input: Raposo is best known for the songs he wrote for Sesame Street from its beginning in 1969 through the mid-1970s, and also for a time in the 1980s. He wrote the "Sesame Street Theme" - various versions of which have opened every episode - as well as many of its most popular songs, such as "Bein' Green", "C is for Cookie", "Sing" and "ABC-DEF-GHI". A version of "Sing" recorded by The Carpenters in 1973 reached #3 on the Billboard top singles chart. For many years, most of the music used in Sesame Street's film segments was also written -- and often sung -- by Raposo. Aside from his musical contributions, Raposo performed several uncredited stock characters on Sesame Street during the early 1970s. According to his son Nicholas in a 2002 telephone conversation, Joe Raposo usually chose to portray anonymous, silly characters in these segments, which were nearly always produced on 16 mm film. He also did voice-overs for a few animated segments. The Sesame Street character Don Music maintained a framed and autographed glamour photograph of Raposo on the wall of his Muppet atelier. Raposo was very fond of sweets according to many who knew him. One favorite food of his was cookies. It has been rumored the Wheel-Eating Monster created for commercial advertisers in the 1960s by Jim Henson may have been altered by Henson specifically into a "cookie" monster after Henson observed Raposo's unusual propensity for cookies; this has never been substantiated. Raposo was actually the first puppeteer to operate Cookie Monster on television for Sesame Street. His widow Pat Collins-Sarnoff celebrated his life with a milk and cookies reception. One of Raposo's Sesame Street compositions, "The Square Song", was used in the film Close Encounters of the Third Kind.

Answer this question "What puppet was Raposo on Sesame Street?"
output: Joe Raposo usually chose to portray anonymous, silly characters in these segments, which were nearly always produced on 16 mm film.

Question: Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.

Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire. In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio. In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good. She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."

Using a quote from the above article, answer the following question: what was the first film that she worked in?
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Answer:
Tashman made her film debut playing Pleasure in an allegorical segment of Experience,