act to ensure that members of criminal antitrust conspiracies adequately cooperate with civil lawsuits in return for reduced damages 
On June 10, 2010, Pamela Gilbert was appointed to the board of directors of the AAI (American Antitrust Institute) 

2011–Present
On behalf of Consumers for Auto Reliability and Safety (CARS), Gilbert led the successful lobbying effort to pass a federal law prohibiting rental car companies from renting or selling recalled cars until they are repaired  Gilbert worked with Mrs  Cally Houck, whose two daughters were killed in a rental car that caught on fire and crashed as a result of an unrepaired defect that had been subject to a safety recall   President Obama on December 4, 2015 signed into law the "Raechel and Jacqueline Houck Safe Rental Car Act" (H R  2198, S  1173), sponsored by Reps  Capps, Jones, Schakowsky and Butterfield and Sens  Schumer, Boxer, McCaskill and others, as part of the Fixing America's Surface Transportation Act (FAST Act) 
Gilbert represents SD3, LLC, which owns SawStop, a table saw manufacturer whose table saws are equipped with technology that stops a spinning saw blade in milliseconds when it comes in contact with human flesh   Gilbert has worked with SawStop and a coalition of consumer protection groups in an effort to enact a mandatory safety standard so that all table saws contain injury mitigation technology to prevent amputations and other serious laceration injuries  The CPSC published a notice of proposed rulemaking in 2011  and in 2015 the commission's staff urged adoption of the new requirement Gilbert is working with a coalition of patients with diseases caused by asbestos exposure and their families to defeat the proposed Furthering Asbestos Claims Transparency (FACT) Act of 2015 (H R  526, S  357)  The proposal would require asbestos trusts to file quarterly reports about the payouts they make and personal information on the victims who receive them in a publicly accessible database  Opponents argue that this would violate the privacy of victims and use trust funds to meet the new administrative requirements, making it more difficult for asbestos claimants to receive timely and full compensation 

Notable writings
In 2008, Gilbert wrote a chapter entitled "Consumer Product Safety Commission: Safety First" for Change for America: A Progressive Blueprint for the 44th President, published by the Center for American Progress and the New Democracy Project In 2010, Gilbert authored a chapter in Materials on Tort Reform by Professor Andrew Popper of the Washington College of Law at American University In 2012, Gilbert co-authored with Victoria Romanenko a chapter in Private Enforcement of the Antitrust Laws in the United States (edited by Albert A  Foer and Randy M  Stutz) 

Controversy
In 2001, Gilbert stepped down as executive director of the Consumer Product Safety Commission (CPSC) after President Bush sparked a constitutional controversy by seeking to replace the leadership of the Commission, citing his powers under Article Two of the United States Constitution   Later, in 2008, Gilbert was mentioned as a possible appointee by President Barack Obama to be Chairman of the Commission   However, her nomination was criticized on the grounds that while she was executive director of the CPSC, the agency was known for its "strident enforcement efforts" contrary to large business interests 

Personal life
Gilbert is married to Charles Lewis, Professor of Journalism at American University, founder of the Center for Public Integrity, and a former producer for 60 Minutes   With Lewis she raises two children, Cassandra and Gabriel 

See also
Cuneo Gilbert & LaDuca, LLP
U S  Consumer Product Safety Commission
Passage 10:
Eliezer ben Jacob I
Eliezer ben Jacob I (Hebrew: אליעזר בן יעקב) was a Tanna of the 1st century; contemporary of Eleazar Chisma and Eliezer ben Hyrcanus, and senior to Judah ben Ilai Of his personal history nothing is known, except that he had seen the Temple at Jerusalem and was familiar with the specific purposes of its many apartments, a subject on which he was considered an authority  Some of the details, however, he eventually forgot, and was reminded of them by Abba Saul ben Batnit Simon ben Azzai, Rabbi Akiva's contemporary, relates that he had discovered a genealogical roll wherein was stated, "The Mishnah of R  Eliezer ben Jacob is only a kab [small in proportion], but clean [of all deficiencies]"; as a result, subsequent generations generally adopted Eliezer's views as law In the aggadah, too, he is mentioned  According to him, Deuteronomy 11:13 ("To serve Him with all your heart and with all your soul") is an admonition to the priests that, when officiating, they shall entertain no thought foreign to their duty Eliezer ben Jacob bequeathed to Israel many agrarian laws, such as the laws concerning the bringing of the Bikkurim to Jerusalem and who is eligible to recite the Avowal, as well as the laws concerning Kil'ayim grown in a vineyard He is buried near the old Kefar Hanaiah, in Galilee 
Context 2: Passage 1:
Michael Tippett School
Heron Academy (formerly The Michael Tippett School) is a special needs secondary school for students with severe learning difficulties located in south London  It was previously named after the composer Michael Tippett   The building was designed by Marks Barfield Architect and completed in 2008  It can accommodate 80 students between the age of 11 and 19 It was built as part of the Building Schools for the Future programme and was the first school in London and the first special needs school in the country to be completed under the programme Previously a community school administered by Lambeth London Borough Council, In February 2023 The Michael Tippett School converted to academy status and was renamed Heron Academy  The school is now sponsored by the London South East Academies Trust 
Passage 2:
François-Benoît Hoffman
François-Benoît Hoffman (11 July 1760 – 25 April 1828) was a French playwright and critic, best known today for his operatic librettos, including those set to music by Étienne Méhul and Luigi Cherubini (most notably Cherubini's Médée, 1797) 

Career
Hoffman was born in Nancy, and studied law at the University of Strasbourg   Believing that his stammer hindered his legal career, he entered military service in Corsica  He served there for only a very short time, and, returning to Nancy, wrote some poems which brought him into notice at the little court of Lunéville over which the Marquise de Boufflers then presided  In 1784 he went to Paris where he wrote his first opera libretto, Phèdre, for the composer Jean-Baptiste Lemoyne  It was performed at Fontainebleau in October 1786  After quarrelling with Lemoyne, Hoffman offered his libretto Adrien, empereur de Rome to Cherubini, who turned it down in favour of another Hoffman drama, Médée  Adrien was accepted instead by Méhul, with whom Hoffman collaborated on several operas, including Euphrosine (1790), Stratonice (1792) and Ariodant (1799) 
Hoffman was a strong advocate of authors' rights regarding artistic control, copyright and freedom of speech  This stance often brought him into conflict with the authorities  A quarrel with the management of the Paris Opéra over Nephté led to them rejecting Médée in 1790  In 1792, the French Revolutionary government objected to Adrien on political grounds, and Hoffman ran considerable risk by refusing to make the changes proposed to him  It was seven years before Adrien finally received its premiere at the Opéra 
Hoffman's later operas were in a lighter style than his works of the 1790s  A notable example is Les rendez-vous bourgeois, with music by Isouard  In 1807 he was invited by Charles Guillaume Étienne to contribute to the Journal de l'Empire (afterwards the Journal des Débats)  Hoffman's wide reading qualified him to write on all sorts of subjects, and he turned, apparently with no difficulty, from reviewing books on medicine to violent attacks on the Jesuits  His severe criticism of Chateaubriand's Les Martyrs led the author to make some changes in a later edition  He had the reputation of being an absolutely conscientious and incorruptible critic and thus exercised wide influence Hoffman's poem Je te perds, fugitive espérance was set by Ludwig van Beethoven in 1806 in his song Als die Geliebte sich trennen wollten (WoO 132) in a translation by Stephan von Breuning 

Works
ThéâtrePhèdre, tragédie lyrique en 3 actes, music by Lemoyne, premiere 26 October 1786 au château de Fontainebleau ;
Nephté, tragédie lyrique en 3 actes, music by Lemoyne, premiere 15 December 1789 at the Opéra de Paris ;
Euphrosine, ou le Tyran corrigé, comédie en 5 actes mise en musique by Étienne Nicolas Méhul, premiere 4 October 1790 at the Comédie-Italienne (réduite à 4, puis à 3 actes) ;
Adrien, opéra en 3 actes, music by Étienne Nicolas Méhul, premiere January 1792, puis sous une forme révisée en 1802 ;
Stratonice, comédie héroïque en un acte et en vers, music by Étienne Nicolas Méhul, premiere 3 May 1792 at the Comédie-Italienne ;
Le jeune sage et le vieux fou, comédie en un acte mêlée de musique by Étienne Nicolas Méhul premiere 28 March 1793 at the Opéra-Comique ;
Adélaïde, drame en 3 actes et en vers premiere 1793 ;
Callias, drame en un acte et en vers premiere 1795 ;
Le Brigand, opéra-comique en 3 actes premiere 1795 ;
Azeline, comédie en 3 actes premiere 1797 ;
Médée, opéra en 3 actes, music by Luigi Cherubini, premiere 1797 at the Théâtre Feydeau ;
Ariodant, drame en 3 actes mêlé de musique by Étienne Nicolas Méhul, premiere 11 October 1799 at the Opéra-Comique ;
Bion, comédie en un acte mêlée de musique by Étienne Nicolas Méhul, premiere 27 December 1800 at the Opéra-Comique ;
Lisistrata, ou Les Athéniennes, Comédie en un acte et en prose, mêlée de vaudevilles imitée d'Aristophane, premiere 15 January 1802 at the Théâtre Feydeau ;
Le Trésor supposé ou le Danger d’écouter aux portes, comédie en un acte mêlée de musique by Étienne Nicolas Méhul, premiere 29 July 1802 à l'Opéra-Comique ;
Le Roman d’une heure, comédie en un acte premiere Gymnase 1803 ;
La Ruse inutile, opéra-comique en 2 actes premiere 1805 ;
Grimaldi, comédie en 3 actes, music by Rodolphe Kreutzer, premiere 1810 
La mort d'Abel, opera with music by Rodolphe Kreutzer, premiere 1810 (revised 1825)Romans, essaisMes souvenirs ou Recueil de pensées fugitives (1802) ;

Sources
L  Castel: Notice Biographique et Littéraire sur F -B  Hoffman, dans: Œuvres de F  B  Hoffman précédées d’une Notice sur sa vie  Théatre  Tome 2  S  V-LV 
P [aul?] Jacquinet: François Benoît Hoffman: sa vie, ses œuvres, Nancy 1878 
Stratonice: introduction to the edition of Hoffman and Méhul's opera by M  Elizabeth C  Bartlet (Pendragon Press, 1997)
T  G  Waidelich:    imitée d’Aristophane"  Die Lisistrata von Hoffman und Solié (1802) als Bindeglied zu den Verschwornen von Castelli und Schubert mit einem Ausblick auf die Rezeption des Sujets im Musiktheater (Teil 1)  In: Schubert:Perspektiven  9, 2010, p  216–228 

External links
François-Benoît Hoffman on Data bnf fr
Passage 3:
Luigi Cherubini
Luigi Cherubini ( KERR-uu-BEE-nee; Italian: [luˈiːdʒi keruˈbiːni]; 8 or 14 September 1760 – 15 March 1842) was an Italian Classical and Romantic composer  His most significant compositions are operas and sacred music  Beethoven regarded Cherubini as the greatest of his contemporaries  His operas were heavily praised and interpreted by Rossini 

Early years
Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence in 1760  There is uncertainty about his exact date of birth  Although 14 September is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct  Perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on 8 September, the feast-day of the Nativity of the Virgin  His instruction in music began at the age of six with his father, Bartolomeo,  maestro al cembalo ("Master of the harpsichord", in other words, ensemble leader from the harpsichord)  Considered a child prodigy, Cherubini studied counterpoint and dramatic style at an early age  By the time he was thirteen, he had composed several religious works 

Adulthood and first operas
In 1780, he was awarded a scholarship by the Grand Duke of Tuscany to study music in Bologna and Milan  Cherubini's early opere serie used libretti by Apostolo Zeno, Metastasio (Pietro Trapassi), and others that adhered closely to standard dramatic conventions  His music was strongly influenced by Niccolò Jommelli, Tommaso Traetta, and Antonio Sacchini, who were the leading Italian composers of the day  The first of his two comic works, Lo sposo di tre e marito di nessuna, premiered at a Venetian theater in November 1783 Feeling constrained by Italian traditions and eager to experiment, Cherubini traveled to London in 1785 where he produced two opere serie and an opera buffa for the King's Theatre  In the same year, he made an excursion to Paris with his friend the violinist Giovanni Battista Viotti, who presented him to Marie Antoinette and Parisian society  Cherubini received an important commission to write Démophoon to a French libretto by Jean-François Marmontel that would be his first tragédie en musique  Except for a brief return trip to London and to Turin for an opera seria commissioned by King Victor Amadeus III, Cherubini spent the rest of his life in France where he was initiated into Grand Orient de France "Saint-Jean de Palestine" Masonic Lodge in 1784 

