Given a document, an entity and its sentiment towards the entity, verify if it is the correct sentiment towards the entity. Answer should be yes or no. Note that URLs in the text have been replaced with [Link].

Input: Consider Input: Verify if the sentiment of the following document towards the entity Boko Haram is Negative . Soldiers will stop and check all motorists passing through Maiduguri and nearby villages throughout the night  while police will take over manning checkpoints during the day  authorities said. The soldiers arrived late Tuesday night  the first sign of a federal government intervention in a city beset by targeted killings by Boko Haram for weeks.
 Zarewa also said police found the unexploded bombs after an alleged Boko Haram bomb attack on a police station in Gamboru  a building destroyed by rioting sect members in July 2009. The rioting  as well as a subsequent security crackdown  left more than 700 people dead.
 Followers of Boko Haram  which means "Western education is sacrilege" in the local Hausa language  went into hiding after the July 2009 riot  as police began arresting anyone caught listening to or holding a sermon by the sect. However  officials now fear the group has rearmed. A video recording released in late June showed a Boko Haram leader calling for new violence as the one-year anniversary of their attack neared.
 Boko Haram has said it wants a stricter version of Islam's Shariah law in place across Nigeria. Nigeria  a nation of 150 million people  is divided between the Christian-dominated south and the Muslim north. A dozen states across Nigeria's north already have Shariah law in place  though the area remains under the control of secular state governments.
a Boko Haram leader calling for new violence as the one-year anniversary of their attack neared.

Output: yes


Input: Consider Input: Verify if the sentiment of the following document towards the entity Davis is Neutral . Davis challenged his conviction and sentence on the grounds that his confession was illegally obtained and that his trial in San Clara County  Calif.  was tainted by pretrial publicity.
 Marc Klaas  Polly's father  expressed frustration Monday that Davis' appeals were taking too long. He noted that Polly would be 28 now had she lived.
Davis' appeals were taking too long. He noted that Polly would be 28 now had she lived.
 "I have no doubt that this guy is going to outlive me " said Klaas  60.
 Davis has a constitutional challenge pending before the state high court. Once that is resolved  he can challenge his conviction and sentence in federal court.
 Assistant California Attorney General Ronald Matthias  who successfully opposed DavisDavis' appeal  said federal appeals could take 10 to 15 years.
 In writing for the court  Justice Joyce L. Kennard recounted DavisDavis' reaction when a jury found him guilty of Polly's murder.
 Davis "turned toward the television cameras in the courtroom and made an obscene gesture with both hands by extending his middle fingers " Kennard wrote. "He then winked his eye and blew a kiss."
 Davis kidnapped Polly from her bedroom at her home in Petaluma  Calif.  where she was having a slumber party with two other girls. Her mother and a younger half-sister were sleeping down the hall.
 Davis had a long and violent criminal record  and his history helped fuel voter support for a 1994 three-strikes initiative in California that required sentences of 25 years to life in prison for a third felony after two violent felonies.

