1{2 "document_id": "lb_hotpotqa_1d81e1f410acc77f1d9a844f811045c2cecb0fdc9e717d41",3 "family": "public_hotpotqa",4 "split": "dev",5 "text": "Passage 1:\nPamela B. Green\nPamela B. Green is a two-time Emmy-nominated, award-winning American film director and producer known for her work in feature film titles and motion graphics. She is the director, writer, editor and producer of the documentary Be Natural: The Untold Story of Alice Guy-Blaché. In 2020, she was awarded the Jane Mercer Researcher of the Year award at the FOCAL International awards for her work on Be Natural.\n\nPIC Collective\nIn 2005, Green co-founded PIC Collective, an audiovisual communications studio focused on entertainment and motion design. PIC Collective designs and produces content for motion pictures, television, and commercials, and has done main title sequences for over 100 feature films and for every major Hollywood studio. Since PIC Collective's founding, Green has creative-directed and produced main titles and marketing campaigns for The Kingdom, Twilight, The Cabin in the Woods, The Muppets, 42, and numerous others, as well as TV show packages for the Academy Awards, the Billboard Awards, the Critics’ Choice Awards, and the mini-documentary sequences for VH1ʼs Soul Divas: History of Soul Music.The title sequence for The Kingdom was honored with a place on the Independent Film Channel's list “The 50 Greatest Opening Title Sequences of All Time”. PIC Collective was also awarded a 2013 Key Art Award in Audio/Visual Technique for the titles of The Wolverine.On November 21, 2019, PIC Collective won Silver for a Clio Award in the category best Audio Visual Technique in Motion Graphics.\n\nBe Natural\nIn 2012, Green began working on Be Natural: The Untold Story of Alice Guy-Blaché, a feature-length documentary about the first female film director. Green produced, directed, wrote and edited the documentary with executive producer Robert Redford. In 2013, Green and her team raised over $200,000 via Kickstarter to further fund the documentary. .\nIn addition, Green was a recipient of the Sundance Institute Documentary Fund. The film premiered in the Official Selection of Cannes Classics 2018 and then had its North American premiere at the Telluride Film Festival, followed by the Deauville American Film Festival, New York Film Festival, and the BFI London film Festival. It was acquired by Zeitgeist Films in association with Kino Lorber and was released in theaters in April 2019. The film was well-received by most critics, with Deadline's Pete Hammond calling it \"the Best Film In Cannes\" and Katie Walsh for the Los Angeles Times calling it \"illuminating\". Be Natural was nominated by the Critics Choice Documentary Awards in the Best First Documentary Category. Be Natural was recently awarded Best Documentary at the 2020 Vancouver International Women in Film Festival. On November 17, 2019, after a screening of the film at the Barrymore Film Center, the Fort Lee Film Commission awarded director Pamela B. Green with the Barrymore Film Center Alice Guy-Blaché Award and narrator Jodie Foster with the Barrymore Film Center Award.\nBe Natural was nominated for five awards at the 2020 FOCAL International Awards and took home the prize for Best Use of Footage in a Cinematic Feature and the Jane Mercer Researcher of the Year Award.\nIn December, the film was named one of the 50 Best Films of 2020 in the UK by The Guardian. \nLater in December, the film was named one of the 10 Best Documentaries in Peter Bradshaw's film picks of 2020.In 2021, Be Natural was nominated for a Peabody Award.\n\nLegwork Collective\nIn 2018, Green founded Legwork Collective, a media company that focuses on telling inspiring and moving scripted and unscripted stories that bring overlooked figures to the forefront via film, television, and audio.In 2020, Legwork Collective received a grant from The Redford Center to direct a nonpartisan Public Service Announcement encouraging young people to Take Action and Vote!\n\nFilmmaker\nGreen directed the 2008 short Compact Only, which was nominated for Best Short at the Milan International Film Festival, for the Audience Award in the Fresno Film Festival, Best Short at the Beverly Hills Shorts Festival, and for the Best Short at The Int'l Fest of Cinema and Technology. The film won Best Short at the Tallahassee Film Festival, Best Short at the Treasure Coast International Film Festival, Accolade Film Award Winner, Best Comedy Short at the Gone With the Film Festival, Winner Aloha Accolade Award Honolulu, and much more.\nGreen was a co-producer on the 2010 documentary Bhutto about the 11th Prime Minister of Pakistan, Benazir Bhutto.\nIn 2011, Green directed the music video for The Click Five's song “Don’t Let Me Go”, which was created in partnership with MTV EXIT and featured a message to raise awareness about human trafficking.\nIn 2012, Green directed a commercial for Super-Max Razors which starred actor Gerard Butler.In 2012, Bhutto was nominated for an Emmy for Outstanding Continuing Coverage of a News Story – Long Form.In 2014, Green was included in Saul Bass's book Anatomy of Film Design, listing her as being part of a \"wholly digitally trained generation of title designers.\"In 2014, Green was selected to serve as a juror for Excellence in Title Design category at the 2014 South by Southwest Film Festival.In 2016, Green directed an Audi commercial.