French assimilation
Cherubini adopted the French version of his name, Marie-Louis-Charles-Zénobi-Salvador Cherubini; this appears in all extant documents that show his full name after 1790, though his Italian name is favored nowadays  Performances of Démophoon were favorably received at the Académie Royale de Musique in 1788  With Viotti's help, the Théâtre de Monsieur in the Tuileries appointed Cherubini as its director in 1789  Three years later, after a move to the rue Feydeau and the fall of the monarchy, the company became known as the Théâtre Feydeau  This position gave Cherubini the opportunity to read countless libretti and choose one that best suited his temperament 
Cherubini's music began to show more originality and daring  His first major success was Lodoïska (1791), which was admired for its realistic heroism  This was followed by Elisa (1794), set in the Swiss Alps, and Médée (1797), Cherubini's best-known work  Les deux journées (1800), in which Cherubini simplified his style, was a popular success  These and other operas were premièred at the Théâtre Feydeau or the Opéra-Comique  Feeling financially secure, he married Anne Cécile Tourette in 1794 and began a family of three children 
The fallout from the French Revolution affected Cherubini until the end of his life  Politics forced him to hide his connections with the former aristocracy and seek governmental appointments  Although Napoleon found him too complex, Cherubini wrote at least one patriotic work per year for more than a decade  He was appointed Napoleon's director of music in Vienna for part of 1805 and 1806, whereupon he conducted several of his works in that city 
In 1808 Cherubini was elected an associated member of the Royal Institute of the Netherlands 

From opera to church music
After Les deux journées, Parisian audiences began to favor younger composers such as Boieldieu  Cherubini's opera-ballet Anacréon was an outright failure and most stage works after it did not achieve success  Faniska, produced in 1806, was an exception, receiving an enthusiastic response, in particular by Haydn and Beethoven  Les Abencérages (1813), an heroic drama set in Spain during the last days of the Moorish kingdom of Granada, was Cherubini's attempt to compete with Spontini's La vestale; it received critical praise but few performances 
Disappointed with his lack of acclaim in the theater, Cherubini turned increasingly to church music, writing seven masses, two requiems, and many shorter pieces  During this period (under the restored monarchy) he was appointed Surintendant de la Musique du Roi, a position he would hold until the fall of Charles X (1830)  In 1815 London's Royal Philharmonic Society commissioned him to write a symphony, an overture, and a composition for chorus and orchestra, the performances of which he went especially to London to conduct, increasing his fame 
Cherubini's Requiem in C minor (1816), commemorating the anniversary of the execution of King Louis XVI of France, was a huge success  The work was greatly admired by Beethoven, Schumann and Brahms  In 1836, Cherubini wrote a Requiem in D minor to be performed at his own funeral  It is for male choir only, as the religious authorities had criticised his use of female voices in the earlier work 

Old age and legacy
In 1822, Cherubini became director of the Conservatoire and completed his textbook, Cours de contrepoint et de fugue, in 1835  His role at the Conservatoire brought him into conflict with the young Hector Berlioz, who portrayed the old composer in his memoirs as a crotchety pedant  Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity  There are many allusions to Cherubini's personal irritability among his contemporaries; Adolphe Adam wrote, "some maintain his temper was very even, because he was always angry " Nevertheless, Cherubini had many friends, including Szymanowska, Rossini, Chopin and, above all, the artist Ingres  The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin  In 1841, Ingres produced the most celebrated portrait of the old composer 
Although chamber music does not make up a large portion of his output, what he did write was important  Wilhelm Altmann, writing in his Handbuch für Streichquartettspieler (Handbook for String Quartet Players) about Cherubini's six string quartets, stated that they are first rate and regarded Nos  1 and 3 as masterworks  His String Quintet for two violins, viola and two cellos is also considered a first-rate work 
During his lifetime, Cherubini received France's highest and most prestigious honors  These included the Chevalier de la Légion d'honneur (1814) and Membre de l'Académie des Beaux-Arts (1815)  In 1841, he was made Commandeur de la Légion d'honneur, the first musician to receive that title Cherubini died in Paris in 1842 at age 81 and is buried at Père Lachaise Cemetery, just four metres from his friend Chopin  His tomb was designed by the architect Achille Leclère and includes a figure by the sculptor Augustin-Alexandre Dumont representing "Music" crowning a bust of the composer with a wreath 

Works
Orchestral music
Chamber music
Masses and sections of the Mass
Motets and other choral works
Operas
See List of operas by Luigi Cherubini

Teaching manuals
A treatise on counterpoint and fugue (1841)
Passage 4:
Michael Tippett
Sir Michael Kemp Tippett  (2 January 1905 – 8 January 1998) was an English composer who rose to prominence during and immediately after the Second World War  In his lifetime he was sometimes ranked with his contemporary Benjamin Britten as one of the leading British composers of the 20th century  Among his best-known works are the oratorio A Child of Our Time, the orchestral Fantasia Concertante on a Theme of Corelli, and the opera The Midsummer Marriage 
Tippett's talent developed slowly  He withdrew or destroyed his earliest compositions, and was 30 before any of his works were published  Until the mid-to-late 1950s his music was broadly lyrical in character, before changing to a more astringent and experimental style  New influences—including those of jazz and blues after his first visit to America in 1965—became increasingly evident in his compositions  While Tippett's stature with the public continued to grow, not all critics approved of these changes in style, some believing that the quality of his work suffered as a consequence  From around 1976 Tippett's late works began to reflect the works of his youth through a return to lyricism  Although he was much honoured in his lifetime, critical judgement on Tippett's legacy has been uneven, the greatest praise generally reserved for his earlier works  His centenary in 2005 was a muted affair; apart from the few best-known works, his music has not been performed frequently in the 21st century 
Having briefly embraced communism in the 1930s, Tippett avoided identifying with any political party  A pacifist after 1940, he was imprisoned in 1943 for refusing to carry out war-related duties required by his military exemption  His initial difficulties in accepting his homosexuality led him in 1939 to Jungian psychoanalysis; the Jungian dichotomy of "shadow" and "light" remained a recurring factor in his music  He was a strong advocate of music education, and was active for much of his life as a radio broadcaster and writer on music 

Life
Family background
The Tippett family originated in Cornwall  Michael Tippett's grandfather, George Tippett, left the county in 1854 to make his fortune in London through property speculation and other business schemes  A flamboyant character, he had a strong tenor voice that was a popular feature at Christian revivalist meetings  In later life his business enterprises faltered, leading to debts, prosecution for fraud, and a term of imprisonment  His son Henry, born in 1858, was Michael's father  A lawyer by training, he was successful in business and was independently wealthy by the time of his marriage in April 1903  Unusually for his background and upbringing, Henry Tippett was a progressive liberal and a religious sceptic Henry Tippett's bride was Isabel Kemp, from a large upper-middle-class family based in Kent  Among her mother's cousins was Charlotte Despard, a well-known campaigner for women's rights, suffragism, and Irish home rule  Despard was a powerful influence on the young Isabel, who was herself briefly imprisoned after participating in an illegal suffragette protest in Trafalgar Square  Though neither she nor Henry was musical, she had inherited an artistic talent from her mother, who had exhibited at the Royal Academy  After their marriage the couple settled outside London in Eastcote, where two sons were born—the second, Michael, on 2 January 1905 

Childhood and schooling
Shortly after Michael's birth, the family moved to Wetherden in Suffolk  Michael's education began in 1909 with a nursery governess and various private tutors who followed a curriculum that included piano lessons—his first formal contact with music  There was a piano in the house, on which he "took to improvising crazily      which I called 'composing', though I had only the vaguest notion of what that meant"  In September 1914 Michael became a boarder at Brookfield Preparatory School in Swanage, Dorset  He spent four years there, at one point earning notoriety by writing an essay that challenged the existence of God  In 1918 he won a scholarship to Fettes College, a boarding school in Edinburgh, where he studied the piano, sang in the choir, and began to learn to play the pipe organ  The school was not a happy place; sadistic bullying of the younger pupils was commonplace  When Michael revealed to his parents in March 1920 that he had formed a homosexual relationship with another boy, they removed him to Stamford School in Lincolnshire, where a decade previously Malcolm Sargent had been a pupil Around this time Henry Tippett decided to live in France, and the house in Wetherden was sold  The 15-year-old Michael and his brother Peter remained at school in England, travelling to France for their holidays  Michael found Stamford much more congenial than Fettes, and developed both academically and musically  He found an inspiring piano teacher in Frances Tinkler, who introduced him to the music of Bach, Beethoven, Schubert, and Chopin  Sargent had maintained his connection with the school, and was present when Tippett and another boy played Bach's C minor Concerto for Two Harpsichords on pianos with a local string orchestra  Tippett sang in the chorus when Sargent directed a local performance of Robert Planquette's operetta Les Cloches de Corneville  Despite his parents' wish that he follow an orthodox path by proceeding to Cambridge University, Tippett had firmly decided on a career as a composer, a prospect that alarmed them and was discouraged by his headmaster and by Sargent By mid-1922 Tippett had developed a rebellious streak  His overt atheism particularly troubled the school, and he was required to leave  He remained in Stamford in private lodgings, while continuing lessons with Tinkler and with the organist of St Mary's Church  He also began studying Charles Villiers Stanford's book Musical Composition which, he later wrote, "became the basis of all my compositional efforts for decades to come"  In 1923 Henry Tippett was persuaded that some form of musical career, perhaps as a concert pianist, was possible, and agreed to support his son in a course of study at the Royal College of Music (RCM)  After an interview with the college principal, Sir Hugh Allen, Tippett was accepted despite his lack of formal entry qualifications 

Royal College of Music
Tippett began at the RCM in the summer term of 1923, when he was 18 years old  At the time, his biographer Meirion Bowen records, "his aspirations were Olympian, though his knowledge rudimentary"  Life in London widened his musical awareness, especially the Proms at the Queen's Hall, opera at Covent Garden (where he saw Dame Nellie Melba's farewell performance in La bohème) and the Diaghilev Ballet  He heard Chaliapin sing, and attended concerts conducted by, among others, Stravinsky and Ravel—the last-named "a tiny man who stood bolt upright and conducted with what to me looked like a pencil"  Tippett overcame his initial ignorance of early music by attending Palestrina masses at Westminster Cathedral, following the music with the help of a borrowed score At the RCM, Tippett's first composition tutor was Charles Wood, who used the models of Bach, Mozart and Beethoven to instil a solid understanding of musical forms and syntax  When Wood died in 1926, Tippett chose to study with C H  Kitson, whose pedantic approach and lack of sympathy with Tippett's compositional aims strained the relationship between teacher and pupil  Tippett studied conducting with Sargent and Adrian Boult, finding the latter a particularly empathetic mentor—he let Tippett stand with him on the rostrum during rehearsals and follow the music from the conductor's score  By this means Tippett became familiar with the music of composers then new to him, such as Delius and Debussy, and learned much about the sounds of orchestral instruments In 1924 Tippett became the conductor of an amateur choir in the Surrey village of Oxted  Although he saw this initially as a means of advancing his knowledge of English madrigals, his association with the choir lasted many years  Under his direction it combined with a local theatrical group, the Oxted and Limpsfield Players, to give performances of Vaughan Williams's opera The Shepherds of the Delectable Mountains and of Tippett's own adaptation of an 18th-century ballad opera, The Village Opera  He passed his Bachelor of Music (BMus) exams, at his second attempt, in December 1928  Rather than continuing to study for a doctorate, Tippett decided to leave the academic environment  The RCM years had brought him intense and lasting friendships with members of both sexes, in particular with Francesca Allinson and David Ayerst 