Output: yes


Input: Consider Input: Verify if the sentiment of the following document towards the entity Kehinde Wiley is Negative . When does an artist become a phenomenon? Itâs a rare moment on the scale of seeing a new star emerge in the night sky. Already  a rising art world star  American artist Kehinde Wiley  seems poised now at the age of 35 and after just a little over a decade of work to take the next step and really heat things up. With not one but two big New York City exhibitions  a featured appearance on a hot new album cover  and the kind of retrospective  lavishly illustrated  critically evaluative monograph that seals the deal   Kehinde Wiley  has the whole world in the palm of  his  hand  and thatâs exactly what  he  wants.
Born in 1977 as the youngest of six children to a single mother   Wiley  grew up facing hard economic times but also enjoying the intellectual stimulation of having a mother in academia. Looking for a way to keep Kehinde occupied   his  mother enrolled  him  in art classes  including some at the Huntington Library  where  he  could study portraits such as Thomas Gainsboroughâs famous Blue Boy. After graduating with an MFA from Yale in 2001   Wiley  became artist-in-residence at the Studio Museum in Harlem  where  he  witnessed a steady stream of young African-American men walk past in full hip hop regalia. Joining the old school world of portraiture with this new school of personal style   Wiley  developed the unique subject matter and approach that has been a popular and critical success since.
In Kehinde Wiley  the first monograph dedicated to Wileyâs career as a whole (published by Rizzoli USA)  Thelma Golden  chief curator and director of the Studio Museum in Harlem  introduces the volume by remarking that she âwas in conversation with  Wiley  before I ever spoke to  him .â Wileyâs work touches on âthe politics of representation; the power of art history; the veracity of images; notions of authorship  identity  and culture; the critical nexus of race and gender in contemporary art â Golden listsâall things that she and nearly all contemporary art critics think deeply about. This combination of Wileyâs thought provoking practice and stunningly beautiful paintings makes him irresistible to both the high brows and those simply wanting to enjoy the show.
In addition to capturing visually  Wiley âs bravura brushwork and vast range of visual inventiveness in 275 color illustrations (including some gatefolds)   the contributors Kehinde Wiley  dig  their  critical teeth deep into Wileyâs art and come away with a mouthful. Art historian Robert Hobbs provides a detailed biography not just of Wileyâs life but of his thought  mapping mental landmarks ranging from W.E.B. DuBois and Henry Louis Gates  Jr.  to Michel Foucault and Jacques Lacan. Hobbs sees a kind of âconceptual realismâ at the heart of Wileyâs portraiture that is âcoercive rather than simply mimetic.â More than just capturing a likeness  Wileyâs portraits capture your mind and make you think about the power relations embedded in imagery of all kinds throughout history.
 Wiley âs standard procedure has been to âstreet castâ individuals who catch his eye  invite them to his studio  allow them to browse art history books and pick a pose  and then photograph the subjects in full regalia to use for painting later. Wileyâs 2008 painting The Virgin Martyr St. Cecilia (shown above) riffs on Renaissance sculptor Stefano Madernoâs The Virgin Martyr St. Cecilia from 1600. From one perspective  the prone African-American male seems as powerless as the martyred saint. From another  the young man takes on the gravitas of Cecilia as a modern victim of thoughtless violence. From yet another  knowing that the young man chose this pose for himself  he takes on the role of provocateur  consciously drawing all those associations and moreâparadoxically in control even when prone. This alchemical approach to art history is at the center of the âconceptual realismâ Hobbs suggests.
The Jewish Museum  New York is currently showing the latest installment of The World Stage paintingsâKehinde Wiley/The World Stage: Israel. The exhibition features 14 large-scale portraits of young Israeli men of different ethnic backgrounds and religions. A video on the museumâs website shows Wiley in Tel Aviv âstreet castingâ and finding individuals such as Ethopian Jewish hip hop performer Kalkidan. Wiley finds hip hop in the unlikeliest places in Israel  proving the global reach of the art form that began in the Bronx as a means of âblackâ expression.
The title of Sean Kelly Galleryâs current Wiley exhibition  Kehinde Wiley: An Economy of Grace  could be an emblem for everything Wileyâs been doing for the past decade both locally and globally. âThe phrase âan economy of graceâ speaks directly to the ways in which we manufacture and value grace and honor  the people that we choose to bestow that honor upon  and the ways in which grace is at once an ideal that we strive for and something that is considered to be a natural human right â Wiley explains. Wileyâs trying to turn his personal economy of grace into a global economy  with his portraits as the new gold standard. As technology brings us closer and closer  the friction between individuals  countries  ideologies  religions  and everything else heats up faster than ever. Grace may be the only currency that can pull us out of the global spiritual debt crisis. If Kehinde Wiley seems to have the world in his hands right now  itâs because he wants to save it one image at a time by showing us the grace and beauty of black men and  by extension  the grace and beauty of us all.
[Image: Kehinde Wiley. The Virgin Martyr St. Cecilia  2008. Oil on canvas. 101.5 x 226.5 in. Â© Kehinde Wiley.]
[Many thanks to Rizzoli USA for providing me with the image above and a review copy of the monograph Kehinde Wiley  by Thelma Golden  Sarah Lewis  Robert Hobbs  and Brian Keith Jackson. Many thanks also to Sean Kelly Gallery (whose exhibition Kehinde Wiley: An Economy of Grace runs through June 16  2012) and to The Jewish Museum  New York (whose exhibition Kehinde Wiley/The World Stage: Israel runs through July 29  2012) for press materials.]


Output: no