\nIn 2016, Green was selected to serve as a judge for The Motion Awards for motionographer.com.In 2018, Green's documentary Be Natural: The Untold Story of Alice Guy-Blaché premiered at Cannes.\nIn 2020, Green directed the nonpartisan PSA, Take Action and Vote! for the Redford Center.In 2021, Green's documentary Be Natural: The Untold Story of Alice Guy-Blaché was nominated for a Peabody In 2021, Be Natural was nominated for an Emmy for Outstanding Research:Documentary.Green is currently working with co-writer Joan Simon and co-producer Cosima Littlewood on a feature biopic script about the mother of cinema, Alice Guy-Blaché, which will feature new material not seen in the documentary Be Natural.Green has also developed Aces Never Sleep, a female-driven detective series, with Jamie Wolf's Foothill Productions and former CAA agent John Ptak, and they are in talks with different financiers. The series takes place during a pandemic, social unrest, economic crisis, racism and a polarized America. Kate Warn and her team of lady operatives are behind the true origins of the Pinkerton Detective Agency, founded by fervent abolitionist Allan Pinkerton. Historical figures appear throughout the series, including Frederick Douglass and Abraham Lincoln, notably when the agency's most valued Ace Kate Warn and fellow detectives thwart an assassination attempt on the President-Elect.\n\nAwards and accolades\nSelected filmography\nSee also\nAlice Guy-Blaché\nPassage 2:\nAnani ben Sason\nRabbi Anani ben Sason (Hebrew: רבי ענני בר ששון; also called 'Anani, 'Inani, and 'Inyani) was a Jewish Talmudist who lived in the Land of Israel in the third century (third generation of amoraim).\n\nTeachings\nHe was a contemporary of Rabbi Ammi. He rarely discussed Halakhot, and his discussions of them were not original. Once he recited a Halakhah in the patriarch's mansion, without naming its author, which provoked Ammi to ask: \"Is it his own? It is what Rabbi Eleazar had reported in the name of Rabbi Oshaiah\".In aggadah, he sometimes reported the sayings of others, but more often he was original. Thus, to explain the juxtaposition of the laws of sacrifice and priestly vestments, he argues that the priestly vestments were to provide atonement just as the sacrifices do. He represents the miter as atoning for haughtiness, and cites R. Chanina as saying, \"That which rests highest on the priest atones for one's considering himself high\"; and similarly with the rest of the priestly garments.Referring to God's appearance in the burning bush he remarks, \"The Holy One—blessed be He!—said to Moses, 'When I will it, one of my angels stretches forth his hand from heaven and reaches to the ground,' as Scripture says, 'He put forth the form of a hand, and took me by a lock of my head'; and when it so pleases me, I make three angels sit under one tree; when I choose, my glory fills the universe, as it is written, 'Do I not fill heaven and earth? says the Lord'; and when I so willed, I spoke to Job in a whirlwind, as it is said \"The Lord answered Job out of the whirlwind\"\".The same idea, though in different form, is found elsewhere in the name of R. Chanina b. Issi (Sissi). As the name of the subject of this article is sometimes written 'Inani and also 'Inyani—which forms are dialectic variations of Chanina, though with the initial aleph instead of ayin—the circumstance probably suggested the identity of the two names. But this identification meets with insuperable chronological difficulties, Chanina b. Sissi being a contemporary of Johanan, while 'Anani was younger even than Johanan's pupils.\nIsaac Reichlin aptly suggests that Anani's real name was Ananiel, as it is still preserved in Exodus Rabbah 3:7, and that its apocopated form was adopted to avoid the mention of the name \"El\" (God) in common speech.\nPassage 3:\nLev Yilmaz\nLevni Yilmaz (born 1973) is an American independent film maker, artist and publisher, best known for his \"Tales of Mere Existence\" animated comic series. He is based in San Francisco.\n\nEarly life\nYilmaz was born in Boston, Massachusetts to parents Karen Carlson and physicist Hüseyin Yılmaz (the author of the Yilmaz theory of gravitation). He is of Turkish and Swedish descent.He attended art school in Boston before he moved to San Francisco in 1998.\n\nTales of Mere Existence\nThe \"Tales of Mere Existence\" series began in 2002 as a series of animated comics that were shown at film festivals.\nEach video in the \"Tales of Mere Existence\" series shows a series of static cartoons, which appear gradually as if being drawn by an invisible hand. Yilmaz' technique is inspired by the French documentary The Mystery of Picasso (1956), which similarly shows Picasso's paintings appearing from the other side.\nYilmaz writes, draws, films, edits, and narrates all of the \"Tales of Mere Existence\" videos. He often recounts personal anecdotes and observations and discusses his views on interpersonal relationships, society and human behavior. His videos are told from a rather pessimistic viewpoint and tend to have a sarcastic undertone.\nIn 2003, Yilmaz began to sell DVDs that contained some of his short comic films. Along with the DVD came the first print version of the \"Tales of Mere Existence\" book. Over the next six years, Yilmaz published three more books, as his fan base grew to thousands. His first official book, Sunny Side Down, was published by Simon & Schuster in 2009.