Early career
False start
On leaving the RCM, Tippett settled in Oxted to continue his work with the choir and theatrical group and to compose  To support himself he taught French at Hazelwood, a small preparatory school in Limpsfield, which provided him with a salary of £80 a year and a cottage  Also teaching at the school was Christopher Fry, the future poet and playwright who later collaborated with Tippett on several of the composer's early works In February 1930 Tippett provided the incidental music for a performance by his theatrical group of James Elroy Flecker's Don Juan, and in October he directed them in his own adaptation of Stanford's opera The Travelling Companion  His compositional output was such that on 5 April 1930 he gave a concert in Oxted consisting entirely of his own works—a Concerto in D for flutes, oboe, horns and strings; settings for tenor of poems by Charlotte Mew; Psalm in C for chorus and orchestra, with a text by Christopher Fry; piano variations on the song "Jockey to the Fair"; and a string quartet  Professional soloists and orchestral players were engaged, and the concert was conducted by David Moule-Evans, a friend from the RCM  Despite encouraging comments from The Times and the Daily Telegraph, Tippett was deeply dissatisfied with the works, and decided that he needed further tuition  He withdrew the music, and in September 1930 re-enrolled at the RCM for a special course of study in counterpoint with R  O  Morris, an expert on 16th-century music  This second RCM period, during which he learned to write fugues in the style of Bach and received additional tuition in orchestration from Gordon Jacob, was central to Tippett's eventual discovery of what he termed his "individual voice" On 15 November 1931 Tippett conducted his Oxted choir in a performance of Handel's Messiah, using choral and orchestral forces close to Handel's original intentions  Such an approach was rare at that time, and the event attracted considerable interest 

Friendships, politics and music
In mid-1932 Tippett moved to a cottage in neighbouring Limpsfield, provided by friends as a haven in which he could concentrate on composition  His friendships with Ayerst and Allinson had opened up new cultural and political vistas  Through Ayerst he met W  H  Auden, who in due course introduced him to T  S  Eliot  Although no deep friendship developed with either poet, Tippett came to consider Eliot as his "spiritual father"  Ayerst also introduced him to a young artist, Wilfred Franks  By this time Tippett was coming to terms with his homosexuality, while not always at ease with it  Franks provided him with what he described as "the deepest, most shattering experience of falling in love"  This intense relationship ran alongside a political awakening  Tippett's natural sympathies had always been leftish, and became more consciously so from his inclusion in Allinson's circle of left-wing activists  As a result, he gave up his teaching position at Hazelwood to become the conductor of the South London Orchestra, a project financed by the London County Council and made up of unemployed musicians  Its first public concert was held on 5 March 1933 at Morley College, later to become Tippett's professional base 

In the summers of 1932 and 1934 Tippett took charge of musical activities at miners' work camps near Boosbeck in the north of England  Known as the Cleveland Work Camps, they were run by a munificent local landowner, Major Pennyman, to give unemployed miners a sense of purpose and independence  In 1932 Tippett arranged the staging of a shortened version of John Gay's The Beggar's Opera, with locals playing the main parts, and the following year he provided the music for a new folk opera, Robin Hood, with words by Ayerst, himself and Ruth Pennyman  Both works proved hugely popular with their audiences, and although most of the music has disappeared, some of Robin Hood was revived by Tippett for use in his Birthday Suite for Prince Charles of 1948  In October 1934 Tippett and the South London Orchestra performed at a centenary celebration of the Tolpuddle Martyrs, as part of a grand Pageant of Labour at the Crystal Palace Tippett was not formally a member of any political party or group until 1935, when he joined the British Communist Party at the urging of his cousin, Phyllis Kemp  This membership was brief; the influence of Trotsky's History of the Russian Revolution had led him to embrace Trotskyism, while the party maintained a strict Stalinist line  Tippett resigned after a few months when he saw no chance of converting his local party to his Trotskyist views  According to his obituarist J J  Plant, Tippett then joined the Bolshevik-Leninist Group within the Labour Party, where he continued to advocate Trotskyism until at least 1938  Although Tippett's radical instincts always remained strong, he was aware that excessive political activism would distract him from his overriding objective of becoming recognised as a composer  A significant step towards professional recognition came in December 1935, when his String Quartet No  1 was performed by the Brosa Quartet at the Mercury Theatre in Notting Hill, London  This work, which he dedicated to Franks, is the first in the recognised canon of Tippett's music  Throughout much of the 1930s Wilf Franks continued to be an important influence on Tippett both creatively and politically  Franks had a passion for the poetry of both William Blake and Wilfred Owen; Tippett claimed that Franks knew Owen's poetry 'almost word for word and draws it out for me, its meanings, its divine pity and so on   ' 

Towards maturity
Personal crisis
Before the outbreak of the Second World War in September 1939, Tippett released two further works: the Piano Sonata No  1, first performed by Phyllis Sellick at the Queen Mary Hall, London, on 11 November 1938, and the Concerto for Double String Orchestra, which was not performed until 1940  In a climate of increasing political and military tension, Tippett's compositional efforts were overwhelmed by an emotional crisis  When his relationship with Franks ended acrimoniously in August 1938 he was thrown into doubt and confusion about both his homosexuality and his worth as an artist  He was saved from despair when, at Ayerst's suggestion, he undertook a course of Jungian analysis with the psychotherapist John Layard  Through an extended course of therapy, Layard gave Tippett the means to analyse and interpret his dreams  Tippett's biographer Ian Kemp describes this experience as "the major turning point in [his] life", both emotionally and artistically  His particular discovery from dream analysis was "the Jungian 'shadow' and 'light' in the single, individual psyche     the need for the individual to accept his divided nature and profit from its conflicting demands"  This brought him to terms with his homosexuality, and he was able to pursue his creativity without being distracted by personal relationships  While still unsure of his sexuality, Tippett had considered marriage with Francesca Allinson, who had expressed the wish that they should have children together  After his psychotherapy he enjoyed several committed—and sometimes overlapping—same-sex relationships  Among the most enduring, and most tempestuous, was that with the artist Karl Hawker, whom he first met in 1941 

A Child of Our Time
While his therapy proceeded, Tippett was searching for a theme for a major work—an opera or an oratorio—that could reflect both the contemporary turmoil in the world and his own recent catharsis  Having briefly considered the theme of the Dublin Easter Rising of 1916, he based his work on a more immediate event: the murder in Paris of a German diplomat by a 17-year-old Jewish refugee, Herschel Grynszpan  This murder triggered Kristallnacht (Crystal Night), a coordinated attack on Jews and their property throughout Nazi Germany on 9–10 November 1938  Tippett hoped that Eliot would provide a libretto for the oratorio, and the poet showed interest  However, when Tippett presented him with a more detailed scenario, Eliot advised him to write his own text, suggesting that the poetic quality of the words might otherwise dominate the music  Tippett called the oratorio A Child of Our Time, taking the title from Ein Kind unserer Zeit, a contemporary protest novel by the Austro-Hungarian writer Ödön von Horváth  Within a three-part structure based on Handel's Messiah, Tippett took the novel step of using North American spirituals in place of the traditional chorales that punctuate oratorio texts  According to Kenneth Gloag's commentary, the spirituals provide "moments of focus and repose     giving shape to both the musical and literary dimensions of the work"  Tippett began composing the oratorio in September 1939, on the conclusion of his dream therapy and immediately after the outbreak of war 

Morley, war, imprisonment
With the South London Orchestra temporarily disbanded because of the war, Tippett returned to teaching at Hazelwood  In October 1940 he accepted the post of Director of Music at Morley College, just after its buildings were almost completely destroyed by a bomb  Tippett's challenge was to rebuild the musical life of the college, using temporary premises and whatever resources he could muster  He revived the Morley College Choir and orchestra, and arranged innovative concert programmes that typically mixed early music (Orlando Gibbons, Monteverdi, Dowland), with contemporary works by Stravinsky, Hindemith and Bartók 

He continued the college's established association with the music of Purcell; a performance in November 1941 of Purcell's Ode to St Cecilia, with improvised instruments and rearrangements of voice parts, attracted considerable attention  The music staff at Morley was augmented by the recruitment of refugee musicians from Europe, including Walter Bergmann, Mátyás Seiber, and Walter Goehr who took charge of the college orchestra A Child of Our Time was finished in 1941 and put aside with no immediate prospects of performance  Tippett's Fantasia on a Theme of Handel for piano and orchestra was performed at the Wigmore Hall in March 1942, with Sellick again the soloist, and the same venue saw the première of the composer's String Quartet No  2 a year later  The first recording of Tippett's music, the Piano Sonata No  1 played by Sellick, was issued in August 1941  The recording was well received by the critics, Wilfrid Mellers predicting a leading role for the composer in the future of English music  In 1942, Schott Music began to publish Tippett's works, establishing an association that continued until the end of the composer's life The question of Tippett's liability for war service remained unresolved until mid-1943  In November 1940 he had formalised his pacifism by joining the Peace Pledge Union and applying for registration as a conscientious objector  His case was heard by a tribunal in February 1942, when he was assigned to non-combatant duties  Tippett rejected such work as an unacceptable compromise with his principles and in June 1943, after several further hearings and statements on his behalf from distinguished musical figures, he was sentenced to three months' imprisonment in HM Prison Wormwood Scrubs
Context 3: Passage 1:
Patrick Henry High School (Ashland, Virginia)
Patrick Henry High School is a public high school in Ashland, Virginia in Hanover County  Patrick Henry is one of four high schools in Hanover County, and the only High school in the western half of the county  In 1959, after years of deliberation, Patrick Henry High School began with the consolidation of Beaverdam, Henry Clay, Montpelier, and Rockville high schools  The western Hanover County high school enrolled students in grades eight through twelve  The name of the school, as well as the name of its literary publications, The Voice, The Spark, and The Orator, reference the history of American Founding Father Patrick Henry, Hanover County's most illustrious citizen  Even the school colors of red, white, and blue are a patriotic symbol of history 
In 1969, Patrick Henry High and John M  Gandy High School merged to form one integrated student body  Also in 1969, a new junior high school was built, and Patrick Henry opened that school year as a senior high school serving students in grades ten through twelve  When the junior high school was changed to a middle school in 1988, Patrick Henry became a high school, enrolling students in grades nine through twelve  The school campus of West Patrick Henry Road, which consists of a complex of buildings, began as a campus style school  Additions of an auditorium, classrooms, cafeteria, new gymnasium, and renovations to the media center and administrative offices resulted in an all-enclosed facility in 1992  As the population and the needs of the school have changed, so have the dimensions of the school  A new addition/renovation was added to the facility in the fall of 2001, providing state-of-the-art career and technical education opportunities  This addition consisted of a broadcasting studio, a bio-technology lab, a communication technology center, a computer-assisted drafting lab, and three classrooms  Patrick Henry celebrated its 50th anniversary in September 2009  Patrick Henry High has an International Baccalaureate program, as well as a NJROTC program 

Extracurricular Activities
Athletics
Cross Country
Football - won the 1994 Virginia high school football state championship
Golf
Field Hockey
Volleyball
The boys' volleyball program won 7 straight VHSL State titles (2016 5A Championship and 2017, 2018, 2019, 2020, 2021, and 2022 Class 4 Championships ) The 7 titles are tied with James River for the most volleyball championships in VHSL history
Cheerleading
Varsity Girls Competition Cheer
Basketball
Gymnastics
Swimming
Indoor Track
Wrestling
Baseball
Softball
Soccer
Tennis
Track
Lacrosse

Performing Arts
Theatre
Mixed Choir
Show Choirs
Band
Strings

Notable alumni
Erron Kinney, NFL Tight End
Damien Woody, Former NFL offensive lineman  Current ESPN Analyst  
Mickie James, TNA/WWE professional wrestler, country music singer 
Jeff Crowder, Randolph Macon College 1992 ODAC player of the year
Lucas Hall, Actor, guitarist, arts advocate and administrator  
Louise Keeton, actress, model and playwright
Passage 2:
Clarkstown High School South
Clarkstown High School South is a public high school located in West Nyack, New York, United States  The school educates students in grades 9 through 12, and is one of two high schools in the Clarkstown Central School District (CCSD)  It is commonly referred to as Clarkstown South, or simply "South "
In 2013, Clarkstown South was ranked in Newsweek's list of the 2000 best public high schools in the United States In 2016, Clarkstown South was ranked in Newsweek's list of the 500 top high schools in the United States, ranking 167th place 
In 2017, Clarkstown South was a part of State Education Commissioner Elia's list of 185 reward schools In 2018, Clarkstown South was recognized in the National Rankings and earned a silver medal based on their performance on state-required tests and how well they prepare students for college 

