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].

[EX Q]: Verify if the sentiment of the following document towards the entity Prager U is Positive . Popular conservative/libertarian channel  Prager U  is once again being censored by Google and YouTube for a video deemed too “hateful.”
The video is titled “Born to Hate Jews ” and while the title seems dark  the message is the exact opposite. The speaker this time around is Kasim Hafeez  founder of the Israel Campaign  and in the video  he  tells the story of  his  journey from being a Muslim who came very close to being a terrorist against Israel  to a man whose first hand education led  him  to stand with country  he  previously hated.
The core of  his  message is that  he  discovered that Israel is not the horrible  oppressive  and murderous state that many Muslim parents teach their children  and college professors teach their students.  He  uses the story to point out that education about  his  enemy turned  his  enemy into  his  friend.
“YouTube’s removal of PragerU’s video is particularly alarming. YouTube labeled the video as ‘hate speech ’ which is ironic since the video is about fighting hatred and anti-Semitism  and is presented by a Muslim ” said Prager U’s Communication Director Jared Sichel.
Google and YouTube have censored  Prager U  in the past as well  having placed some of their educational content in the “restricted” column  which would block videos from being seen in places like schools  where these videos would have the most impact.
While  Prager U’s  videos have not carried mainstream messages  and even covered topics from views that are not politically correct   they  have never been inflammatory  obscene  or hateful. That YouTube is labeling this video promoting peace  understanding  and factuality as “hate speech” raises questions that should be asked about what values lay at the heart of the company.
[EX A]: yes

[EX Q]: Verify if the sentiment of the following document towards the entity Joanne is Positive . But Gaga has spent the past three years deconstructing her previous project  which is its own kind of performance. Elaborate dance pop ceded ground to jazz standards  showtunes  and country rock. Tentacle gowns went into the closet; jeans and a pink cowboy hat came out. The director Chris Moukarbel shot Five Foot Two largely on handheld—maybe even smartphone—cameras. You see Gaga cooking  recording  planning  crying  bonding. In one scene  she’s topless as she chats with her team by the poolside. The implication: This is Gaga  au naturel. Yet she never seems to forget the camera. Five Foot Two documents last year’s release of her album Joanne  and makes clear how much Gaga’s public reboot relied on demonstrating that she  like everyone else  suffers. Gaga has increasingly mined the traumas of her own life  with songs and philanthropic efforts growing out of her rape at age 19. The dissolution of her engagement to the actor Taylor Kinney  mournfully referenced a few times in the documentary  seemed to inform the breakup-themed Joanne singles “Perfect Illusion” and “Million Reasons.” But there was a deeper source of anguish on  Joanne   too. The album is named for  her  aunt  an aspiring artist who died of lupus at age 19 in 1974. “Seeing what that did to [my father] and my family was the most powerful thing I experienced growing up ” Gaga tells the journalist Darryl Pinckney in the film. “I am Joanne. I am my father’s daughter. That is what this record is about.”
The most memorable scene of the documentary comes when she first plays the album’s delicate  acoustic title track for her grandmother   Joanne’s  mom. The moment verges on uncomfortable  and not only because Gaga’s father   Joanne’s  brother  gets up and leaves the room in apparent distress midway through. Gaga herself seems hungry to have her telling of an ordeal she did not personally experience validated by those who did. “Did I get it right?” she asks her grandmother  mid-hug. “Yes you did ” her grandmother responds. But she has a warning for Gaga  too: “Don’t become maudlin over all this.” For now  Gaga is asking not for applause but understanding. It’s never explicitly stated  but Gaga seems to connect to  Joanne ’s story in part because of  her  own medical situation. Iconography about hospitals and crutches and wheelchairs over the years hinted that the seemingly bionic pop star faced problems of the flesh off-stage. In 2010   she  told Larry King  she  tested “borderline positive” for lupus.  She ’s still feeling the effects of the injury  she  sustained in 2013  as seen in a Five Foot Two moment when  she  pauses rehearsals for  her  Super Bowl halftime show because of hip tightness.  Fibromyalgia  appears to make that problem worse  and being a pop star in chronic pain certainly doesn’t seem easy. One scene shows  her  having  her  makeup done for a performance while sitting in a doctor’s examination room.
Gaga’s particular ailment is an almost-literal rendering of Jamison’s “pain without a cause”—which is  as  she  notes  “pain which can’t be trusted.” A poorly understood but widespread disorder that seems to inordinately affect women  fibromyalgia is sometimes assumed to be psychosomatic. “Drug Approved. Is Disease Real?” read a 2008 New York Times headline about the first FDA-sanctioned drug to treat it. Gaga has said that she wants to help raise awareness and research dollars. During one excruciating flare-up shown in Five Foot Two  she sympathizes with less-privileged sufferers of the disorder: “Like  I don’t know what I’d fuckin’ do if I didn’t have everybody here to help me.” A few moments later  she’s looking straight into the camera. “Do I look pathetic?” she asks  tear-streaked  lying on a couch  a therapist massaging her. “I’m so embarrassed.” It’s a powerful moment because the stigma of pain is clearly part of the pain itself. But it’s also aesthetically striking. To answer Gaga’s question  she actually looks like she did in parts of the “Bad Romance” video—crying  stripped down  and oddly luminous. It’s a sign of fame’s power on the viewer: Whatever lengths she might go to put person over persona  the persona remains. * * * Pop music has firmly moved on from the phase of gleeful  Technicolor artifice that Gaga stood for at her peak. Contemporaries in wildness like Kesha and Miley Cyrus have done much what Gaga has done and traded Alexander McQueen creations for cowboy boots. They have also made a diaristic turn  harmonizing their music with their angsty  tabloid sagas.
Usually this means trading on the spectacle of suffering to sell pop’s ultimate commodity—inspiration. Beyoncé’s Lemonade is the signal example  taking the sting of infidelity to spin a tale of hurt and overcoming. Kesha’s alleged abuse by her mentor and producer Dr. Luke was addressed and transcended on this year’s Rainbow. Katy Perry marketed her latest album with an on-camera therapy session in which she cried about her “real” self wanting to be known. Taylor Swift seems on the verge of unveiling a more acidic survival story. “Victim to victory” songs are always in fashion  but the latest boom relies  more than pop usually does  on the feeling of authenticity. Adult listeners of drive-time radio typically know they’re in the realm of fantasy and commerce  yet fully enjoying the confessional-pop performance means buying into the non-musical narratives surrounding them. Beyoncé rolled her own child and husband into the Lemonade visual experience. “I write this shit  baby ” Kesha insisted on a recent single. You’re explicitly asked to believe that the gap between performer and person is negligible.  Joanne  already fit into this triumphant-confessional class  with Gaga singing about family members and friends by name and roaring  “I might not be flawless but you know I’ve got a diamond heart.” The meta-text  all along  was Gaga’s own career arc—a sense that  she ’d come down from the heights  she ’d reached from 2008 to 2013  stumbled with  her  third album  and might never recover. Glimmers of past traumas and family tragedy contributed to the pathos.  Her  medical troubles would seem to retroactively add in a new layer  though it’s unclear when  she  received  her  fibromyalgia diagnosis  and little on the album can be heard as an explicit reference to illness. Certainly the lyrics about healing through love on  her  post- Joanne  single  “The Cure ” now seem a lot less generic.
[EX A]: yes