\n\nPopularity\nIn recent years Yilmaz gained a large fan base with millions of followers around his animated comics on YouTube. He uses this online popularity to promote his books and DVDs, which are sold from his personal website. \nYilmaz has made appearances in New York for events such as Rooftop Film Festival, performing live readings from his books.\nIn October 2010, his comic God was featured on Franco-German TV Network arte. In December 2010 A Few of My High School Teachers aired on Showtime.\n\nPublications\nTales of Mere ExistenceTales of Mere Existence I (2003)\nTales of Mere Existence II (2004)\nThe 7 Habits of Highly Negative People (2006)\nSunny Side Down (2009)\nThe Doom Room (2013)\nPassage 4:\nAES+F\nAES+F is a collective of four Russian artists: Tatiana Arzamasova (born 1955), Lev Evzovich (born 1958), Evgeny Svyatsky (born 1957), and Vladimir Fridkes (born 1956). It was first formed as AES Group in 1987 by Arzamasova, Evzovich, and Svyatsky, becoming AES+F when Fridkes joined in 1995. The collective works in photography, video, installation, and animation, as well as more traditional media, such as painting, drawing, and sculpture. AES+F's early work included performance, installation, painting, and illustration. Well known for their monumental video-art installations that Gareth Harris describes as \"monumental painting set in motion\", AES+F create grand visual narratives that explore contemporary global values, vices and conflicts.\n\nMembers\nTatiana Arzamasova\nTatiana Arzamasova was born in 1955 in Moscow, where she graduated from Moscow Architectural Institute (MArchI) – State Academy in 1978. Prior to founding AES Group, Arzamasova was a conceptual architect. She participated in conceptual architecture exhibitions in London, Paris, and Venice.\n\nLev Evzovich\nEvzovich was born in 1958 in Moscow, where he graduated from Moscow Architectural Institute (MARCHI) – State Academy in 1982. Prior to founding AES Group, Evzovich also worked in conceptual architecture. He participated in conceptual architecture exhibitions in Milan, Frankfurt-on-Main, and Paris. He also worked as an art director in film.\n\nEvgeny Svyatsky\nEvgeny Svyatsky was born in 1957 in Moscow, where he graduated from the Moscow University of Print Design in 1980. Prior to founding AES Group, Svyatsky worked in book illustration, advertising, and graphic design. He also worked as the creative director for publishing houses in Moscow.\n\nVladimir Fridkes\nVladimir Fridkes was born in Moscow in 1956, where he worked as a fashion photographer prior to joining the collective. His work was published in many leading fashion magazines: VOGUE, Harper's Bazaar, ELLE, Marie Claire, Cosmopolitan and the Sunday Times Style.\n\nCareer\nAES+F began their career as AES Group, with Arzamasova, Evzovich, and Svyatsky forming the group in 1987. The collective exhibited internationally for the first time in 1989 with a solo show at Howard Yezerski Gallery in Boston, and a performance at the Carpenter Center at Harvard University in Cambridge. The group expanded with the addition of the photographer Vladimir Fridkes in 1995 and subsequently changed its name to AES+F. \nThe collective achieved wider recognition in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with Last Riot (2007), the first in a trilogy of large-scale, multi-channel video installations. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. Together, all three projects premiered as The Liminal Space Trilogy in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city. The Trilogy was shown in the Museum of Fine Arts in La Chaux-de-Fonds, Switzerland (June–September 2014). Most recently all three videos were shown at Albright–Knox Art Gallery, Buffalo, NY (June–September 2015).AES+F have exhibited at numerous international festivals: (namely the biennales of Venice, Lyon, Sydney, Gwangju, Moscow, Gothenburg, Havana, Tirana, Istanbul, Bratislava, Seoul etc.), ARS-06 (KIASMA, Helsinki). Their works appear in some of the world's most important collections, such as Moderna Museet (Stockholm), Musée de l'Elysée (Lausanne), MOCAK (Kraków), Sammlung Goetz (Munich), ZKM (Karlsruhe), Maison européenne de la photographie (Paris), Art Gallery of South Australia (Adelaide), and the Museum of Old and New Art (Tasmania), Centro de Arte Dos de Mayo (Madrid), Centre Georges Pompidou (Paris), and the Louis Vuitton Foundation (Paris). Their work is represented in some of Russia's principal national museums, such as Tretyakov Gallery (Moscow), Russian Museum (St. Petersburg), and the Multimedia Art Museum (Moscow).AES+F's project Inverso Mundus was presented at the 56th Venice Biennale as a collateral event at the Magazzini del Sale and later presented at COME ALIVE (Niet Normaal INT) in Het Nieuwe Muntgebouw, Utrecht, The Netherlands.On 22 April 2022, they publicly denounced the Russian invasion of Ukraine, declaring \"The Putin regime continues to commit war crimes, destroying Ukrainian cities, killing thousands of people, depriving millions of their homes, families and futures\". They thus called for people to donate to NGO charities helping war refugees.