input: 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.

Answer this question "How many copies were sold?"
output: 

input: Columbia Records began to press Nas to work towards more commercial topics, such as that of The Notorious B.I.G., who had become successful by releasing street singles that still retained radio-friendly appeal. In 1995, Nas did guest performances on the albums Doe or Die by AZ, The Infamous by The Infamous Mobb Deep, Only Built 4 Cuban Linx by Raekwon and 4,5,6 by Kool G Rap. Nas also parted ways with manager MC Serch, enlisted Steve Stoute, and began preparation for his second LP, It Was Written, consciously working towards a crossover-oriented sound. It Was Written, chiefly produced by Tone and Poke of Trackmasters, was released in mid-1996. Two singles, "If I Ruled the World (Imagine That)" (featuring Lauryn Hill of The Fugees) and "Street Dreams", including a remix with R. Kelly were instant hits. These songs were promoted by big-budget music videos directed by Hype Williams, making Nas a common name among mainstream hip-hop. It Was Written featured the debut of The Firm, a supergroup consisting of Nas, AZ, Foxy Brown, and Cormega. The album also expanded on Nas's Escobar persona, who lived a Scarface/Casino-esque lifestyle. On the other hand, references to Scarface protagonist Tony Montana notwithstanding, Illmatic was more about his early life growing up in the projects.  Signed to Dr. Dre's Aftermath Entertainment label, The Firm began working on their debut album. Halfway through the production of the album, Cormega was fired from the group by Steve Stoute, who had unsuccessfully attempted to force Cormega to sign a deal with his management company. Cormega subsequently became one of Nas's most vocal opponents and released a number of underground hip hop singles "dissing" Nas, Stoute, and Nature, who replaced Cormega as the fourth member of The Firm. Nas, Foxy Brown, AZ, and Nature Present The Firm: The Album was finally released in 1997 to mixed reviews. The album failed to live up to its expected sales, despite being certified platinum, and the members of the group disbanded to go their separate ways.  During this period, Nas was one of four rappers (the others being B-Real, KRS-One and RBX) in the hip-hop supergroup Group Therapy, who appeared on the song "East Coast/West Coast Killas" from Dr. Dre Presents the Aftermath.

Answer this question "Was this album successful?"
output: mixed reviews.

input: Born to an Episcopalian family in Marysville, Kansas, Hardin started playing a set of drums that he made from a cardboard box at the age of five. His family relocated to Wyoming and his father opened a trading post at Fort Bridger. He attended school in a couple of small towns. At one point, his father took him to an Arapaho Sun Dance where he sat on the lap of Chief Yellow Calf and played a tom-tom made from buffalo skin.  Hardin played drums for the high school band in Hurley, Missouri before losing his sight at the age of 16 in a farm accident on July 4, 1932, involving a dynamite cap. After learning the principles of music in several schools for blind young men across middle America, he taught himself the skills of ear training and composition. He studied with Burnet Tuthill and at the Iowa School for the Blind.  He then moved to Batesville, Arkansas where he lived until 1942, when he got a scholarship to study in Memphis, Tennessee. Although the majority of his musical training was self-taught by ear, he learned some music theory from books in braille there.  In 1943 Hardin moved to New York, where he met noted classical music luminaries such as Leonard Bernstein and Arturo Toscanini, as well as legendary jazz performer-composers such as Charlie Parker and Benny Goodman, whose upbeat tempos and often humorous compositions would influence Hardin's later work. One of his early street posts was near the famed 52nd Street nightclub strip, and he was well-known to many jazz musicians and fans. By 1947 Hardin had adopted the name "Moondog" in honor of a dog "who used to howl at the moon more than any dog I knew of".

Answer this question "When did he start playing music ?"
output:
Hardin started playing a set of drums that he made from a cardboard box at the age of five.