School facilities
Clarkstown South building consists of a main lobby, large auditorium, gymnasium (including a wrestling room and a fitness center), music wing, planetarium, two lunchrooms, and three floors of classrooms  In the fall of 2005, a planetarium was built in the rear of the building   A greenhouse was also constructed in 2006  South offers many music ensembles, including chorus, orchestra, concert band, and marching band 

School groups
The Vikings are also known for their success in many of their school groups  Clarkstown South takes pride in Junior Statesmen of America, DECA, National History Day, United Service Organization/Veterans Affairs Club, Mock Trial Team 2016 Westchester/Rockland County Champions, VAASA (Varsity Athletes Against Substance Abuse), and Mu Alpha Theta chapter because of the many awards they bring home to their school The school hosted the Clarkstown Summer Theatre Festival since its inception in 1973 until its last season in 2010  Subsequently, it hosted the Hudson Valley Teen Summer Theatre program 

School activities and clubs
Clarkstown South offers a variety of activities and clubs for the students to enjoy  The clubs at South cater to all kinds of students, whether their interests are art, music, math, science, etc  Some of the clubs they have are the Mural Club, South Beat, TV Club, ASMA, World Language Club, Viking Radio, and more 

Notable alumni
Corey Baker (born 1989), baseball pitcher
Tom Basile (born 1975), businessman and politician
Mat Devine (born 1974), Lead Singer Of Kill Hannah, Actor, Author
Thomas Fitton (Class of 1986), American activist, President of Judicial Watch
Ryan Grant, NFL running back
Allison Hagendorf (born 1979), Television personality, music journalist
Cindy Jebb (Class of 1978), Brigadier General, USA and first female Dean of the United States Military Academy at West Point
Patrick Kivlehan (born 1989), baseball outfielder
Raffi Krikorian (Class of 1996), CTO for the Emerson Collective, Former CTO of the Democratic Party, and Former VP of Platform Engineering at Twitter
Glyph Lefkowitz (Class of 1998) Creator of the Twisted framework for the Python programming language
Jay Leiderman (Class of 1989), American criminal defense lawyer, book author
Joseph Pisani (Class of 1989), artist and photographer
Justin Richardson (Class of 1981), psychiatrist and author
Passage 3:
High School Confidential (TV series)
High School Confidential is an eight-part documentary television series created by Sharon Liese, following twelve high school teenagers from Blue Valley Northwest High  The series airs on WE: Women's Entertainment (WE TV)  The original run began on March 10, 2008, and concluded on April 28, 2008 
Passage 4:
Bonita Vista High School
Bonita Vista High School (BVH) is a public, four-year (grade levels 9–12) high school located in the city of Chula Vista, California   It is part of the Sweetwater Union High School District, and offers both Advanced Placement and International Baccalaureate classes  The mascot is a Baron 

History
Bonita Vista High School opened in fall 1966 at a construction cost of $2 5 million  A student committee chose the Baron mascot over a Patriot and a Crusader 

Academics
The school is placed as the number 1 school of the Sweetwater Union High School District, with an Academic Performance Index score of 851 for the 2011 school year, meeting the statewide standard and exceeding amongst other schools in the same district 

Athletics
In 2015, Baron athletic teams won California Interscholastic Federation championships in football and girls' tennis  The football team plays games off-campus at Southwestern College 

Performing arts
BVH has two competitive show choirs, the mixed-gender group "The Music Machine" and the all-female "Sound Unlimited"  The school formerly had an all-male group, "Barontones"  The Music Machine and Sound Unlimited have both advanced to national-level competitions  The Music Machine was one of the most progressive show choirs in the western United States in the late 1900s  The program hosts an annual competition, San Diego Sings!

Notable alumni
Matt Cameron, drummer of Pearl Jam and Soundgarden
Charisma Carpenter, actress
Costa Dillon, writer
Hannah Flippen, softball player
Byron Frisch, football player
David Garza, Paralympic footballer
Shirley Horton, politician
Guido Knudson, MLB player (2015)
Jennifer Lalor, soccer player and coach
John Macaulay, NFL player (1984)
Ramon Martin Del Campo, soccer playerSteve Peace, politician
Raquel Pomplun, Playboy 2013 Playmate of the Year
David Schipper, professional soccer player
Scott Shields, football player
Joel Zumaya, baseball player

See also
List of high schools in San Diego County, California
List of high schools in California
Passage 5:
Eastview High School
Eastview High School is a comprehensive and college preparatory public high school in Apple Valley, Minnesota, United States  Established in 1997, Eastview is the newest of the four high schools serving Independent School District 196  Newsweek ranked the school in their "List of the Top High Schools in America" for the sixth consecutive time (2000, 2002, 2004, and 2006, 2007, 2008)  Eastview has also been recognized by U S  News & World Report as one of America's Best High Schools  In 2013, Eastview was ranked in the top 3% of the most challenging high schools in the United States, as well as a top comprehensive high school in Minnesota   Prior to the 2010–2011 school year, Eastview was a member of the Lake Conference, but then broke off with most of the Lake Conference schools in order to create the South Suburban Conference 

Feeder schools
Students matriculate from three different public middle schools:

Falcon Ridge Middle school (located in Apple Valley, MN)
Scott Highlands Middle School (located in Apple Valley, MN)
Black Hawk Middle School (located in Eagan, MN)

History
Eastview High School, District 196's fourth comprehensive high school, opened on September 2, 1997  Located in Apple Valley, MN, includes a 330,000 square foot facility and 200 acres of recreational facilities  It is home to over 2,000 students in grades 9–12  Eastview uses the quarter system - 10 weeks per quarter  There are four quarters in a full school year  The majority of the courses at Eastview High School are quarter courses  Some courses (School of Environmental Studies at the Minnesota Zoo courses and Career Development courses) will be 12 weeks in length because students from all district high schools will be attending these courses 

Location and facilities
Eastview High School is located in Apple Valley, adjacent to 200 acres (0 81 km2) of playing fields and recreational facilities  The 330,000-square-foot (31,000 m2) facility is built to house 2,000 students in grades 9–12  Eastview High School's students have achieved high honors in academics, athletics, and the arts  Eastview was identified as a ten star school (highest rating) by the Minnesota Department of Education 

Curriculum
Through the Minnesota state Post Secondary Enrollment Options (PSEO) program, students are eligible to take classes at state colleges and universities 

Athletics
Eastview's team name is the Lightning and their mascot is Zapp, an anthropomorphic lightning bolt  In only 13 years of existence, Eastview athletic teams have won 21 state championships, 47 section championships, 44 conference championships, 11 state academic championships, and 30 section academic championships  Students from Eastview join forces with other district schools to form the Dakota Hawks, an adaptive athletic team  The Hawks have won 16 state championships since Eastview joined the team when the school opened in 1997 

Notable alumni
Devin Kelley, class of 2004  Actress on The Chicago Code and in the movie Chernobyl Diaries 
Rhys Lloyd, class of 2001  Former NFL kicker 
Erin Maye Quade, class of 2004  Former member of the Minnesota House of Representatives
Passage 6:
Lake Brantley High School
Lake Brantley High School (LBHS) is located in Altamonte Springs, Florida, a suburban community approximately 13 miles (20 km) north of Orlando  It is a public high school serving grade levels 9–12 in Seminole County, FL, operated by Seminole County Public Schools  The school, which opened in 1972, is ranked 79th on Newsweek magazine's 2005 list of the top 100 high schools in the United States and 424th in the 2009 Newsweek list 

Academics
Offers 27 Advanced Placement courses in a wide variety of academic subjects as well as in elective interests
Received an "A" rating from the Florida Department of Education in 2006
Had 7 National Merit Scholar finalists in the class of 2006 and had 2 in 2007
Highest ACT and SAT scores within the district for 2002 and significantly higher than the state average
Over 2008 AP tests administered in 2017 
1,212 students scored 3 or higher on the 2017 AP tests
In the class of 2017, there were 22 AP National Scholars, 76 Scholars w/Distinction, 45 Scholars w/Honors, 129 AP Scholars 

Notable people
Notes and references
External links
Lake Brantley High School athletics department
Passage 7:
Blue Valley Northwest High School
Blue Valley Northwest High School (BVNW) is a high school in Overland Park, Kansas, United States  Blue Valley Northwest is one of five high schools operated by Blue Valley USD 229 school district 
Blue Valley Northwest is a member of the Kansas State High School Activities Association and offers a variety of sports programs  Athletic teams compete in the 6A division and are known as the "Huskies"  Extracurricular activities are also offered in the form of performing arts, school publications, and clubs 

Academics
Thirteen courses, mainly for motivated freshmen and sophomores, are designated as "Honors" classes  In addition, 17 Advanced Placement courses for college credit are offered  Students taking Honors or Advanced Placement courses receive weighted GPAs In 2010, Blue Valley Northwest was selected as one of the six finalists for the first annual Race to the Top High School Commencement Challenge, sponsored by the Department of Education under the Obama administration In 2015, Blue Valley Northwest students who attempted the tests achieved an average ACT score of 25 3 out of 36 and an average SAT score of 1879 out of 2400  The class of 2015 also had seven National Merit Finalists and 20 National Advanced Placement Scholars 

Extracurricular activities
The Huskies compete in the Eastern Kansas League and are classified as a 6A-5A school according to the KSHSAA



ground_truth: Levni Yilmaz

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which composer was wrote his music most recently, Michael Tippett or Luigi Cherubini?

The following are given passages.
Context 2:  He served two months, and although thereafter he was technically liable to further charges for failing to comply with the terms set by his tribunal, the authorities left him alone 

Recognition and controversy
On his release, Tippett returned to his duties at Morley, where he boosted the college's Purcell tradition by persuading Alfred Deller, the countertenor, to sing several Purcell odes at a concert on 21 October 1944—the first modern use of a countertenor in Purcell's music  Tippett formed a fruitful musical friendship with Benjamin Britten and Peter Pears, for whom he wrote the cantata Boyhood's End for tenor and piano  Encouraged by Britten, Tippett made arrangements for the first performance of A Child of Our Time, at London's Adelphi Theatre on 19 March 1944  Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir  Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera  The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War period, in Britain and overseas  Tippett's immediate reward was a commission from the BBC for a motet, The Weeping Babe, which became his first broadcast work when it was aired on 24 December 1944  He also began to give regular radio talks on music In 1946 Tippett organised at Morley the first British performance of Monteverdi's Vespers, adding his own organ Preludio for the occasion  Tippett's compositions in the immediate postwar years included his First Symphony, performed under Sargent in November 1945, and the String Quartet No  3, premiered in October 1946 by the Zorian Quartet  His main creative energies were increasingly devoted to his first major opera, The Midsummer Marriage  During the six years from 1946 he composed almost no other music, apart from the Birthday Suite for Prince Charles (1948) 

