Question:
John F. Maulbetsch (June 20, 1890 - September 14, 1950) was an All-American football halfback at Adrian College in 1911 and for the University of Michigan Wolverines from 1914 to 1916. He is also a member of the College Football Hall of Fame. After playing with an independent football team in Ann Arbor and at Adrian College, Maulbetsch became one of the most famous American football players in 1914 while playing for the University of Michigan. Maulbetsch became known as the "Human Bullet" because of his unusual low, line-plunging style of play, and was also known as the "Featherweight Fullback" because of his light weight and small size.
Much of the attention on Maulbetsch focused on his diminutive size and unique running style. At 5 ft 7 in (1.70 m), and 155 lb (70 kg), Maulbetsch was a small back, even by the standards of his day. And his running style saw him bend his torso and propel himself like a projectile into the opposing line. Indeed, he won several nicknames based on his size, running style, and fighting spirit, including the "Human Bullet," "Mauly", the "Human Shrapnel", the "Featherweight Fullback", the "Michigan Cannon Ball," and the "German bullet." Comparisons of Maulbetsch to military armaments were common. In addition to the "bullet", "shrapnel", and "cannonball" nicknames, the Syracuse Herald observed: "Standing up in front of a Krupp gun has its dangers, but it is not to be compared with the dangers of standing in front of Maulbetsch when he is going full speed ahead."  Maulbetsch's style was described as "line-plunging." A New York newspaper noted: "When the ball is snapped to him he almost doubles himself up, and, with his head aimed at the knees of the opposing line, he dives head first. Those who have seen Maulbetsch in action marvel at the great momentum he can get up in two or three steps." Noted football writer Walter Eckersall said: "Mauly is a little fellow, being built close to the ground. They say that when he plunges at the line his head is almost on a level with his shoe tops - that he hits so low that it's well nigh impossible to stop him." An Iowa newspaper wondered how it was possible "for a man to smash into a line of human bodies with the force that Maulbetsch does and come out of the game without a broken neck."  Maulbetsch was said to run "so low that he could dash under an ordinary table without losing his feet." At a coaching conference in the 1920s, a coach doubted the table-ducking story and challenged Maulbetsch. The doubter later recalled: "I began ribbing him about this table-ducking stuff and finally offered to bet him he couldn't do it. Well, we got a table up in a room, Johnny tucked a water pitcher under his arm and backed against the wall. Darned if he didn't do it, the only thing, that water pitcher broke in a million pieces." Asked about the incident, Maulbetsch said it was true, except one part. Maulbetsch insisted there wasn't a nick on the pitcher.
Answer this question using a quote from the text above:

Did he act like a bullet in some way?

Answer:
his running style saw him bend his torso and propel himself like a projectile into the opposing line.

Answer the question at the end by quoting:

Curtis Mayfield was born on June 3, 1942 in Chicago, Illinois, the son of Marion Washington and Kenneth Mayfield, one of five children. Mayfield's father left the family when Curtis was five; his mother (and maternal grandmother) moved the family into several Chicago public housing projects before settling in Cabrini-Green during his teen years. Mayfield attended Wells Community Academy High School before dropping out his sophomore year. His mother taught him piano and, along with his grandmother, encouraged him to enjoy gospel music.
Curtis Mayfield was known for introducing social consciousness into African-American music. Having been raised in the Cabrini-Green projects of Chicago, he witnessed many of the tragedies of the urban ghetto first hand, and was quoted saying "With everything I saw on the streets as a young black kid, it wasn't hard during the later fifties and sixties for me to write my heartfelt way of how I visualized things, how I thought things ought to be."  Following the passing of the Civil Rights Act of 1964, his group the Impressions produced music that became the soundtrack to a summer of revolution. It is even said that "Keep On Pushing" became the number one sing along during the Freedom Rides. Black students sang their songs as they marched to jail or protested outside their universities, while King often used "Keep On Pushing", "People Get Ready" and "We're A Winner" because of their ability to motivate and inspire marchers. Mayfield had quickly become a civil rights hero with his ability to inspire hope and courage.  Mayfield was unique in his ability to fuse relevant social commentary with melodies and lyrics that instilled a hopefulness for a better future in his listeners. He wrote and recorded the soundtrack to the 1972 blaxploitation film Super Fly with the help of producer Johnny Pate. The soundtrack for Super Fly is regarded as an all-time great body of work that captured the essence of life in the ghetto while criticizing the tendency of young people to glorify the "glamorous" lifestyles of drug dealers and pimps, and illuminating the dark realities of drugs, addiction, and exploitation. His work influenced many, and it is said that Mayfield truly introduced a new style of black music.  Mayfield, along with several other soul and funk musicians, spread messages of hope in the face of oppression, pride in being a member of the black race and gave courage to a generation of people who were demanding their human rights, without abandoning the struggle for equality. He has been compared to Martin Luther King, Jr. for making a lasting impact in the civil rights struggle with his inspirational music. By the end of the decade Mayfield was a pioneering voice in the black pride movement, along with James Brown and Sly Stone. Paving the way for a future generation of rebel thinkers, Mayfield paid the price, artistically and commercially, for his politically charged music. Mayfield's "Keep On Pushing" was actually banned from several radio stations when riots began flaring up in some cities. Regardless of the persistent radio bans and loss of revenue, he continued his quest for equality right until his death. His lyrics on racial injustice, poverty and drugs became the poetry of a generation.  Mayfield was also a descriptive social commentator. As the influx of drugs ravaged through black America in the late 1960s and 1970s his bittersweet descriptions of the ghetto would serve as warnings to the impressionable. "Freddie's Dead" is a graphic tale of street life, while "Pusherman" revealed the role of drug dealers in the urban ghettos.

Was the ban eliminated later on?
Regardless of the persistent radio bans and loss of revenue, he continued his quest for equality right until his death.