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 "What happened in 1975?"
output:

input: On Cape Cod, Vonnegut made most of his money writing pieces for magazines such as Collier's, The Saturday Evening Post, and Cosmopolitan. He also did a stint as an English teacher, wrote copy for an advertising agency, and opened the first American Saab dealership, which eventually failed. In 1952, Vonnegut's first novel, Player Piano, was published by Scribner's. The novel has a post-Third World War setting, in which factory workers have been replaced by machines. Player Piano draws upon Vonnegut's experience as an employee at GE. He satirizes the drive to climb the corporate ladder, one that in Player Piano is rapidly disappearing as automation increases, putting even executives out of work. His central character, Paul Proteus, has an ambitious wife, a backstabbing assistant, and a feeling of empathy for the poor. Sent by his boss, Kroner, as a double agent among the poor (who have all the material goods they want, but little sense of purpose), he leads them in a machine-smashing, museum-burning revolution. Player Piano expresses Vonnegut's opposition to McCarthyism, something made clear when the Ghost Shirts, the revolutionary organization Paul penetrates and eventually leads, is referred to by one character as "fellow travelers". In Player Piano, Vonnegut originates many of the techniques he would use in his later works. The comic, heavy-drinking Shah of Bratpuhr, an outsider to this dystopian corporate United States, is able to ask many questions that an insider would not think to ask, or would cause offense by doing so. For example, when taken to see the artificially intelligent supercomputer EPICAC, the Shah asks it "what are people for?" and receives no answer. Speaking for Vonnegut, he dismisses it as a "false god". This type of alien visitor would recur throughout Vonnegut's literature. The New York Times writer and critic Granville Hicks gave Player Piano a positive review, favorably comparing it to Aldous Huxley's Brave New World. Hicks called Vonnegut a "sharp-eyed satirist". None of the reviewers considered the novel particularly important. Several editions were printed--one by Bantam with the title Utopia 14, and another by the Doubleday Science Fiction Book Club--whereby Vonnegut gained the repute of a science fiction writer, a genre held in disdain by writers at that time. He defended the genre, and deplored a perceived sentiment that "no one can simultaneously be a respectable writer and understand how a refrigerator works."

Answer this question "What was vonnegut's first novel?"
output:
Vonnegut's first novel, Player Piano,