\n\nWorks\nIslamic Project (1996-2003)\nIslamic Project began in 1996 as a performance and public intervention. AES+F created the \"AES Travel Agency to the Future,\" an imitation of a travel office with subversive materials - souvenirs from a future in which the influence of Islam has been superimposed upon all of Western culture in the form of architectural and cultural transformations. In one of the images, the artists transformed the Statue of Liberty to show her in a Burka, holding a Quran; in another, they prophetically depict the New York skyline absent of the Twin Towers. The project has been met with attempts to censor certain imagery when it was shown in the New Art Gallery in Walsall, United Kingdom in 2006.In 2000, AES+F created another installation in the form of a Bedouin tent titled \"Oasis\", consisting of a series of traditional carpets, each with imagery from the Islamic Project printed on silk in the center.\" Oasis was first exhibited at the La Caixa Foundation in Barcelona, Spain.\n\nKing of the Forest (2001-2003)\nThe King of the Forest is a trilogy of projects inspired by Erlkönig, the Ogre - a mythological creature of medieval Europe and also the subject of an eponymous novel by Michele Tournier. The King of the Forest stole beautiful children from nearby villages and kept them in his palace. According to AES+F, this series of projects concerns itself with the theft of youth by mass media culture - a contemporary analogue to the medieval Ogre.In AES+F's King of the Forest, the artists created three videos on different continents - Le Roi des Aulnes in St. Petersburg, More than Paradise in Cairo, and KFNY in New York. The first in the series, Le Roi des Aulnes, was shot at Catherine the Great's palace in Tsarskoye Selo. The second, More than Paradise, was shot at the Mosque of Muhammad Ali. The final project in the series, KFNY, was shot on Military Island in Times Square.\n\nThe Liminal Space Trilogy\nThe Liminal Space Trilogy attempts to analyze the 21st century from the perspective of a centuries-old art-historical tradition of depicting Hell, Heaven, and Purgatory. The trilogy is presented as three projects consisting of video installations, prints, drawings, paintings, and sculptures. It is set respectively in a video game landscape, an exotic luxury resort, and a futuristic airport, each of which is depicted as a unique surrealistic fantasy that explores contemporary themes.\n\nLast Riot (2005-2007)\nThe project consists of an HD video installation (3- and 1-channel versions), series of stills from the video, series of pictures, series of drawings, series of sculptures\nLast Riot premiered at the Russian pavilion at the Venice Biennale in 2007. The work depicts an imagined future digitally manipulated where snow-capped mountains sit next to desolate beaches, neon dragons rest atop oil platforms, planes collide without flames, and a band of attractive teens with completely ambiguous and detached facial expressions are engaged in ritualistic battle with one another and with themselves.Conceived as a reflection of the 21st century, Last Riot raises questions regarding Western values, and reflects contemporary Western mythology without passing judgment. The visual ethos of Last Riot is rife with allusions to art history, from Caravaggio and Baroque painting, to Romanticism, combined with contemporary visual culture in the form of advertising, film, and video games, and traversing the aesthetic line between beauty and ugliness.\n\nThe Feast of Trimalchio (2009-2010)\nThe second project in the Liminal Space Trilogy, The Feast of Trimalchio, is titled as such in reference to the epic \"Satyricon\" by Gaius Petronius Arbiter, namely, the Cena Trimalchionis, which describes the life of a wealthy former slave who hosts gluttonous and orgiastic feasts. In AES+F's The Feast of Trimalchio, an imaginary island with an absurdly luxurious resort-hotel, which is a de-personification of Petronius' Trimalchio, serves as a \"temporary paradise\" that guests pay to enter. The guests of the hotel indulge in all of the contemporary pleasures perpetuated in advertisements of resort getaways, from leisurely fitness to \"body purification,\" while the viewer sees any notion of social hierarchy dissipate as the masters begin to court the servants, acting out their fantasies of a Roman Saturnalia.The project consists of an HD video installation (9-, 3-, and 1-channel versions), series of pictures, series of stills from the video, series of portfolios with photographs and drawings.\n\nAllegoria Sacra (2011-2013)\nThe project consists of an HD video installation (5-, 3-, and 1-channel versions), series of pictures, series of stills from the video.