The musical and philosophical ideas behind the opera had begun in Tippett's mind several years earlier  The story, which he wrote himself, charts the fortunes of two contrasting couples in a manner which has brought comparisons with Mozart's The Magic Flute  The strain of composition, combined with his continuing responsibilities at Morley and his BBC work, affected Tippett's health and slowed progress  Following the death in 1949 of Morley's principal, Eva Hubback, Tippett's personal commitment to the college waned  His now-regular BBC fees had made him less dependent on his Morley salary, and he resigned his college post in 1951  His farewell took the form of three concerts which he conducted at the new Royal Festival Hall, in which the programmes included A Child of Our Time, the British première of Carl Orff's Carmina Burana, and Thomas Tallis's rarely performed 40-part motet Spem in alium In 1951 Tippett moved from Limpsfield to a large, dilapidated house, Tidebrook Manor in Wadhurst, Sussex  As The Midsummer Marriage neared completion he wrote a song cycle for tenor and piano, The Heart's Assurance  This work, a long-delayed tribute to Francesca Allinson (who had committed suicide in 1945), was performed by Britten and Pears at the Wigmore Hall on 7 May 1951  The Midsummer Marriage was finished in 1952, after which Tippett arranged some of the music as a concert suite, the Ritual Dances, performed in Basel, Switzerland, in April 1953  The opera itself was staged at Covent Garden on 27 January 1955  The lavish production, with costumes and stage designs by Barbara Hepworth and choreography by John Cranko, perplexed the opera-going public and divided critical opinion  According to Bowen, most "were simply unprepared for a work that departed so far from the methods of Puccini and Verdi"  Tippett's libretto was variously described as "one of the worst in the 350-year history of opera" and "a complex network of verbal symbolism", and the music as "intoxicating beauty" with "passages of superbly conceived orchestral writing"  A year after the première, the critic A E F  Dickinson concluded that "in spite of notable gaps in continuity and distracting infelicities of language, [there is] strong evidence that the composer has found the right music for his ends" Much of the music Tippett composed following the opera's completion reflected its lyrical style  Among these works was the Fantasia Concertante on a Theme of Corelli (1953) for string orchestra, written to commemorate the 300th anniversary of the composer Arcangelo Corelli's birth  The Fantasia would eventually become one of Tippett's most popular works, though The Times's critic lamented the "excessive complexity of the contrapuntal writing     there was so much going on that the perplexed ear knew not where to turn or fasten itself"  Such comments helped to foster a view that Tippett was a "difficult" composer, or even that his music was amateurish and poorly prepared  These perceptions were strengthened by controversies around several of his works in the late 1950s  The Piano Concerto (1955) was declared unplayable by its scheduled soloist, Julius Katchen, who had to be replaced before the première by Louis Kentner  The Dennis Brain Wind Ensemble, for whom Tippett had written the Sonata for Four Horns (1955), complained that the work was in too high a key and required it to be transposed down  When the Second Symphony was premièred by the BBC Symphony Orchestra under Boult, in a live broadcast from the Royal Festival Hall on 5 February 1958, the work broke down after a few minutes and had to be restarted by the apologetic conductor: "Entirely my mistake, ladies and gentlemen"  The BBC's Controller of Music defended the orchestra in The Times, writing that it "is equal to all reasonable demands", a wording that implied the fault was the composer's 

International acclaim
King Priam and after
In 1960 Tippett moved to a house in the Wiltshire village of Corsham, where he lived with his long-term partner Karl Hawker  By then Tippett had begun work on his second major opera, King Priam  He chose for his theme the tragedy of Priam, mythological king of the Trojans, as recorded in Homer's Iliad, and again he prepared his own libretto  As with The Midsummer Marriage, Tippett's preoccupation with the opera meant that his compositional output was limited for several years to a few minor works, including a Magnificat and Nunc Dimittis written in 1961 for the 450th anniversary of the foundation of St John's College, Cambridge  King Priam was premièred in Coventry by the Covent Garden Opera on 29 May 1962 as part of a festival celebrating the consecration of the new Coventry Cathedral  The production was by Sam Wanamaker and the lighting by Sean Kenny  John Pritchard was the conductor  The music for the new work displayed a marked stylistic departure from what Tippett had written hitherto, heralding what a later commentator, Iain Stannard, refers to as a "great divide" between the works before and after King Priam  Although some commentators questioned the wisdom of so radical a departure from his established voice, the opera was a considerable success with critics and the public  Lewis later called it "one of the most powerful operatic experiences in the modern theatre"  This reception, combined with the fresh acclaim for The Midsummer Marriage following a well-received BBC broadcast in 1963, did much to rescue Tippett's reputation and establish him as a leading figure among British composers As earlier with The Midsummer Marriage, the compositions that followed King Priam retained the musical idiom of the opera, notably the Piano Sonata No  2 (1962) and the Concerto for Orchestra (1963), the latter written for the Edinburgh Festival and dedicated to Britten for his 50th birthday  Tippett's main work in the mid-1960s was the cantata The Vision of Saint Augustine, commissioned by the BBC, which Bowen marks as a peak of Tippett's compositional career: "Not since The Midsummer Marriage had he unleashed such a torrent of musical invention"  His status as a national figure was now being increasingly recognised  He had been appointed a Commander of the Order of the British Empire (CBE) in 1959; in 1961 he was made an honorary Fellow of the Royal College of Music (HonFRCM), and in 1964 he received from Cambridge University the first of many honorary doctorates  In 1966 he was awarded a knighthood 

Wider horizons
In 1965 Tippett made the first of several visits to the United States, to serve as composer in residence at the Aspen Music Festival in Colorado  Tippett's American experiences had a significant effect on the music he composed in the late 1960s and early 1970s, with jazz and blues elements particularly evident in his third opera, The Knot Garden (1966–69), and in the Symphony No  3 (1970–72)  At home in 1969, Tippett worked with the conductor Colin Davis to rescue the Bath International Music Festival from a financial crisis, and became the festival's artistic director for the following five seasons  In 1970, following the collapse of his relationship with Hawker, he left Corsham and moved to a secluded house on the Marlborough Downs  Among the works he wrote in this period were In Memoriam Magistri (1971), a chamber piece commissioned by Tempo magazine as a memorial to Stravinsky, who had died on 6 April 1971, and the Piano Sonata No  3 (1973) 

In February 1974 Tippett attended a "Michael Tippett Festival", arranged in his honour by Tufts University, near Boston, Massachusetts  He was also present at a performance of The Knot Garden at Northwestern University at Evanston, Illinois—the first Tippett opera to be performed in the US  Two years later he was again in the country, engaged on a lecture tour that included the Doty Lectures in Fine Art at the University of Texas  Between these American journeys, Tippett travelled to Lusaka for the first African performance of A Child of Our Time, at which the Zambian president, Kenneth Kaunda, was present In 1976 Tippett was awarded the Gold Medal of the Royal Philharmonic Society  The following few years saw journeys to Java and Bali—where he was much attracted by the sounds of gamelan ensembles—and to Australia, where he conducted a performance of his Fourth Symphony in Adelaide  In 1979, with funds available from the sale of some of his original manuscripts to the British Library, Tippett inaugurated the Michael Tippett Musical Foundation, which provided financial support to young musicians and music education initiatives Tippett maintained his pacifist beliefs, while becoming generally less public in expressing them, and from 1959 served as president of the Peace Pledge Union  In 1977 he made a rare political statement when, opening a PPU exhibition at St Martin-in-the-Fields, he attacked President Carter's plans to develop a neutron bomb 

Later life
In his seventies, Tippett continued to compose and travel, although now handicapped by health problems  His eyesight was deteriorating as a result of macular dystrophy, and he relied increasingly on his musical amanuensis and near namesake Michael Tillett, and on Meirion Bowen, who became Tippett's assistant and closest companion in the remaining years of the composer's life  The main works of the late 1970s were a new opera, The Ice Break, the Symphony No  4, the String Quartet No  4 and the Triple Concerto for violin, viola and cello  The Ice Break was a reflection of Tippett's American experiences, with a contemporary storyline incorporating race riots and drug-taking  His libretto has been criticised for its awkward attempts at American street vernacular, and the opera has not found a place in the general repertory  Mellers finds that its fusion of "art music, rock ritual and performance art fail to gel"  The Triple Concerto includes a finale inspired by the gamelan music that Tippett absorbed during his visit to Java In 1979 Tippett was made a Companion of Honour (CH)  The main composition that occupied him in the early 1980s was his oratorio The Mask of Time, loosely based on Jacob Bronowski's 1973 TV series The Ascent of Man  In Tippett's words, this is an attempt to deal "with those fundamental matters that bear upon man, his relationship with Time, his place in the world as we know it and in the mysterious universe at large"  The oratorio was commissioned by the Boston Symphony Orchestra for its centenary, and was one of several of Tippett's late compositions that were premièred in America 

In 1983 Tippett became president of the London College of Music and was appointed a Member of the Order of Merit (OM)  By the time of his 80th birthday in 1985 he was blind in his right eye, and his output had slowed  Nevertheless, in his final active years he wrote his last opera, New Year  This futuristic fable involving flying saucers, time travel and urban violence was indifferently received on its première in Houston, Texas, on 17 October 1989  Donal Henahan in The New York Times wrote that "Unlike Wagner, [Tippett] does not provide music of enough quality to allow one to overlook textual absurdities and commonplaces " The opera was introduced to Britain in the Glyndebourne Festival of 1990 In spite of his deteriorating health, Tippett toured Australia in 1989–90, and also visited Senegal  His last major works, written between 1988 and 1993, were: Byzantium, for soprano and orchestra; the String Quartet No  5; and The Rose Lake, a "song without words for orchestra" inspired by a visit to Lake Retba in Senegal during his 1990 trip  He intended The Rose Lake to be his farewell, but in 1996 he broke his retirement to write "Caliban's Song" as a contribution to the Purcell tercentenary 

Death
In 1997 he moved from Wiltshire to London to be closer to his friends and caregivers; in November of that year he made his last overseas trip, to Stockholm for a festival of his music  After suffering a stroke he was taken home, where he died on 8 January 1998, six days after his 93rd birthday  He was cremated on 15 January, at Hanworth crematorium, after a secular service 

Music
General character
Bowen has described Tippett as "a composer of our time", one who engaged with the social, political and cultural issues of his day  Arnold Whittall sees the music as embodying Tippett's philosophy of "ultimately optimistic humanism"  Rather than ignoring the barbarism of the 20th century, says Kemp, Tippett chose through his works to seek "to preserve or remake those values that have been perverted, while at the same time never losing sight of the contemporary reality"  The key early work in this respect is A Child of Our Time, of which Clarke writes: "[t]he words of the oratorio's closing ensemble, 'I would know my shadow and my light, So shall I at last be whole', have become canonical in commentary on Tippett     this [Jungian] statement crystallizes an ethic, and aesthetic, central to his world-view, and one which underlies all his text-based works" Sceptical critics such as the musicologist Derrick Puffett have argued that Tippett's craft as a composer was insufficient for him to deal adequately with the task that he had set himself of "transmut[ing] his personal and private agonies into     something universal and impersonal"  Michael Kennedy has referred to Tippett's "open‐eyed, even naive outlook on the world", while accepting the technical sophistication of his music  Others have acknowledged his creative ingenuity and his willingness to adopt whatever means or techniques were necessary to fit his intentions Tippett's music is marked by the expansive nature of his melodic line—the Daily Telegraph's Ivan Hewett refers to his "astonishingly long-breathed melodies"  According to Jones, a further element of the "individual voice" that emerged in 1935 was Tippett's handling of rhythm and counterpoint, demonstrated in the First String Quartet—Tippett's first use of the additive rhythm and cross-rhythm polyphony which became part of his musical signature  This approach to metre and rhythm is derived in part from Bartók and Stravinsky but also from the English madrigalists  Sympathy with the past, observed by Colin Mason in an early appraisal of the composer's work, was at the root of the neoclassicism that is a feature of Tippett's music, at least until the Second Symphony (1957) In terms of tonality, Tippett shifted his ground in the course of his career  His earlier works, up to The Midsummer Marriage, are key-centred, but thereafter he moved through bitonality into what the composer Charles Fussell has summarised as "the freely-organized harmonic worlds" of the Third Symphony and The Ice Break  Although Tippett flirted with the "twelve-tone" technique—he introduced a twelve-tone theme into the "storm" prelude that begins The Knot Garden—Bowen records that he generally rejected serialism as incompatible with his musical aims 

Compositional process
Tippett described himself as the receiver of inspiration rather than its originator, the creative spark coming from a particular personal experience, which might take one of many forms but was most often associated with listening to music  The process of composing was lengthy and laborious, the actual writing down of the music being preceded by several stages of gestation; as Tippett put it, "the concepts come first, and then a lot of work and imaginative processes until eventually, when you're ready, finally ready, you look for the actual notes"  Tippett elaborated: "I compose by first developing an overall sense of the length of the work, then of how it will divide itself into sections or movements, then of the kind of texture or instruments or voices that will be performing it  I prefer not to consider the actual notes of the composition until this process     has gone as far as possible"  Sometimes the time required to see a project through from conception to completion was very lengthy—seven years, Tippett says, in the case of the Third Symphony  In the earlier, contemplative stages he might be simultaneously engaged on other works, but once these stages were complete he would dedicate himself entirely to the completion of the work in hand Tippett preferred to compose in full score; once the writing began, progress was often not fluent, as evidenced by Tippett's first pencil draft manuscripts which show multiple rubbings-out and reworkings  In this, the musicologist Thomas Schuttenhelm says, his methods resembled those of Beethoven, with the difference that "whereas Beethoven's struggle is considered a virtue of his work, and almost universally admired, Tippett's was the source and subject of a debate about his competency as a composer" 

Influences
The style that emerged from Tippett's long compositional apprenticeship was the product of many diverse influences  Beethoven and Handel were initial models (Handel above Bach, who in Tippett's view lacked drama), supplemented by 16th- and 17th-century masters of counterpoint and madrigal—Thomas Weelkes, Monteverdi and Dowland  Purcell became significant later, and Tippett came to lament his ignorance of Purcell during his RCM years: "It seems to me incomprehensible now that his work was not even recommended in composition lessons as a basic study for the setting of English" Tippett recognised the importance to his compositional development of several 19th- and 20th-century composers: Berlioz for his clear melodic lines, Debussy for his inventive sound, Bartók for his colourful dissonance, Hindemith for his skills at counterpoint, and Sibelius for his originality in musical forms  He revered Stravinsky, sharing the Russian composer's deep interest in older music  Tippett had heard early ragtime as a small child before the First World War; he noted in his later writings that, in the early years of the 20th century, ragtime and jazz "attracted many serious composers thinking to find     a means to refresh serious music by the primitive"  His interest in these forms led to his fascination with blues, articulated in several of his later works  Among his contemporary composers, Tippett admired Britten and shared his desire to end the perception of English music as provincial  He also had a high regard for Alan Bush, with whom he joined forces to produce the 1934 Pageant of Labour  "I can remember the excitement I felt when he outlined to me his plan for a major string quartet" Although influences of folk music from all parts of the British Isles are evident in Tippett's early works, he was wary of the English folksong revival of the early 20th century, believing that much of the music presented as "English" by Cecil Sharp and his followers originated elsewhere  Notwithstanding his doubts, Tippett took some inspiration from these sources  The composer David Matthews writes of passages in Tippett's music which "evoke the 'sweet especial rural scene' as vividly as Elgar or Vaughan Williams     perhaps redolent of the Suffolk landscape with its gently undulating horizons, wide skies and soft lights" 

Works
After the withdrawn works written in the 1920s and early 1930s, analysts generally divide Tippett's mature compositional career into three main phases, with fairly fluid boundaries and some internal subdivision in each main period  The first phase extends from the completion of the String Quartet No  1 in 1935 to the end of the 1950s, a period in which Tippett drew on the past for his main inspiration   The 1960s marked the beginning of a new phase in which Tippett's style became more experimental, reflecting both the social and cultural changes of that era and the broadening of his own experiences  The mid-1970s produced a further stylistic change, less marked and sudden than that of the early 1960s, after which what Clarke calls the "extremes" of the experimental phase were gradually replaced by a return to the lyricism characteristic of the first period, a trend that was particularly manifested in the final works 

Withdrawn compositions
Tippett's earliest compositions cover several genres  Kemp writes that the works indicate Tippett's deep commitment to the learning of his craft, his early ability to manipulate traditional forms, and a general willingness to experiment  Clarke observes that in these youthful efforts, characteristics which would mark his mature work were already discernible  Some of the early work is of high quality—the Symphony in B flat of 1933 was, in Kemp's view, comparable to William Walton's contemporaneous First Symphony  Tippett pondered for years whether to include this work in his formal canon before deciding that its debt to Sibelius was too great  Nevertheless, it foreshadows techniques that feature in the String Quartet No  1 and in the Corelli Fantasia Other accomplished early works include the two string quartets, composed between 1928 and 1930, in which Tippett sought to combine the styles of Beethoven and Haydn respectively with folk-song, as Beethoven had in his Rasoumovsky quartets of 1806  Tippett explains the withdrawal of these and the other early works: "I realised very clearly that they were not totally consonant with myself  I didn't think they had the stamp of artistic durability  So I took the whole lot along to R O  Morris who agreed that they didn't show enough technical mastery "

First period: 1935 to late 1950s
Kemp identifies the String Quartet No  1 (1935) as marking Tippett's discovery of his individual voice  According to the composer Alan Ridout, the work stamped its character on Tippett's first period, and together with the second and third quartets of 1942 and 1946 it typifies his style up to The Midsummer Marriage  In the two works that immediately followed the first quartet, Bowen finds the Piano Sonata No  1 (1938) full of the young composer's inventiveness, while Matthews writes of the Concerto for Double String Orchestra (1939): "[I]t is the rhythmic freedom of the music, its joyful liberation from orthodox notions of stress and phrase length, that contributes so much to its vitality"  Both of these works show influence of folk music, and the finale of the Piano Sonata is marked by innovative jazz syncopations  According to Schuttenhelm, the Double Concerto marks the proper beginning of Tippett's  maturity as an orchestral composer 

In A Child of Our Time Tippett was, in Kemp's view, wholly successful in integrating the language of the spirituals with his own musical style  Tippett had obtained recordings of American singing groups, especially the Hall Johnson Choir, which provided him with a  model for determining the relationships between solo voices and chorus in the spirituals  Thus, Kemp believes, the fourth spiritual "O by and by" sounds almost as if it had been composed by Tippett   The composer's instructions in the score specify that "the spirituals should not be thought of as congregational hymns, but as integral parts of the Oratorio; nor should they be sentimentalised but sung with a strong underlying beat and slightly 'swung'" In Tippett's Symphony No  1 (1945), his only large-scale work between A Child of Our Time and The Midsummer Marriage, his "gift for launching a confident flow of sharply characterized, contrapuntally combined ideas" is acknowledged by Whittall  The same critic found the symphony's quality uneven, and the orchestral writing weaker than in the Double Concerto  Whittall offers nearly unqualified praise for The Midsummer Marriage, a view largely echoed by Mellers, who saw the perceived "difficulty" of the music as "an aspect of its truth"  He considered the opera one of the best musical-theatrical works of its era Three major works of the 1950s round off Tippett's first period: the Corelli Fantasia (1953), in which Clarke sees, in the alla pastorale section, the composer's instrumental writing at its best; the mildly controversial Piano Concerto (1955) which Whittall regards as one of the composer's most intriguing works—an attempt to "make the piano sing"; and the Symphony No  2 (1957) which Tippett acknowledges as a turning-point in his music  Until this point, says Matthews, Tippett's style had remained broadly tonal  The Second Symphony was his first essay in polytonality, paving the way to the dissonance and chromaticism of subsequent works  Milner, too, recognises the pivotal position of this symphony in Tippett's development which, he says, both sums up the style of the late 1950s and presages the changes to come 

Second period: King Priam to 1976
In his analysis of King Priam, Bowen argues that the change in Tippett's musical style arose initially from the nature of the opera, a tragedy radically different in tone from the warm optimism of The Midsummer Marriage  Clarke sees the change as something more fundamental, the increases in dissonance and atonality in Priam being representative of a trend that continued and reached a climax of astringency a few years later in Tippett's third opera, The Knot Garden  Tippett's new modernistic language, writes Clarke, was rooted in his desire to represent a wider range of human experiences, characteristic of a changing world: "War, violence, sex, homoeroticism, and social and interpersonal alienation [would now feature] much more overtly in [his] dramatic works or works with text"  Critics acknowledged Priam as a considerable achievement, but received the new musical style cautiously  While Gloag thought the change was not an absolute departure from Tippett's earlier style, Milner viewed King Priam as a complete break with Tippett's previous work, pointing out the lack of counterpoint, the considerably increased dissonances, and the move towards atonality: "very little of the music is in a definite key" 

Many of the minor works that Tippett wrote in the wake of King Priam reflect the musical style of the opera, in some cases quoting directly from it  In the first purely instrumental post-Priam work, the Piano Sonata No  2 (1962), Milner thought the new style worked better in the theatre than in the concert or recital hall, although he found the music in the Concerto for Orchestra (1963) had matured into a form that fully justified the earlier experiments  The critic Tim Souster refers to Tippett's "new, hard, sparse instrumental style" evident in The Vision of Saint Augustine (1965), written for baritone soloist, chorus and orchestra, a work which Bowen considers one of the peaks of Tippett's career During the late 1960s Tippett worked on a series of compositions that reflected the influence of his American experiences after 1965: The Shires Suite (1970), The Knot Garden (1970) and the Symphony No  3 (1972)  In The Knot Garden Mellers discerns Tippett's "wonderfully acute" ear only intermittently, otherwise: "thirty years on, the piece still sounds and looks knotty indeed, exhausting alike to participants and audience"  The Third Symphony is overtly linked by Tippett to Beethoven's Ninth Symphony through a vocal finale of four blues songs, introduced by a direct quotation from Beethoven's finale  Tippett's intention, explained by the music critic Calum MacDonald, was to explore the contemporary relevance of the grand, universal sentiments in Schiller's Ode to Joy, as set by Beethoven  Tippett's conclusion is that while the need to rejoice remains, the twentieth century has put paid to the Romantic ideals of universality and certainty After completing his Piano Sonata No  3 (1973), "a formidable piece of abstract composition" according to Bowen, Tippett returned to the modern vernacular in his fourth opera The Ice Break (1976)  Describing the music in an introduction to the published libretto, Tippett identifies "two archetypal sounds: one relating to the frightening but exhilarating sound of the ice breaking on the great northern rivers in the spring; the other related to the exciting or terrifying sound of the slogan-shouting crowds, which can lift you on your shoulders in triumph, or stamp you to death"   Although the work was generally regarded as a critical and public failure, aspects of its music have been recognised as among Tippett's best  The critic John Warrack writes that, after the violence of the opening acts, the third act's music has a lyrical warmth comparable to that of The Midsummer Marriage"  William Mann in The Times was equally enthusiastic, finding the music compelling and worthy of many a rehearing 

Third period: 1977 to 1995
In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No  4 (1977), the String Quartet No  4 (1978), and the Triple Concerto for violin, viola and cello (1979)  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing  This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello"   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt  In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments perform individually rather than as a formal grouping  The work acknowledges Tippett's past with quotations from The Midsummer Marriage 
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts with an ultimately lofty message"  Mellers called the work "a mind-boggling cosmic history of the universe"   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life  Donal Henahan was dismissive of the music: "    the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works " In Byzantium (1990), Tippett set the five stanzas of W  B  Yeats's poem, with added orchestral interludes  By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him  In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it"  After the String Quartet No  5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty     a worthy ending to a remarkable career" 

Reputation and legacy
In a joint study of Tippett and Britten published in 1982, Whittall designated the pair as "the two best British composers of that     generation born between 1900 and the outbreak of the First World War, and among the best of all composers born in the first two decades of the twentieth century"  After Britten's death in 1976, Tippett became widely regarded as the doyen of British music, but critical opinion of his later works was not always positive  After the first performance of the Triple Concerto in 1980, Driver wrote that "not since The Knot Garden has [he] produced anything worthy of his early masterpieces" In 1982, in his comparative study of Britten and Tippett, Whittall asserted that "it would be difficult to claim that any of the works [Tippett] has begun in his seventies are the equal of earlier compositions"  Although both Driver and Whittall later modified their opinions, such comments represented a general view among critics that Tippett's creative powers had begun to decline after the triumph of King Priam  This perception was strongly expressed by Derek Puffett, who argued that the decline followed Tippett's abandonment of myth—seen as the key to the success of The Midsummer Marriage and King Priam—and stemmed from his increasingly futile efforts to universalise his private agonies and express them musically  Despite his admiration for the early works, Puffett consigned Tippett "to the ranks of those noble but tragic composers who have lived beyond their time"  The  critic Norman Lebrecht, writing in 2005, dismissed almost all Tippett's output, labelling him "a composer to forget"  With the forthcoming centenary celebrations in mind, Lebrecht wrote: "I cannot begin to assess the damage to British music that will ensue from the coming year's purblind promotion of a composer who failed so insistently to observe the rules of his craft" Against these criticisms Kemp maintained that while the style had become less immediately accessible, Tippett's later works showed no loss of creative power   The critic Peter Wright, writing in 1999, challenged the "decline" theory with the view that the later compositions are "harder to come to terms with     because of the more challenging nature of their musical language", a theme he developed in a detailed study of the Fifth String Quartet After Tippett's death the more popular pieces from his first period continued to be played, but there was little public enthusiasm for the later works  After the relatively muted 2005 centenary celebrations, performances and recordings tailed off  In October 2012 Hewett wrote in the Daily Telegraph of a "calamitous fall" in Tippett's reputation since his death  Geraint Lewis acknowledges that "no consensus yet exists in respect of the works composed from the 1960s onwards", while forecasting that Tippett will in due course be recognised as one of the most original and powerful musical voices of twentieth-century Britain" Many of Tippett's articles and broadcast talks were issued in collections between 1959 and 1995  In 1991 he published an episodic autobiography, Those Twentieth Century Blues, notable for its frank discussions of personal issues and relationships  Collectively, Tippett's writings define his aesthetic standpoint, which Clarke summarises thus: "Tippett holds that art's role in post-Enlightenment culture is to offer a corrective to society's spiritually injurious domination by mass technology  Art, he suggests, can articulate areas of human experience, unapproachable through scientific rationality, by presenting 'images' of the inner world of the psyche "Although Tippett did not found a compositional school, composers who have acknowledged his influence include David Matthews and William Mathias  More generally, his musical and educational influence continues through the Michael Tippett Foundation  He is also commemorated in the Michael Tippett Centre, a concert venue within the Newton Park campus of Bath Spa University  In Lambeth, home of Morley College, is Heron Academy (previously named The Michael Tippett School), an educational facility for young people aged 11–19 with complex learning disabilities  Within the school's campus is the Tippett Music Centre, which offers music education for children of all ages and levels of ability 

