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].

Verify if the sentiment of the following document towards the entity Nouri Kamal al-Maliki is Neutral . Even with a deadly car bombing and other mayhem marring the day -- the deadline for the American troop pullback under a Jan. 1 agreement -- Prime Minister Nouri Kamal al-Maliki seized on the occasion to position himself as a proud leader of a country independent at last  looking ahead to the next milestone of parliamentary elections in January.
 He made no mention of American troops in a nationally televised speech  even though nearly 130 000 remain in the country; most had already pulled back from Iraq's cities before Tuesday's deadline.
 In a national address  al-Maliki focused his praise on Iraqi troops and security forces for their role in fighting the insurgency. "The national united government succeeded in putting down the sectarian war that was threatening the unity and the sovereignty of Iraq " he said  as if the United States had played no role.
 President Barack Obama  who ran for office on a pledge to end the war  marked the occasion with minimal fanfare  declaring it "an important milestone" even as he warned of "difficult days ahead."
 "The Iraqi people are rightly treating this day as cause for celebration " he said.
 The withdrawal did not command its own presidential appearance -- his brief remarks were delivered at a ceremony honoring entrepreneurs -- a marked contrast with his predecessor  who rarely missed an opportunity to celebrate milestones in Iraq.
 Military experts anticipate more violence in the days ahead. Maliki's effort to capitalize on Iraq's latent anti-Americanism and to extol the abilities of his troops is a risky strategy. If it turns out that Iraqi troops cannot control the violence  al-Maliki will be vulnerable to criticism from rivals -- both if he has to ask the Americans to return but also if he fails to enforce security without them.
 Some American commanders have said they were taken aback by al-Malikial-Maliki's insistence on taking credit for all the security successes in Iraq  but they also see the importance of having him and Iraqi troops appear strong  especially in the face of multiple insurgent factions intent on destabilizing the government.
 Gen. Raymond T. Odierno brushed aside the dismissive tone of Iraqi leaders' public remarks about the Americans  saying that al-Maliki had personally thanked him on Monday night and again on Tuesday for the sacrifices American troops have made.
yes

Verify if the sentiment of the following document towards the entity Christopher Johnson is Positive . Jets Chairman and CEO  Christopher Johnson  navigated through the cacophony and made the smart decision not to institute a playoff mandate next season for Mike Maccagnan and Todd Bowles. Such an ultimatum during this critical juncture of the organizationâs rebuild would only serve to undermine the ultimate goal. It would be reckless and counterproductive. It would threaten to screw everything up.
âItâs always going to be about progress â  Johnson  said this week about how  he âll evaluate the 2018 season. âWe canât get there fast enough. I want to get to the playoffs. I want to get to the Super Bowl. I was serious about that desire to get to the Super Bowl before my brother gets back here. I would love to have that happen. But  there are no mandates. I think the fans are going to be happy with the way we move forward here. I just canât put down a mandate for these guys.â
 Johnson   you see  is smart.  He  knows that setting a postseason-or-else directive is counterproductive. Nothing good  frankly  can come from it.
 Christopher Johnson  made the right decision not to mandate a return to the playoffs in 2018. (Al Bello/Getty Images)
yes

Verify if the sentiment of the following document towards the entity Roger Ballen's is Positive . After 50 prolific years spent producing masterful black-and-white photographs   Roger Ballen  is ready to take  his  place as a master of the medium.
The past few years have seen major moves from the American-born  South African–based artist.  He  earned  his  own wing of Cape Town's Zeitz Museum of Contemporary African Art  after the Roger Ballen Foundation contributed the largest financial donation from a foundation the brand-new institution has seen yet. Outside of photography   he 's gone from directing Die Antwoord music videos to  his  own short films. With a new retrospective monograph  Ballenesque  out October 10 from Thames & Hudson  Ballen declares for all the world to hear that  he  is an icon.
Ballenesque opens with an essay by historian and cultural critic Robert J.C. Young. In it  Young begins to define the mesmerizing  "instantly recognizable" quality of Ballen's images  which he variously calls "prehensile portraits " "aleatory assemblages " "windowless walls " and "dark junctures of disjunction." When Young introduces these cornerstones of  Ballen 's style  he writes  "We isolate four; you  the viewer of the photograph  may add a fifth to complete the secret."
The rest of the book is a guided tour through  Ballen 's work  complemented by 50 pages of the artist's own anecdotes  autobiography  thoughts on technique  and philosophy. It all starts with blurry family portraits  Ballen  shot with a Mamiya camera  he  bought at 13 years old.  He  shares the first photo  his  that  he  really liked  a picture of a dead cat on the side of the road.
As  he  got older   he  became a documentarian of 60s and 70s counterculture  from grimacing Vietnam War protesters to carefree nudists at Woodstock. Many photos from this period in  his  career are shown for the first time within the pages of Ballenesque. By 1979   Ballen  had begun to travel the world  collecting snapshots of kids from New York to Indonesia that would be collected into a series called Boyhood.
When he moved to South Africa   Ballen  became fixated on the human toll of apartheid.  He  traveled the impoverished South African countryside as a geologist  but photographed the people and places  he  saw along the way.  He  collected these images into the two series that made  him  famous  Platteland and Outland.
Also debuting in the new monograph are Ballen's paintings from the 1970s  which informed  his  abstract photography in Asylum of the Birds and The Theater of Apparitions. "It was exciting to put those paintings in the book "  he  said. Many of the paintings were lost when  his  father cleaned them out of their childhood home  but the ones that survive have been documented for Ballenesque. "I didn't paint for 30 years  but in a way these set the foundation for my later work."
By the end of the text   Ballen 's work seems to exist  like one of his paintings  largely within his own mind. "From about 2002 onward  you rarely see a human face in the photos "  Ballen  said.  His  current project  teased in the final pages  is called Ah Rats. Now the vermin that have infested the edges of  his  work for years are at its center. In January   Ballen  art directed Die Antwoord's video for "Tommy Can't Sleep " which is full of the rats that are on his brain.
 Ballen  still walks Johannesburg looking for places to take pictures for around five hours a day.  He  spends the rest of  his  time with  his  family  administrating the Roger Ballen Foundation  and tending  his  collection of more than 100 pets. "There's rats  snakes  chickens  ducks  lizards  rabbits  spiders  doves  pigeons  crows  mice "  he  rattles off. Around 10 percent have names  including a bird named Icarus and a rat named Stoffel.
Icarus  Stoffel  and  Ballen 's Johannesburg home are far from the roiling American political scene  but  Ballen  has some advice for young artists trying to distinguish themselves in a photographic era he describes as "amorphous" compared to when he cut his teeth.
Ballen is quick to clarify that he doesn't mean photographers should risk physical harm by "jumping the White House fence" to get a unique photograph. "It's years and years and hours and hours later that you're developing an approach. My pictures are powerful because they access the subconscious mind. 'On the line' can mean psychological  as well as physical." Years spent paying attention to places and people others would rather ignore are how  Ballen  put  himself  on the line. As a result   his  photographs of outsiders help the rest of us look inward.

no