\nAllegoria Sacra is the final part of the Liminal Space Trilogy. Named after Giovanni Bellini's eponymous painting which hangs in the Uffizi Gallery, AES+F's Allegoria Sacra represents Purgatory. Taking place in a futuristic international airport, Allegoria Sacra serves as a metaphor for limbo, where the souls of \"righteous sinners\" await their fate. The characters that inhabit Giovanni Bellini's masterpiece, from biblical figures to mythological creatures, were transposed and sometimes reinterpreted by AES+F. The Saracen-Muslim was transformed into a group of refugees. St. Sebastian became a young, shirtless traveler, hitchhiking his way through tropical countries, while Apostle Paul is represented as an airport policeman. However, AES+F's piece is more of an allegory of contemporary life than a reinterpretation of Giovanni Bellini's painting. As the travelers enter dream-like states, the airport and the aircraft undergo several metamorphoses, while the landscape and the climate go through four phases - from being a snowy field to a desert, a jungle, and finally becoming an endless river Styx.Maintaining their signature style, AES+F combine recognizable motifs from art-history and pop-culture, such as the numerous allusions to Stanley Kubrick's film 2001: A Space Odyssey. Allegoria Sacra weaves complex global issues into visually compelling metaphors, letting them unfold in the neutral transitory space of an airport, where all kinds of things can temporarily coexist before going to their destination.\nAllegoria Sacra won the Sergey Kuryokhin Award (2011), the main award of the Kandinsky Prize (2012), the main award of the Nordart Festival (2014), and the Pino Pascali Prize (2015) (18th Edition).\nPassage 5:\nAryanto Yuniawan\nAryanto Yuniawan (born June 18, 1977 in Magelang; age 40) is Chief Executive Officer of PT Mataram Surya Visi Sinema, a multimedia and animation movie company located in Jogja Indonesia. Ary (his nickname) is best known as a director of Battle of Surabaya, the first 2D animation movie in Indonesia which got some awards i.e. Gold Remi Award USA 2016, GrandPrize Winner of SICAF 2016 in South Korea, Winner of Nice International Filmmaker Festival 2017 in France, Winner of Nioda International Film Festival in India and others. He is also acclaimed as a writer, a producer, and currently working on several articles and books related to his job and hobby. He started his career from directing and producing independent animation films including music videos. He was trusted to be one of the juries of several film festivals such as Festival Film Indonesia (FFI 2016), Noida International Film Festival (NIFF 2016), and Seoul International Cartoon and Animation Festival (SICAF 2017).\nAryanto Yuniawan was chosen to be an individual recipient of the National Intellectual Property Award 2016 from the Directorate General of Intellectual Property, Ministry of Justice and Human Rights, Republic of Indonesia (DJKI Kemenkumham RI). The award was submitted by Vice-president of the Republic of Indonesia (Vice-president), M. Jusuf Kalla to him with eight other recipients.\n\nEducation\nAryanto was born in Magelang, Central Java, Indonesia. He is the oldest of two siblings. After finishing the middle school from SMPN 2 Magelang and highschool from SMAN 1 Magelang, he studied at STMIK Amikom (now University Amikom) in Diploma degree. He gained his bachelor of computer science then and completed his master in the same university in 2017.\n\nFilmography\nAs director\nBattle of Surabaya (2015)\nThe Profesional (2012)\nPetualangan Abdan (2011)\nGoodbye World (2010)\nLestari (2010)\nThe Letter of Heaven (2010)\nJatayu (2009)\nLembah Halilintar (2009)\n\nAchievements\nCareer\nLecturer at STMIK AMIKOM Yogyakarta\nGeneral manager of PT Mataram Surya Visi Pictures (2003-2014)\nChief executive Officer of PT Mataram Surya Visi Sinema (2014–Present)\n\nAwards\nBest Animation. The International Filmmaker Festival of World Cinema. 2017. Nice, France.\nGold Remi Award. Houston International Film Festival. 2016. Houston, Texas.\nGrand Prize. Seoul International Cartoon and Animation Festival. 2016. Seoul, Korea.\nBest Animation. Noida International Film Festival. 2016. New Delhi, India.\nWinner of People's Choice Award. International Movie Trailer Festival. 2013. California, Amerika Serikat.\nOfficial Selection. Holland Animation Film Festival. 2016. Utrecht, Belanda.\nOfficial Selection. Dingle International Film Festival. 2016. Dublin, Irlandia.\nOfficial Selection. Fantoche Internasional Animation Festival Film. 2016. Baden, Swiss.\nSpecial Screening. Athena Animfest. 2016. Athena, Yunani.\nSpecial Screening. New Chitose Internasional Animation Festival. 2016. Hokkaido, Jepang.\nNominee of Best Foreign Animation Trailer. Annual Golden Trailer Award. 2014. California, Amerika Serikat.\nNominee of Apresiasi Film Indonesia. Art and Film Board of Ministry of Culture & Education. 2012. Jakarta, Indonesia.\nFirst Winner of Indigo Fellowship Category. PT Telekomunikasi Indonesia. 2012. Jakarta, Indonesia.\nWinner of ICT Award Category. Digital Animation Inaicta. Minister for Communication and Information Technology. 2012. Jakarta, Indonesia.\nNominee of Animafest 2D Short Animated Film MNCTV. (Briptu Dorman). 2011. Jakarta, Indonesia.\nSecond Winner of Digital Animation (The Adventure of Abdan – Honesty). Exhibition of Indonesian Production. Minister of Industry Republic of Indonesia. 2009. Jakarta, Indonesia.\nNominasi International Urbanimation. (The Adventure of Abdan – Kites). 2008. Jakarta, Indonesia.\nMerit Winner ICT Award Category. Digital Animation Inaicta. Minister for Communication and Information Technology. 2000. Jakarta, Indonesia.\nPassage 6:\nSeasoned Veteran\nSeasoned Veteran is the third studio album by American rapper Richie Rich. It was released November 5, 1996 on Def Jam Recordings, and to date is the only major label release for the artist. The album was produced by Ali Malik, DJ Daryl, Doug Rasheed, Jermaine Dupri, Lev Berlak, Mike Mosley, Richie Rich and Rick Rock. It peaked at number 11 on the Billboard Top R&B/Hip-Hop Albums and at number 35 on the Billboard 200. Two of the singles released, \"Let's Ride\" and \"Do G's Get To Go To Heaven?