Writings
Three collections of Tippett's articles and broadcast talks have been published:

Moving into Aquarius (1959)  London, Routledge and Kegan Paul  OCLC 3351563
Music of the Angels: essays and sketchbooks of Michael Tippett (1980)  London, Eulenburg Books  ISBN 0-903873-60-5
Tippett on Music (1995)  Oxford, Clarendon Press  ISBN 0-19-816541-2
Context 3:  Throughout its history, Blue Valley Northwest has won several state championships in various sports  Many graduates have gone on to participate in Division I, Division II, and Division III athletics 

State championships
Orchestra
BVNW's orchestra has received a 1 (the best) ranking every year the school has been open   Students in the orchestra also have auditioned and represented the BVNW in local, state, and national orchestras 

Yearbook and Newspaper
The school's yearbook is called Horizon, the newspaper is called "The Express", the school broadcast news program is called Husky Headlines and the school's literary magazine is called The Muse 
The Horizon and Husky Headlines have been nominated for several Pacemaker awards, and in 2004, the "Horizon" won the Pacemaker Award  The school newspaper, The Express is a member of the High School National Ad Network  At the April 2007 JEA conference in Denver, "The Express" was voted the number one newsmagazine  At the November 2007 JEA conference in Philadelphia, the newsmagazine was rated sixth  In 2015, The Express was nominated for a Pacemaker, but did not win  It did receive sixth place among the competition that year  On November 12, 2016, in Indianapolis, The Express won a Newspaper Pacemaker Award, the first for the publication 

Notable alumni
Jason Adam, professional baseball player for the Tampa Bay Rays
Christie Ambrosi, member of the 2000 USA Olympic softball team, who won the gold medal
Bol Bol, professional basketball player for the Orlando Magic
Christian Braun, current basketball player for the Denver Nuggets, former Mr  Kansas Basketball and Kansas Gatorade Player of the Year 
Arash Ferdowsi, co-founder of Dropbox file hosting service
Lisa Forbes, Miss Kansas USA 2004 and Miss USA Pageant contestant
Nathaniel Hackett, former head coach of the Denver Broncos
Zach Hadel (Class of 2011), web animator and co-creator of Smiling Friends for Adult Swim 
Michael McMillian (Class of 1997), actor known for his roles as Henry Gibson on What I Like About You and Steve Newlin on True Blood
Dániel Sallói, professional soccer player for Sporting Kansas City

See also
List of high schools in Kansas
List of unified school districts in KansasOther high schools in Blue Valley USD 229 school districtBlue Valley High School in Stilwell
Blue Valley North High School in Overland Park
Blue Valley West High School in Overland Park
Blue Valley Southwest High School in Overland Park
Blue Valley Academy in Overland Park
High School Confidential
Passage 8:
William Fremd High School
William Fremd High School, or Fremd (initially Palatine High School South), is a public four-year high school located in Palatine, Illinois, a northwest suburb of Chicago, Illinois, in the United States  It is part of Township High School District 211, which also includes James B  Conant High School, Hoffman Estates High School, Palatine High School, and Schaumburg High School  The school is known for its academic excellence, and its athletic, drama, visual arts, and music programs have won state championships in recent years  Academically, Fremd High School has also been recognized by Newsweek as one of "America's Best High Schools" and by U S  News & World Report as one of 99 outstanding high schools in the United States with the average AP test taker in the class of 2018 taking 5 4 exams  Fremd serves the portion of Palatine that is southwest of the UP NW Line railroad tracks as well as north Hoffman Estates, west Rolling Meadows, north Schaumburg, east South Barrington and southeast Inverness  Feeder schools include Plum Grove Junior High, Carl Sandburg Junior High, Walter Sundling Junior High and Margaret Mead Junior High  Feeder elementary schools are Pleasant Hill, Paddock, Hunting Ridge, Central Road, Willow Bend, Thomas Jefferson, Marion Jordan, Fairview, and Frank C  Whiteley 

History
Fremd opened in 1961 as Palatine High School South  The school was later named after William Fremd who had been a member of the high school board of education for over 30 years and had served on school boards in the area for a consecutive period of more than 45 years  Fremd donated the land for the school  In the first yearbook the school was said to 'blend and stretch into the cornfields'  The school was the second high school to be built in Palatine, Illinois after Palatine High School  Palatine South and then Fremd originally served as the school for all Palatine freshman and sophomores while Palatine High School was the school for juniors and seniors  This plan was only in effect for three years before Fremd was expanded to serve as a 4 year high school  In the fall of 1966 the first junior class entered, and they became the first Fremd graduating class in 1968  Then Junior Cathy Klep designed the Viking logo, based on the Minnesota Vikings logo  Junior, Colleen McGrath designed the school crest, incorporating the Viking logo and modeled after her family crest  A school motto was adopted in 1995 after a contest for students  Sophomore Jessica Frank won the contest  In 2001, construction began to create a new science wing  The courtyard which stood in the center of the school was demolished  After two years of year-round construction, the new science wing was built along with a heating and ventilation facility on the roof of the building In the early 2000s, Fremd underwent several construction projects, including the replacement of bleachers in the main gymnasium, renovated tiling, and additional classrooms  The music department added a rehearsal room, larger practice rooms with more advanced sound-proof walls, and increased storage space  In the newest addition to the school, a synthetic turf football field was added  In 2016, a new pool facility was added to Fremd 
On November 2, 2015, The New York Times reported that the federal government determined that Fremd's administration violated anti-discrimination laws because "it did not allow a transgender student who identifies as a girl and participates on a girls’ sports team to change and shower in the girls’ locker room without restrictions " The New York Times added that the student in question "identifies as female but was born male "As of 2018, Fremd is one of the largest high schools in the region, with a student body of approximately 2600  The school is also noted for its high operating costs: in the 2016–2017 school year, Fremd's district spent $18,721 per pupil, with the average teacher being paid $99,474 

Academics
In 2018, Fremd had an average SAT score of 1178 5 and a four-year graduation rate of 97 9%  The average class size is 24 7  On the mathematics portion of the SAT, 71 3% of students met or exceeded standards, while on the English/language arts portion, that figure was 68 5%  Additionally, 66 5% of students showed proficiency on the Illinois Science Assessment From April 1998 to September 2019, 75 students from Fremd earned the highest possible composite score on the ACT, a 36  In the same time frame, only six students earned the highest possible score on the SAT, a 1600 In 1987, Fremd was named among the top in the nation in the United States Department of Education's National Secondary School Recognition Program  Fremd High School has also been recognized by Newsweek as one of "America's Best High Schools" and by U S  News & World Report as one of 99 outstanding high schools in the United States  In 2006, Fremd was recognized as the 302nd best high school in the nation by Newsweek, with an average of 1 3 AP tests taken per graduating senior 

Athletics
Fremd competes in the Mid-Suburban League (west division), and is a member of the Illinois High School Association (IHSA) which governs most interscholastic sports and competitive activities in the state  Its mascot is the Viking 
Fremd sponsors interscholastic teams for young men and women in basketball, cross country, golf, gymnastics, soccer, swimming & diving, tennis, track and field, volleyball, chess, and water polo  Men may also compete in baseball, football, and wrestling, while women may compete in badminton, bowling, and softball  While not sponsored by the IHSA, the school also sponsors separate teams for young men and women in lacrosse  Hockey is also a club sport for men The boys basketball team achieved success beginning in the late 1980s  The 1983 team led by BJ Jenkins and Joe Youman made the Sectional for the first time  In 1986, Fremd made it to the Super Sectional for the first time and lost to Kendall Gill led Rich Central, 77-47  The 1988 team was the best ever, led by Jason Joseph and George Poorman  It was upset in the super sectional game by East Aurora and finished with the best record ever, 28-2  The 1989 team led by Todd Leslie returned to the super sectional game and once again lost to East Aurora  The 1993 team was the most successful ever, with a 4th place state finish  They recently celebrated their successful run with a 30 year anniversary get together  Mo Tharp coached the Vikings from 1975–2002 and established Fremd as the premiere basketball program in the northwest suburbs  Tharp was elected into the Illinois Hall of Fame 
The following teams have won their respective IHSA state tournament or meet:

Badminton: 2006–2007, 2008–2009, 2018-2019
Cross Country (boys): 1969–1970
Gymnastics (girls): 1984–1985, 1985–1986, 1986–1987, 1993–1994, 1994–1995, 1995–1996, 1996–1997, 1997–1998, 1998–1999, 2004–2005, 2006–2007, 2007–2008
Hockey: 1990–1991, 1991–1992, 1992–1993  They went 73-1-1 from 1989 to 1993 
Soccer (boys): 1984–1985, 1997–1998
Swimming & Diving (boys): 1993–1994, 1994–1995
Basketball (girls) : 2019-2020The twelve state titles in girls gymnastics is a state record  The girls gymnastics team also holds state records for appearances at the state meet, top three team finishes, sectional titles, and regional titles 

Activities
Fremd sponsors 60 clubs and activities ranging from cultural and artistic to academic and technological  Among the activities which are chapters or affiliates of more nationally notable groups are: BPA, Chess, Robotics, FCCLA, Model UN, Tri-M Music Honor Society, National Honor Society, Vikettes (Colorguard), and National Science Bowl Five activities have won their respective IHSA sponsored state competition:

Debate: 2004–2005 (Lincoln-Douglas)
Drama: 1969–1970
Group Interpretation: 2014–2015
Journalism: 2007–2008, 2011–2012
Scholastic Bowl: 2005–06The Fremd Vikettes have won state titles in Team Dance Illinois, earning a First Place State Championship in 2010, 2011, and 2012, and Second Place State Titles in 2013 and 2014 for their flag/colorguard performances 
Each year, William Fremd High School hosts Writers Week, which has brought more than 200 writers to the Fremd campus since 1995 to share their work and philosophy on the writing process  Distinguished guest presenters have included Billy Collins, Gwendolyn Brooks, Nobel Laureate Leon Lederman; journalists Rick Bragg, Dana Kozlov, Burt Constable, and Eric Zorn; novelists Jane Hamilton, Raymond Benson, Rosellen Brown, Harry Mark Petrakis, and Frederik Pohl; poets Nikki Giovanni, Naomi Shihab Nye, and poetry slam creator Marc Smith; screenwriters Bill Kelly and Craig J  Nevius; and sportswriters Dan Roan and Mike Imrem  Presenters also include selected Fremd students and faculty 

Notable alumni
Born of Osiris is a progressive metalcore/deathcore band whose members Cameron Losch, Austin Krause, Ronnie Canizaro, Joe Buras, David Da Rocha, Lee McKinney, and Matt Pantelis met at and attended Fremd  Their third LP, Tomorrow We Die Alive, peaked at #27 on the Billboard 200 chart 
Eric Bradley is a Los Angeles-based guitarist, singer, and songwriter 
brandUn DeShay is a rapper and record producer, has produced for former Young Money artist Curren$y, Chance the Rapper, Mac Miller and Odd Future Wolf Gang Kill Them All 
Leslie Erganian is an artist and television correspondent for the Hallmark Channel 
Jasen Fisher is a former child actor who co-starred in Parenthood, The Witches, and Hook



ground_truth: Michael Kemp Tippett

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: High School Confidential, an eight part documentary followed twelve high school teenagers from a high school in Overland Park, Kansas that ranked what in the 2009 Newsweek ranking of the top 1,500 high schools in the United States?

