Question: Ernest Edward "Ernie" Kovacs (January 23, 1919 - January 13, 1962) was an American comedian, actor, and writer. Kovacs's visually experimental and often spontaneous comedic style influenced numerous television comedy programs for years after his death. Many individuals and shows, such as Johnny Carson, David Letterman, Rowan and Martin's Laugh-In, Saturday Night Live, Monty Python's Flying Circus, Jim Henson, Max Headroom, Chevy Chase, Conan O'Brien, Jimmy Kimmel, Captain Kangaroo, Sesame Street, The Electric Company, Dave Garroway, Uncle Floyd, and many others have credited Kovacs as an influence. Chevy Chase thanked Kovacs during his acceptance speech for his Emmy award for Saturday Night Live.

He also did several television specials, including the famous Silent Show (1957), featuring his character, Eugene, the first all-pantomime prime-time network program. After the end of the Dean Martin-Jerry Lewis partnership, NBC offered Lewis the opportunity to host his own 90-minute color television special. Lewis opted to use only 60 minutes, leaving the network 30 minutes to fill; no one wanted this time slot, but Kovacs was willing to have it. The program contained no spoken dialogue and contained only sound effects and music. Featuring Kovacs as the mute, Charlie Chaplin-like character "Eugene", the program contained surreal sight gags. Kovacs developed the Eugene character during the autumn of 1956 when hosting the television series The Tonight Show. Expectations were high for the Lewis program, but it was Kovacs's special that received the most attention; Kovacs received his first movie offer, had a cover story in Life magazine, and received the Sylvania Award that year. In 1961, Kovacs and his co-director, Joe Behar, were recipients of the Directors Guild of America Award for a second version of this program broadcast by the American Broadcasting Company network. A series of monthly half-hour specials for ABC during 1961-62 is often considered his best television work. Produced on videotape using new editing and special effects techniques, it won a 1962 Emmy Award. Kovacs and co-director Behar also won the Directors Guild of America award for an Ernie Kovacs Special based on the earlier silent "Eugene" program. Kovacs's last ABC special was broadcast posthumously, on January 23, 1962. The Dutch Masters cigar company became well known during the late 1950s and early 1960s for its sponsorship of various television projects of Ernie Kovacs. The company allowed Kovacs total creative control in the creation of their television commercials for his programs and specials. He produced a series of non-speaking television commercials for Dutch Masters during the run of his television series Take A Good Look which was praised by both television critics and viewers. While praised by critics, Kovacs rarely had a highly rated show. The Museum of Broadcast Communications says, "It is doubtful that Ernie Kovacs would find a place on television today. He was too zany, too unrestrained, too undisciplined. Perhaps Jack Gould of The New York Times said it best for Ernie Kovacs: 'The fun was in trying'." Other shows had greater success while using elements of Kovacs's style. George Schlatter, producer of the later television series Rowan & Martin's Laugh-In, was married to actress Jolene Brand, who had appeared in Kovacs's comic troupes over the years and had been a frequent participant in his pioneering sketches. Laugh-In made frequent use of the quick blackout gags and surreal humor that marked many Kovacs projects. Another link was a young NBC staffer, Bill Wendell, Kovacs's usual announcer and sometimes a sketch participant. From 1980-1995, Wendell was the announcer for David Letterman, whose show and style of humor were greatly influenced by Kovacs.

Using a quote from the above article, answer the following question: What did he go on to do next?
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Answer: had a cover story in Life magazine,

Question: The Black Seminoles are black Indians associated with the Seminole people in Florida and Oklahoma. They are the descendants of free blacks and of escaped slaves (called maroons) who allied with Seminole groups in Spanish Florida. Historically, the Black Seminoles lived mostly in distinct bands near the Native American Seminole. Some were held as slaves of particular Seminole leaders; but they had more freedom than did slaves held by whites in the South and by other Native American tribes, including the right to bear arms.

The Black Seminole culture that took shape after 1800 was a dynamic mixture of African, Native American, Spanish, and slave traditions. Adopting certain practices of the Native Americans, maroons wore Seminole clothing and ate the same foodstuffs prepared the same way: they gathered the roots of a native plant called coontie, grinding, soaking, and straining them to make a starchy flour similar to arrowroot, as well as mashing corn with a mortar and pestle to make sofkee, a sort of porridge often used as a beverage, with water added-- ashes from the fire wood used to cook the sofkee were occasionally added to it for extra flavor. They also introduced their Gullah staple of rice to the Seminole, and continued to use it as a basic part of their diets. Rice remained part of the diet of the Black Seminoles who moved to Oklahoma. Initially living apart from the Native Americans, the maroons developed their own unique African-American culture, based in the Gullah culture of the Lowcountry. Black Seminoles inclined toward a syncretic form of Christianity developed during the plantation years. Certain cultural practices, such as "jumping the broom" to celebrate marriage, hailed from the plantations; other customs, such as some names used for black towns, reflected African heritage. As time progressed, the Seminole and Blacks had limited intermarriage, but historians and anthropologists have come to believe that generally the Black Seminoles had independent communities. They allied with the Seminole at times of war. The Seminole society was based on a matrilineal kinship system, in which inheritance and descent went through the maternal line. Children were considered to belong to the mother's clan, so those born to ethnic African mothers would have been considered black by the Seminole. While the children might integrate customs from both parents' cultures, the Seminole believed they belonged to the mother's group more than the father's. African Americans adopted some elements of the European-American patriarchal system. But, under the South's adoption of the principle of partus sequitur ventrem in the 17th century and incorporated into slavery law in slave states, children of slave mothers were considered legally slaves. Under the Fugitive Slave Law of 1850, even if the mother escaped to a free state, she and her children were legally considered slaves and fugitives. As a result, the Black Seminoles born to slave mothers were always at risk from slave raiders.

Using a quote from the above article, answer the following question: What were some of their rituals?
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Answer:
maroons wore Seminole clothing and ate the same foodstuffs prepared the same way: