Even while the Disney studio was making the film, Disney had to be clearly aware that he was risking a negative reaction. Records show that the Production Code Administration had warned him several times about using black stereotypes (Cohen 62). According to Ebony magazine, bandleader Tiny Bradshaw had been offered a part in the film “but turned it down, declaring it would ‘set back my people many years'” (Cohen 61). Clarence Muse, a black actor, was hired in 1944 as a story consultant regarding the portrayal of Negroes. He suggested that the studio present Negroes as dignified, prosperous-looking individuals. His ideas were rejected and he quit. He went on to inform the public that Disney was going to depict blacks in an inferior capacity and that the film was detrimental to the cultural advancement of the Negro people (Cohen 65). Maurice Rapf, coauthor of the film, believes that Disney hired him because he was Jewish and a communist (Cohen 63), suggesting that Disney hoped such credentials would stave off any accusations of racism. Rapf is reluctant to take too much credit for authorship as his ideas – making the white family poor, emphasizing that Brer Rabbit is an ethnically black character outsmarting the white characters – were absent in the final film. Despite the difficulty Song of the South engendered, it did make money and was re-released in 1956, 1972, 1980 and 1986. Nevertheless, Disney was finally persuaded to refrain from depicting black people in subsequent productions
The full article right here: Racism in Animation | The Museum Of UnCut Funk
When you're so racist that even 1940s cacs we're
The full article right here: Racism in Animation | The Museum Of UnCut Funk
When you're so racist that even 1940s cacs we're
from the jump, the company has been able to delicately paint a different portrait of him because he’s been dead nearly 60 years and was an undeniable (albeit racist as hell) genius. 