\", both appeared on multiple Billboard singles charts. The album features guest performances by 2Pac, E-40, Luniz, D'wayne Wiggins, T-Boz, and Rame Royal of Rhythm & Green.\nAlong with the single, a music video was produced for the song, \"Let's Ride\". A second single, \"Do G's Get To Go To Heaven?\", was also released as a music video, featuring Bo-Roc, and is dedicated to the memory of Tupac Shakur.\nIn the song \"Niggas Done Changed\" Feat. Tupac, 2Pac predicts his own death by saying “I been shot and murdered, can't tell you how it happened, word for word / But best believe niggas gonna get what they deserve.”\n\nCritical reception\nThe Source – \"...Seasoned Veteran is one of the few albums available in the reality rap genre that lives up to its name and comes close to meeting the listener's expectations...\"\n\nTrack listing\nSamples\nFresh Out\n\n\"For the Love of Money\" by The O'JaysLet's Ride\n\n\"(Not Just) Knee Deep\" by FunkadelicPillow\n\n\"(Lay Your Head on My) Pillow\" by Tony! Toni! Toné!\n\nChart history\nAlbumSingles\n\nPersonnel\nPassage 7:\nLev Kuleshov\nLev Vladimirovich Kuleshov (Russian: Лев Владимирович Кулешов; 13 January [O.S. 1 January] 1899 – 29 March 1970) was a Russian and Soviet filmmaker and film theorist, one of the founders of the world's first film school, the Moscow Film School. He was given the title People's Artist of the RSFSR in 1969. He was intimately involved in development of the style of film making known as Soviet montage, especially its psychological underpinning, including the use of editing and the cut to influence the emotions of audience, a principle known as the Kuleshov effect. He also developed the theory of creative geography, which is the use of the action around a cut to connect otherwise disparate settings into a cohesive narrative.\n\nLife and career\nLev Kuleshov was born in 1899 into an intellectual Russian family. His father Vladimir Sergeyevich Kuleshov was of noble heritage; he studied art in the Moscow School of Painting, Sculpture and Architecture, despite his own father's disapproval. He then married a village schoolteacher Pelagia Aleksandrovna Shubina who was raised in an orphanage, which only led to more confrontation. They gave birth to two sons: Boris and Lev.\nAt the time Lev Kuleshov was born, the family became financially broke, lost their estate and moved to Tambov, living a modest life. In 1911 Vladimir Kuleshov died; three years later Lev and his mother moved to Moscow where his elder brother was studying and working as an engineer. Lev Kuleshov decided to follow the steps of his father and entered the Moscow School of Painting, although he didn't finish it. In 1916 he applied to work at the film company led by Aleksandr Khanzhonkov. He produced scenery for Yevgeni Bauer's pictures, such as The King of Paris, For Happiness and others. With time Kuleshov became more interested in film theory. He co-directed his first movie Twilight in 1917. His next film was released under the Soviet patronage.During 1918–1920 he covered the Russian Civil War with a documentary crew. In 1919 he headed the first Soviet film courses at the National Film School. Kuleshov may well be the very first film theorist as he was a leader in the Soviet montage theory – developing his theories of editing before those of Sergei Eisenstein (briefly a student of Kuleshov). He contributed the article \"Kinematografichesky naturshchik\" to the first issue of Zrelishcha in 1922. Among his other notable students were Vsevolod Pudovkin, Boris Barnet, Mikhail Romm, Sergey Komarov, Porfiri Podobed, Vladimir Fogel and Aleksandra Khokhlova who became his wife. For Kuleshov, the essence of the cinema was editing, the juxtaposition of one shot with another. To illustrate this principle, he created what has come to be known as the Kuleshov effect. In this now-famous editing exercise, shots of an actor were intercut with various meaningful images (a casket, a bowl of soup, etc.) in order to show how editing changes viewers' interpretations of images. Another one of his famous inventions was creative geography, also known as artificial landscape. Those techniques were described in his book The Basics of Film Direction (1941) which was later translated into many languages.\nIn addition to his theoretical and teaching work, Kuleshov directed a number of feature-length films. Among his most notable works are an action-comedy The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a psychological drama By the Law (1926) adapted from the short story by Jack London and a biographical drama The Great Consoler (1933) based on O. Henry's life and works. In 1934 and 1935 Kuleshov went to Tajikistan to direct there Dokhunda, a movie based on the novel by Tajik national poet Sadriddin Ayni, but the project was regarded with suspicion by the authorities as possibly exciting Tajik nationalism, and stopped. No footage survives.\n\nAfter directing his last film in 1943, Kuleshov served as an artistic director and an academic rector at VGIK where he worked for the next 25 years. He was a member of the jury at the 27th Venice International Film Festival, as well as a special guest during other international film festivals.