Answer the question at the end by quoting:

Ventura was born James George Janos on July 15, 1951 in Minneapolis, Minnesota, the son of George William Janos and his wife, Bernice Martha (nee Lenz). Both of his parents were World War II veterans. Ventura has an older brother who served in the Vietnam War. Ventura has described himself as Slovak, since his father's parents were from what is now Slovakia; his mother was of German descent.
After the legislature refused to increase spending for security, Ventura attracted criticism when he decided not to live in the governor's mansion during his tenure, choosing instead to shut it down and stay at his home in Maple Grove. Critics pointed to the loss of jobs for several working-class people at the mansion and the extra cost of reopening the mansion later. In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things, that "the use of state security personnel to protect the governor on a book promotion tour constituted illegal use of state property for personal gain." The petition was denied. The proposed petition was dismissed by order of the Chief Justice of the Supreme Court of Minnesota. Under Minnesota law, a proposed petition for recall is required to be reviewed by the Chief Justice for legal sufficiency, and, upon such review, the Chief Justice determined that it did not allege the commission of any act that violated Minnesota law. Ventura sought attorney's fees as a sanction for the filing of a frivolous petition for recall, but that request was denied, on the ground that there was no statutory authority for such an award. In November 2011, Ventura held a press conference in relation to a lawsuit he had filed against the Transportation Security Administration. During that press conference, Ventura stated that he would "never stand for a national anthem again, I will turn my back and raise a fist the same way Tommy Smith and John Carlos did in the '68 Olympics, Jesse Ventura will do that today." During his tenure as governor, Ventura drew frequent fire from the press in the Twin Cities. He referred to reporters as "media jackals," a term that even appeared on the press passes required to enter the governor's press area. Shortly after Ventura's election as governor, author and humorist Garrison Keillor wrote a satirical book about the event, spoofing Ventura as "Jimmy (Big Boy) Valente," a self-aggrandizing former "Navy W.A.L.R.U.S. (Water Air Land Rising Up Suddenly)" turned professional wrestler turned politician. Initially, Ventura responded angrily to the satire, but later, in a conciliatory vein, said that Keillor "makes Minnesota proud". During his term, Ventura appeared on the Late Show with David Letterman, in which he responded controversially to the following question: "So which is the better city of the Twin Cities, Minneapolis or St. Paul?". Ventura responded, "Minneapolis. Those streets in St. Paul must have been designed by drunken Irishmen". He later apologized for the remark, adding that it was not intended to be taken seriously.

Who was attacking his family?

In 1999, a group of disgruntled citizens petitioned to recall Governor Ventura, alleging, among other things,

Answer the question at the end by quoting:

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.
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.

Was the movie a success?
Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;