[EX Q]: Verify if the sentiment of the following document towards the entity Bezos is Negative . Independent news is more important than ever . Sign up for The Nation Daily and get our hard - hitting journalism in your inbox every weekday . Sign up for The Nation Daily and get our hard - hitting journalism in your inbox every weekday . Thank you for signing up . For more from The Nation   check out our latest issue Subscribe now for as little as $ 2 a month ! Support Progressive Journalism The Nation is reader supported : Chip in $ 10 or more to help us continue to write about the issues that matter . The Nation is reader supported : Chip in $ 10 or more to help us continue to write about the issues that matter . Sign up for Take Action Now and we ’ ll send you three meaningful actions you can each week . Sign up for Take Action Now and we ’ ll send you three meaningful actions you can each week . Travel With The Nation Be the first to hear about Nation Travels destinations   and explore the world with kindred spirits . Be the first to hear about Nation Travels destinations   and explore the world with kindred spirits . Sign up for our Wine Club today . Did you know you can support The Nation by drinking wine ? In a speech in May to graduates at his alma mater   Princeton University   he recounted a childhood memory : when   driving with his grandmother   a heavy smoker   he calculated by how many years her addiction would reduce her life expectancy . Announcing the result from the back seat   he expected praise for his deft math . But his grandmother just burst into tears . Ad Policy The Amazon founder ’ s geeky obsession with numbers evidently formed early   and despite the glimmer of discomfort revealed by his Princeton anecdote   his fervently quantitative take on the world clearly still predominates . In a letter accompanying the 2009 Amazon annual report   for instance   he sets out a mind - boggling 452 goals for the company in the coming year . The word " revenue " is mentioned only eight times   yet revenue growth is central to the Amazon story . Expanding both internationally and across other products — nonbook sales represent 75 percent of total Amazon turnover — Amazon ’ s global business has increased fifteenfold over the past decade   28 percent last year alone . Sales in 2009 topped $ 24 . 5 billion . To put that in perspective   in 2008 total sales by all US bookstores were less than $ 17 billion . Amazon is today   by some margin   the largest bookseller in the world . Related Article Commentary : Colin Robinson on Amazon ’ s Bad Business The Nation on Grit TV Of all the goals in the report   Bezos proudly points out   no fewer than 360 deal directly with customer needs . The customer has always been king in the Bezos ethos   and the formula for keeping the king happy is straightforward . " Amazon gives the customers what they want : low prices   vast selection and extreme convenience  " he told a shareholders ’ meeting . On these terms   Amazon ’ s success is stellar . It has more than 2 million titles on sale ; bestselling books are routinely discounted by 50 percent or more ; and it ranked first in BusinessWeek ‘ s " customer service champs " awards last year . But dig beneath the surface of the numbers and a more complex picture emerges   one suggesting that   stats notwithstanding   readers and writers may ultimately not be best served by Amazon ’ s race to become the biggest   cheapest and most convenient bookseller around . Amazon has not grown to where it is today by being touchy - feely . Sure   it adopted the informal trappings that characterized many of the new technology start - ups of the 1990s . But if  Bezos ’ s  first desk at  the company  was an old door on trestles   the business conducted from behind it has been as ruthless as anything  he  encountered in  his  previous gig as a Wall Street broker . Soon after Amazon ’ s launch in 1995    Bezos  told  his  employees that  he  wanted a place that was both " intense and friendly " but that " if you ever had to give up ‘ friendly ’ in order to have ‘ intense  ’ we would do that ."
[EX A]:
no