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 Ted Cruz is Neutral . Cruz knows exactly what he 's doing . 
In no particular order , Texas senator and Republican presidential aspirant Ted Cruz has : said acts of Christian terrorism stopped centuries ago , forgetting the Ku Klux Klan and the shooting in Colorado last week ; claimed he has never met an anti-abortion activist who advocates violence , despite being endorsed by one just days before ; dismissed the need for Planned Parenthood because there is n't a shortage of "rubbers" in America ; and made an offhand comment that Colorado mass shooter Robert Dear could be a "transgendered leftist activist ." 
It even worked in Houston , a city in a state Ted Cruz is from . 
It 's typical Cruz : both self-aggrandizing and distant from the truth , with a little temporizing statement -LRB- "to some extent" -RRB- that rescues the self-aggrandizing part from being an outright lie . 
It shifts the conversation to candidate Ted Cruz . 
It distracts from conservatism 's violent rhetoric against Planned Parenthood and forces the fact-check process to address Cruz 's accusation . 
Ted Cruz is too smart not to know that replacing all of Planned Parenthood 's services with "rubbers" is objectively stupid . 
Ted Cruz is far from crazy , which is the essential Ted Cruz problem . 
And , sure , this sort of discussion might constitute playing the game of interpretation , but if Cruz would condemn Politifact for not engaging in the practice , he can hardly fault others for taking his exhortation seriously . 
But Ted Cruz knows exactly what he 's doing . 
Cruz is being interpretively nasty in part because of who he is , but also because fictionalizing America 's crisis moments is dramatically successful . 
As the Ted Cruz phenomenon glides on , without a change in tone or a moment of hesitancy , it 's easy to think of an old expression pro-wrestling expression : "Live the gimmick , brother ." 
Ted Cruz does awful things by intelligent design . 
On the other hand , it 's hard to believe that Cruz would seriously consider the breaking-news reporting of someone widely referred to as "The Dumbest Man on the Internet ." 
Ted Cruz is n't any different , and buying his line that he 's uniquely earned "Democrats '" label of crazy not only obscures the work , it 's part of it . 
Ted Cruz knows that , for all his erudition , he 's still an intellectual one-percenter in a party that rejects elites and revels in combative anti-knowledge . 
Reading his book is like watching him put his mask on in the morning : the pages wear on , and the incisive first half gets quieter , as the volume on the demagoguing second half gets louder , until there he is -- Ted Cruz , brother -- and the arena goes nuts . 
Even if he is not always likable , Young Ted Cruz is an interesting person . 
Cruz has mastered the useful gaffe . 
But once you get about halfway through the book -- to national events that were part of your own memory , where you could pen the story yourself , where you are no longer reading memories so far outside the fact checker 's reach that you have to take Cruz 's word for it -- suddenly you realize that what makes Ted Cruz 's book so exceptional is what makes him exceptionally nasty . 
For one thing , there is no plausible excuse for someone who graduated cum laude from Princeton , went to Harvard Law and clerked on the Supreme Court not doing the reading , but the Cruz argument , whatever it is , coasts through an environment in which there is no data to challenge it . 
For instance , despite being a 340-page work , the book possesses only 66 end notes , the plurality of which are dedicated to citing quotes from famous conservatives or noteworthy persons Cruz expects resonate with a right-wing audience . 
But it stands out when someone like Cruz inveighs against Obamacare -- his senatorial career 's Moby-Dick -- and only comes up with ham-handed anecdotes about meeting struggling Americans in the heartland . 
During Tuesday 's primary , candidates Donald Trump and Ted Cruz had a bitter Twitter exchange . 
Cruz also has a favorite line he likes to use , which appears on the stump and in his book . 
Naturally , Cruz ignores that premiums rose before Obamacare , that insurance companies Chicken Little all the time about rate hikes before rolling them back , and that part of the rise relates to people who are actually sick being able to get medical care that insurance companies actually have to pay for now . 
On that last point , for a litigator , Cruz seems really allergic to using a wonderful legal word like "rescission ," which is too bad , because it explains rate hikes and changing plans . 
But mentioning that would spoil the image of poor insurance companies that Cruz suggests were "lured into bed with Obamacare" via the Leninist thinking that "the capitalists will sell us the rope with which we will hang them ." 
She hugs Cruz and says , "I 'm a single mom ... I 've got six kids at home , and I 'm working five jobs . 
Cruz describes the Bush 2000 campaign as reeling from John McCain 's win in New Hampshire and needing to refocus . 
Luckily , Cruz notes , the Bush campaign could run to the right of McCain on tort and campaign finance reform , two issues that get the people to the polls in droves ! 
As it happens , those were two issues that Ted Cruz briefed George W. Bush on , while touring the state with him , which Bush later won . 
But if you want the Ted Cruz experience in a pinch , take his condemnation of biased journalism . 
Ted Cruz 's book , A Time for Truth , is , by comparison , almost delightful . 
Never mind that the rest of the speech , like most Cruz speeches , might have been recycled and already fact checked . 
Never mind that newspapers are limited by space and that Fisking an average Cruz speech requires a ream of paper . 
Given that , please never mind that the fact that has Ted Cruz in high dudgeon was about the game Space Invaders . 
Moreover , Politifact evidently shamelessly editorialized when they fact-checked Cruz -LRB- and every conservative 's -RRB- assertion that Obama kicked off his presidency by going on "a worldwide apology tour ." 
Then , before confronting the issue , Cruz concedes , "It 's true that he did n't explicitly add the words ` And I 'm sorry . '" 
So the new front in the liberal propaganda war is a fact check website that checked facts Cruz admits are not literally true without any poetical ear for interpretation . 
Busting Ted Cruz for selective narrative and hanging massive public policy decisions on anecdotal evidence -LRB- the most reliable kind ! -RRB- 
You have to deal with Ted Cruz differently because he demands it , because his endless invocation of his scholarship and the sharp , nimble way he chooses to tell his own story signals that this is how deftly his brain operates . 
So when a Ted Cruz spokesman later walks back the candidate 's comment that Robert Dear might have been a "transgendered leftist activist" by insisting that the candidate was just commenting on the lack of available information , you have to take it with a huge grain of salt . 
Yes , the full context of Cruz 's statement is more openly speculative : .
no

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.
yes

Verify if the sentiment of the following document towards the entity Rick Pitino is Negative . Rick Pitino   the masterful coach first lured to this basketball-besotted state in 1989 to heal somebody elseâs scandal  finally toppled 28 years later Wednesday in the gusts of the latest scandal in  his  own program. By the time the University of Louisville placed  him  on unpaid administrative leave and shut off  his  access to a promising 17th season â  he  previously coached the University of Kentucky from 1989 to 1997 â it left a city woozy with scandal fatigue.
 Pitino  expressed dismay and surprise at the allegations Tuesday  just as  he  had after the revelations that former Louisville assistant Andre McGee had paid a Louisville escort to entertain the Cardinalsâ players and recruits.
âThese allegations come as a complete shock to me â  Pitino  said in a statement released Tuesday. âIf true  I agree with the U.S. Attorneyâs Office that these third-party schemes  initiated by a few bad actors  operated to commit a fraud on the impacted universities and their basketball programs  including the University of Louisville. Our fans and supporters deserve better and I am committed to taking whatever steps are needed to ensure those responsible are held accountable.â
The menâs basketball program is already under NCAA probation for the 2015 scandal.  Pitino  faced a five-game suspension during the upcoming season as part of the penalties; in addition  Louisville was ordered to return money received for NCAA tournament appearances from 2012 through 2015 and to vacate 123 wins during that period  including the 2013 national championship. The university has appealed the ruling.
 Pitino  found success at nearly every NCAA stop  he  made in a coaching career that began in the mid-1970s. At Boston University   his  first head coaching job   he  led the Terriers to their first NCAA tournament appearance in 24 years.  Pitino  parlayed that success into a two-year run at Providence  where  he  guided the Friars to the 1987 Final Four.
Then  after a two-year run coaching the New York Knicks   he  left  his  dream NBA job in 1989 to take over at tradition-rich but scandal-plagued Kentucky  even though the Wildcats would be banned from live television in  his  first season and from the NCAA tournament in  his  first two seasons.
After that  however   Pitino  quickly had Kentucky back among the nationâs elite  with a memorable Elite Eight appearance in the Wildcatsâ first post-probation season in 1992 and a Final Four bid the season after that   his  first of three appearances in the national semifinals at the school. In 1996   he  led Kentucky to its first national title in 18 years.
After an unsuccessful four-year run as coach and team president of the Boston Celtics   he  was back at another faded Kentucky power: Louisville  which had not won an NCAA tournament game in Denny Crumâs last four seasons.

yes