\nLev Kuleshov died in Moscow in 1970. He was buried at the Novodevichy Cemetery. He was survived by his wife Aleksandra Khokhlova (1897–1985) – an actress, film director and educator, granddaughter of Pavel Tretyakov and Sergey Botkin – and Aleksandra's son Sergei from her first marriage.\n\nAwards and honours\nOrder of the Red Banner of Labour (1944)\nOrder of Lenin (1967)\nPeople's Artist of the RSFSR (1969)\n\nFilmography\nPassage 8:\nPamela B. Davis\nPamela B. Davis is a pediatric pulmonologist specializing in cystic fibrosis research. She has been Dean of the School of Medicine at Case Western Reserve University since 2007. She was elected to the Institute of Medicine in 2014.\nPassage 9:\nPamela Gilbert\nPamela B. Gilbert (born October 3, 1958) is an American lawyer and has been a partner of the law firm Cuneo Gilbert & LaDuca, LLP since 2003, where she heads the firm's lobbying practice. Gilbert is a noted consumer rights advocate who has testified before Congress over fifty times and made dozens of appearances in the national print and electronic media. Gilbert leads the Committee to Support Antitrust laws (COSAL), an organization supportive of antitrust legislation.\n\nEarly career and education\nGilbert graduated magna cum laude from Tufts University with a B.A. in Mathematics in 1980 and received her J.D. degree from New York University in 1984. She was a Root-Tilden scholar at NYU Law School.After law school, Gilbert served as Consumer Program Director at the U.S. Public Interest Research Group from 1984-1989 where she specialized in consumer protection issues. She led the effort for congressional enactment of legislation to protect children from toxic art supplies.From 1989-1994, Gilbert was Legislative Director and later Executive Director of Public Citizen's Congress Watch, a Washington-based consumer advocacy organization.\n\nPublic service\nGilbert served as Executive Director of the U.S. Consumer Product Safety Commission (CPSC) from 1995-2001. In 2001 she left the government to serve as Chief Operating Officer of M&R Strategic Services, a national firm set up to lobby and conduct grassroots and media campaigns around public policy issues.\nIn 2009, after the election of President Barack Obama, Gilbert headed the Presidential Transition Team for the Consumer Product Safety Commission.\n\nPost-government career\nGilbert represented the National Association of Shareholder and Consumer Attorneys to oppose efforts in Congress to change the rules for bringing class action lawsuits. Gilbert subsequently represented the Center for Justice & Democracy, opposing efforts in Congress to impose Federal government restrictions on malpractice laws.\n\n2007-2009\nIn 2007, Gilbert worked with public interest organizations and victims of Enron's collapse to persuade the Securities and Exchange Commission (SEC) and the Bush Administration to adopt a position in a case pending before the U.S. Supreme Court – Stoneridge Investment Partners LLC v. Scientific-Atlanta Inc. and Motorola Inc. – that would ensure that people slighted by Enron could sue the investment banks that participated in the frauds that led to Enron's failure. Gilbert's firm held press conferences in Washington, D.C. and elsewhere, meeting with administration officials such as then-SEC Chairman Christopher Cox.\nOn November 15 of that same year, Gilbert testified before the Subcommittee on Commercial and Administrative Law of the House Committee on the Judiciary on \"Protecting the Playroom: Holding Foreign Manufacturers Accountable for Defective Products.\"In 2008, Gilbert worked with the Center for Justice and Democracy to bring before Congress families with children who developed lead poisoning from hazardous toys, to urge the passage of the Consumer Product Safety Improvement act of 2008. This landmark legislation placed limits on the amount of lead that can be used in children's products.\nAlso that year, Gilbert testified before the Federal Communications Commission on behalf of consumers who were assessed fees for switching cell phone companies before their contracts expired. Her position was that such fees were unfair. She urged the FCC not to preempt state laws and state-based lawsuits intended to protect consumers from these allegedly unfair practices by cell phone companies.Over the course of three years from 2007–2009, Gilbert organized a coalition of over a dozen labor and nonprofit organizations to support legislation that would provide a pathway for the approval of generic versions of costly medicines. A version of this legislation was later incorporated in national health care reform policies.\nIn 2009, Gilbert worked with people injured by defects in Chrysler and General Motors vehicles to urge the Obama administration and the automobile companies to modify their bankruptcy agreements to ensure that personal injury victims would have an opportunity to receive compensation. As a result, the agreements were modified to allow people injured in the future by vehicles manufactured before the bankruptcy to be compensated for their injuries.\n\n2010\nOn February 4, 2010, Gilbert participated in a webcast sponsored by OMB Watch on \"The Obama Administration and Public Protections.