Background: Ralph Bakshi (born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 2015, he directed ten theatrically released feature films, six of which he wrote. He has been involved in numerous television projects as director, writer, producer and animator.
Context: In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap".  Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles.  Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film.
Question: What happened in 1975?
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Background: John F. Stossel was born on March 6, 1947, in Chicago Heights, Illinois, the younger of two sons, to Jewish parents who left Germany before Hitler rose to power. They joined a Congregationalist church in the U.S., and Stossel was raised Protestant. He grew up on Chicago's affluent North Shore and graduated from New Trier High School. Stossel characterizes his older brother, Tom, as "the superstar of the family", commenting, "While I partied and played poker, he studied hard, got top grades, and went to Harvard Medical School."
Context: Stossel has written three books. Give Me a Break: How I Exposed Hucksters, Cheats, and Scam Artists and Became the Scourge of the Liberal Media is a 2005 autobiography from Harper Perennial documenting his career and philosophical transition from liberalism to libertarianism. It describes his opposition to government regulation, his belief in free market and private enterprise, support for tort reform, and advocacy for shifting social services from the government to private charities. It was a New York Times bestseller for 11 weeks. Myths, Lies, and Downright Stupidity: Get Out the Shovel - Why Everything You Know Is Wrong, which was published in 2007 by Hyperion, questions the validity of various conventional wisdoms, and argues that the belief he is conservative is untrue. On April 10, 2012, Threshold Editions, an imprint of Simon & Schuster, published Stossel's third book No, They Can't: Why Government Fails - But Individuals Succeed. It argues that government policies meant to solve problems instead produce new ones, and that free individuals and the private sector perform tasks more efficiently than the government does.  With financial support from the libertarian Palmer R. Chitester Fund, Stossel and ABC News launched a series of educational materials for public schools in 1999 entitled "Stossel in the Classroom". It was taken over in 2006 by the Center for Independent Thought and releases a new DVD of teaching materials annually. In 2006, Stossel and ABC released Teaching Tools for Economics, a video series based on the National Council of Economics Education standards.  Since February 2011, Stossel has written a weekly newspaper column for Creators Syndicate. His articles appear in such online publications as Newsmax, Reason, and Townhall.
Question: Were there famous politicians upset by the book?
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