The following are given passages.
Context 3: 
Chris Fleming is an international TV host and paranormal investigator on Dead Famous: Ghostly Encounters, which aired 2004–2007 on The Biography Channel; also co-hosted episodes of A&E Network Psychic Kids 2009–2010 and appeared on such shows as Larry King, Ghost Hunters, Ghost Adventures, The Haunted, and Paranormal Challenge 
Ryan Hartman currently plays for NHL's Minnesota Wild, and previously played for the Chicago Blackhawks 
Todd Hundley, two-time All-Star Major League Baseball catcher (1990–2003), playing most of his career with the New York Mets; briefly held single-season home run record for catchers; graduated Class of 1987 
Eric Leonard is a professional soccer midfielder who currently plays for Forward Madison FC of the USL League One 
Robert Lorenz is an Academy Award-nominated movie producer and assistant director known for his collaborations with Clint Eastwood (Letters from Iwo Jima, Mystic River, Space Cowboys, Changeling, Million Dollar Baby, Gran Torino) 
Ted Nugent is a musician and pro-gun activist with several multi-platinum albums 
Bette Otto-Bliesner named a notable alumni in 2008, climate scientist and one of the lead authors on assessment reports of the Intergovernmental Panel on Climate Change, graduated class of 1968
Kris Myers is a drummer for the rock/jam band Umphrey's McGee 
Chris Perez played professional football in the NFL and Canadian Football League 
Mark Robinson is a drummer and business owner; notable acts include the Jonas Brothers, Kenny Chesney and Keith Urban; owner of Storyboard Records, an independent record label out of Atlanta 
Jim Schwantz is a former NFL linebacker (1992, 1994–98), primarily with the Dallas Cowboys, winning a Super Bowl ring in Super Bowl XXX; in 2009, he was elected mayor of Palatine; graduated Class of 1988 
Mallory Snyder is an actress/model who was featured on The Real World 13 
Mari-Rae Sopper was a gymnastics coach and Judge Advocate General's Corps lawyer who was a victim of the September 11 attacks as a passenger on hijacked American Airlines Flight 77 
Mike Tauchman is an outfielder for the Chicago Cubs in major league baseball  Graduated class of 2009 
Scott Tolzien is a quarterback for the NFL's Indianapolis Colts; led Wisconsin Badgers to 2010 Big Ten Conference co-championship and Rose Bowl; graduated Class of 2006 

Gallery
Passage 9:
Atlantic Community High School
Atlantic Community High School (also known as Atlantic and ATL and formerly called Seacrest High School) is a public high school located in Delray Beach, Florida, United States  It is part of the School District of Palm Beach County   Known for its academics, many students attend due to the school's International Baccalaureate program and its ranking as a top-rated school for many years  In the 2010 Newsweek ranking of America's best high schools, Atlantic High ranked 89th   In 2005, the school moved to its current location and added a freshman academy and a construction-oriented magnet program 

History
Atlantic Community High School, originally named Seacrest High School, was built in 1949 as a racially segregated school for white students in Delray Beach and Boynton Beach, Florida  African-American students living in the area attended Carver High School, which later became Carver Middle School and is now the Delray Beach Full Service Center  The school began the process of desegregation in 1961 when Yvonne Lee entered the school, one of only four African-American students attending otherwise all white schools in Palm Beach County that year  Seacrest remained almost all white, and Carver remained all African-American, until 1970, when Carver High School was closed and its student body merged with that of Seacrest, which was renamed Atlantic High School  The school adopted the colors of Seacrest High School (Green and White) and the mascot of Carver High School (the eagle)  It kept Seacrest High's old location along Seacrest Boulevard  In 1989, the school became an International Baccalaureate World School  In 2005, the school moved to its current location on Atlantic Avenue  In 2011, Kathleen Weigel was promoted from principal of the school to the new district position of Assistant Superintendent of Professional Growth  Weigel, who was principal for more than 10 years was replaced by Bear Lakes Middle School principal Anthony Lockhart 

Student demographics
There were 2324 students enrolled in Atlantic Community High School in the 2015–2016 school year  Fifty-three percent of the students were female  The student body was 56% African-American, 21% white, 13% Hispanic, 6% Asian-American, 3% multiracial, and less than 1% each Native American and Native Hawaiian/Pacific Islander 

Academics and magnet programs
School ratings
The school is rated annually by the Florida Comprehensive Assessment Test 

International Baccalaureate
Atlantic is home to one of the five International Baccalaureate (also known as IB) high school programs of Palm Beach County (the others being Forest Hill Community High School, Pahokee High School, Suncoast High School, and William T  Dwyer High School) and caters to students living in the southern parts of the district 

Construction Academy
Atlantic's construction academy was added to the school beginning in fall 2005  The students of the academy designed and built a house called the "Eagle's Nest" (after the school mascot) for charity in collaboration with the city of Delray Beach  The groundbreaking ceremony for the project kick-off was held in December 2005  It is a three bedroom, two bath house, 1,500 square feet (140 m2) On October 25, 2010, the Construction Academy broke ground on a new house called "Eagle's Nest 2"  The house is to be a "green" house and the design incorporates aspects of a green building, using green construction material design principles  It too is being done in collaboration with the city of Delray Beach 

Extracurricular activities
Athletics
Atlantic participates in the 8A athletic division of the FHSAA  The school fields teams in 43 sports including football, basketball, baseball, swimming, soccer, softball, tennis, golf, bowling, wrestling, volleyball, cross country, track and field, weightlifting, and flag football among others  The Atlantic Boys' Baseball Team won the 13-7A District Championship against Dwyer on April 24, 2014  The Atlantic Boys' soccer team made it into the 4A state final four in the 2013–14 season  In 2015, Atlantic added a lacrosse team, both Boys and Girls  They ended up playing their inaugural season that year  In the 2015–16 season, the undefeated Eagles football team won the 10-8A District Championship against the undefeated Boca Raton Bobcats on October 30, 2015, in a rivalry matchup, and in 2017 they competed in the state championships 

JROTC
Atlantic is home to the Eagle Battalion of the Army Junior Reserve Officer Training Corps 

Clubs
Atlantic supports a wide variety of clubs, including Mu Alpha Theta, Academic Games, ACE, French National Honors Society, Black Student Union, Literary Club, Art Club, International Culture Club,  Science Club / Science Olympiad, Blood Drive, People for Animal Welfare (PAW), Jewish Forum, Muslim Student Association, Model UN, We the People, Robotics Club, Drama Club, Key Club, and chapters of the National Honor Society, Spanish National Honor Society and Rho Kappa Social Studies Honor Society 

Notable alumni
Bobby Butler after playing at Florida State went on to play for the Atlanta Falcons throughout the eighties and early nineties 
David Clowney, wide receiver played one year for the Carolina Panthers and four years for the New York Jets 
Brandon Flowers, defensive back played for the San Diego Chargers and the Kansas City Chiefs of the National Football League currently a free agent 
Orlando Franklin, right tackle for the San Diego Chargers started career with the Denver Broncos 
Mandy Freeman, professional soccer player for NY/NJ Gotfham FC and 10th pick overall at the 2017 NWSL College Draft
Jayron Hosley, a cornerback played four years with the New York Giants currently a free agent 
Omar Jacobs, fifth-round draft pick of the Pittsburgh Steelers in the 2006 NFL Draft, and former quarterback for the Berlin Thunder in NFL Europe 
Ricardo Jordan, former MLB player (Toronto Blue Jays, Philadelphia Phillies, New York Mets, Cincinnati Reds)
Preston Parker, wide receiver played for Tampa Bay Buccaneers and the New York Giants currently a free agent 
Rick Rhoden, former MLB player (Los Angeles Dodgers, Pittsburgh Pirates, New York Yankees, Houston Astros)
Mike Rumph, former cornerback for the St  Louis Rams of the NFL  Currently the cornerbacks coach for the Miami Hurricanes football team
Passage 10:
Blue Valley West High School
Blue Valley West High School is a fully accredited public high school located in Overland Park, Kansas, United States, and one of five high schools by Blue Valley USD 229 school district, and has a current enrollment of approximately 1,280 students  The principal is Katherine  Bonnema  The school mascot is the Jaguar and the school colors are red, black, and silver  In the 2013 Newsweek rankings of the top high schools in America, Blue Valley West was ranked 1st in the state of Kansas and 439th in the nation Blue Valley West High School opened in August 2001 in order to help educate the increasing population of Overland Park  It was the fourth high school in the Blue Valley Unified School District to open, preceded by Blue Valley Northwest High School in 1993  Blue Valley West is a member of the Kansas State High School Activities Association and offers a variety of sports programs  Athletic teams compete in the 6A division and are known as the "Jaguars"  Extracurricular activities are also offered in the form of performing arts, school publications, and clubs 

History
Blue Valley West High School opened in August 2001 in order to help educate the increasing population of Overland Park  It was the fourth high school in the Blue Valley Unified School District to open, preceded by Blue Valley Northwest High School in 1993, and followed by Blue Valley Southwest High School in 2010 

Academics
The school offers 17 Advanced Placement classes, foreign language in Spanish and French, and performing and visual arts classes, among others  The Journalism department produces The Spotlight(newspaper) and The Illumination(yearbook)  Its broadcasting class produces Jagged Edge TV  The class of 2013 achieved an average score of 1828 on the SAT and 25 on the ACT 

Extracurricular activities
The Jaguars compete in the Eastern Kansas League and are classified as a 6A-5A school according to the KSHSAA  Throughout its history, Blue Valley West has won several state championships in various sports  Many graduates have gone on to participate in collegiate athletics  In the 2006–2007 school year the school won 2 state championships, was runner up for another, and had 4 other teams qualify for the state tournament  In the 2007 calendar year, BV West won the state title in football, boys' basketball, and baseball  This three-peat was the first of its kind in the history of KSHSAA competition 

Athletics
Football
The Blue Valley West Jaguar football team has become a contender in Kansas 6A football  The team's main rivals are Blue Valley High School and Saint Thomas Aquinas High School  Blue Valley West and Blue Valley have also developed a rivalry  Blue Valley West won the 2007 Eastern Kansas League title and went on to win the Kansas 5A State Championship on November 24, 2007, with an undefeated 13–0 season 

Boys' basketball
The boys basketball team won their first state title during the 2006–2007 school year Bishop Miege and Saint Thomas Aquinas are the basketball team's two primary rivals 

Golf
The Jaguars have won three team state titles  In 2002, the team won its first 5A state championship  This was followed by 6A state championships in 2006 and 2013 

Baseball
The baseball team won the Eastern Kansas League (EKL) title every year from the school's opening in 2001 to 2006, and did not lose a single game in conference until 2006  The baseball team won state championships in 2007 and 2022 

Girls' Bowling
The girls' bowling team was established during the 2011-2012 winter sports season to add more sports available to girls in the school 

Performing arts
The school has a theater group that presents three shows a year as part of the school curriculum  Choir programs offered include concert choir, choraliers, chorale and chamber  The last three of which require an audition 

Band
Blue Valley West has a competitive marching band, a concert band, a symphonic band, and a symphonic wind ensemble  The competitive marching band won the Kansas Bandmasters Association Marching Band Championship and also placed top 25 in the Bands of America St  Louis Super Regional Championship in the 2017–18 and 2018-19 school years 

Notable alumni
Matt Besler (Class of 2005), MLS player for Sporting Kansas City
Andrew Gachkar (Class of 2007), former NFL player for several teams
Madison Lilley (Class of 2017), professional volleyball player and member of U S  national team
Shannon Vreeland (Class of 2010), gold medalist in the 200 Freestyle Relay at 2012 Summer Olympics
Andrew Wojtanik (Class of 2008), winner of the 2004 National
Geographic Bee

See also
List of high schools in Kansas
List of unified school districts in KansasOther high schools in Blue Valley USD 229 school districtBlue Valley High School in Stilwell
Blue Valley North High School in Overland Park
Blue Valley Northwest High School in Overland Park
Blue Valley Southwest High School in Overland Park
Blue Valley Academy in Overland Park



ground_truth: #364