\"On behalf of the Committee to Support the Antitrust Laws, Gilbert worked with Congress and the Obama Administration to amend the Antitrust Criminal Penalty Enhancement and Reform Act to ensure that members of criminal antitrust conspiracies adequately cooperate with civil lawsuits in return for reduced damages.\nOn June 10, 2010, Pamela Gilbert was appointed to the board of directors of the AAI (American Antitrust Institute).\n\n2011–Present\nOn behalf of Consumers for Auto Reliability and Safety (CARS), Gilbert led the successful lobbying effort to pass a federal law prohibiting rental car companies from renting or selling recalled cars until they are repaired. Gilbert worked with Mrs. Cally Houck, whose two daughters were killed in a rental car that caught on fire and crashed as a result of an unrepaired defect that had been subject to a safety recall. President Obama on December 4, 2015 signed into law the \"Raechel and Jacqueline Houck Safe Rental Car Act\" (H.R. 2198, S. 1173), sponsored by Reps. Capps, Jones, Schakowsky and Butterfield and Sens. Schumer, Boxer, McCaskill and others, as part of the Fixing America's Surface Transportation Act (FAST Act).\nGilbert represents SD3, LLC, which owns SawStop, a table saw manufacturer whose table saws are equipped with technology that stops a spinning saw blade in milliseconds when it comes in contact with human flesh. Gilbert has worked with SawStop and a coalition of consumer protection groups in an effort to enact a mandatory safety standard so that all table saws contain injury mitigation technology to prevent amputations and other serious laceration injuries. The CPSC published a notice of proposed rulemaking in 2011 and in 2015 the commission's staff urged adoption of the new requirement.Gilbert is working with a coalition of patients with diseases caused by asbestos exposure and their families to defeat the proposed Furthering Asbestos Claims Transparency (FACT) Act of 2015 (H.R. 526, S. 357). The proposal would require asbestos trusts to file quarterly reports about the payouts they make and personal information on the victims who receive them in a publicly accessible database. Opponents argue that this would violate the privacy of victims and use trust funds to meet the new administrative requirements, making it more difficult for asbestos claimants to receive timely and full compensation.\n\nNotable writings\nIn 2008, Gilbert wrote a chapter entitled \"Consumer Product Safety Commission: Safety First\" for Change for America: A Progressive Blueprint for the 44th President, published by the Center for American Progress and the New Democracy Project.In 2010, Gilbert authored a chapter in Materials on Tort Reform by Professor Andrew Popper of the Washington College of Law at American University.In 2012, Gilbert co-authored with Victoria Romanenko a chapter in Private Enforcement of the Antitrust Laws in the United States (edited by Albert A. Foer and Randy M. Stutz).\n\nControversy\nIn 2001, Gilbert stepped down as executive director of the Consumer Product Safety Commission (CPSC) after President Bush sparked a constitutional controversy by seeking to replace the leadership of the Commission, citing his powers under Article Two of the United States Constitution. Later, in 2008, Gilbert was mentioned as a possible appointee by President Barack Obama to be Chairman of the Commission. However, her nomination was criticized on the grounds that while she was executive director of the CPSC, the agency was known for its \"strident enforcement efforts\" contrary to large business interests.\n\nPersonal life\nGilbert is married to Charles Lewis, Professor of Journalism at American University, founder of the Center for Public Integrity, and a former producer for 60 Minutes. With Lewis she raises two children, Cassandra and Gabriel.\n\nSee also\nCuneo Gilbert & LaDuca, LLP\nU.S. Consumer Product Safety Commission\nPassage 10:\nEliezer ben Jacob I\nEliezer ben Jacob I (Hebrew: אליעזר בן יעקב) was a Tanna of the 1st century; contemporary of Eleazar Chisma and Eliezer ben Hyrcanus, and senior to Judah ben Ilai.Of his personal history nothing is known, except that he had seen the Temple at Jerusalem and was familiar with the specific purposes of its many apartments, a subject on which he was considered an authority. Some of the details, however, he eventually forgot, and was reminded of them by Abba Saul ben Batnit.Simon ben Azzai, Rabbi Akiva's contemporary, relates that he had discovered a genealogical roll wherein was stated, \"The Mishnah of R. Eliezer ben Jacob is only a kab [small in proportion], but clean [of all deficiencies]\"; as a result, subsequent generations generally adopted Eliezer's views as law.In the aggadah, too, he is mentioned. According to him, Deuteronomy 11:13 (\"To serve Him with all your heart and with all your soul\") is an admonition to the priests that, when officiating, they shall entertain no thought foreign to their duty.Eliezer ben Jacob bequeathed to Israel many agrarian laws, such as the laws concerning the bringing of the Bikkurim to Jerusalem and who is eligible to recite the Avowal, as well as the laws concerning Kil'ayim grown in a vineyard.He is buried near the old Kefar Hanaiah, in Galilee.",6 "char_len": 42623,7 "document_hash": "e284d4ea447255bb4ace7cebbfbebd82f2b23037131afc9053428438e3aa5951",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "Which filmmaker was known for animation, Lev Yilmaz or Pamela B. Green?"13 }14 ]15}