input: The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in the Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in the Huffington Post under the same byline in 2009. In 2010, Mo'Nique, the winner of the Academy Award for Best Supporting Actress, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's plaque. In 2011, J. Freedom duLac reported in the Washington Post that the plaque had disappeared in the 1960s. In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of the Huffington Post stories. Instead, she argued that the Oscar was likely returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the 5 1/2" x 6" plaque.

Answer this question "Waht happened in the end"
output: In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate.

Problem: Background: Hunter was born in New York City, the son of Gertrude (nee Gelien) and Charles Kelm. His mother, from Hamburg, was a German Roman Catholic immigrant, and his father was Jewish. Hunter's father was reportedly abusive, and within a few years of his birth, his parents divorced. Tab grew up in California with his mother, older brother Walter, and maternal grandparents, John Henry and Ida (nee Sonnenfleth)
Context: Hunter had a 1957 hit record with the song "Young Love," which was No. 1 on the Billboard Hot 100 chart for six weeks (seven weeks on the UK Chart) and became one of the larger hits of the Rock 'n' Roll era. It sold over one million copies, and was awarded a gold disc by the RIAA. He had the hit, "Ninety-Nine Ways," which peaked at No. 11 in the US and No. 5 in the UK. His success prompted Jack L. Warner to enforce the actor's contract with the Warner Bros. studio by banning Dot Records, the label for which Hunter had recorded the single (and which was owned by rival Paramount Pictures), from releasing a follow-up album he had recorded for them. He established Warner Bros. Records specifically for Hunter. Hunter's acting career was also at its zenith. William Wellman used him again in a war film, Lafayette Escadrille (1958). Columbia Pictures borrowed him for a Western, Gunman's Walk (1958), a film that Hunter considers his favorite role. Hunter starred in the 1958 musical film Damn Yankees, in which he played Joe Hardy of Washington, D.C.'s American League baseball club. The film had originally been a Broadway show, but Hunter was the only one in the film version who had not appeared in the original cast. The show was based on the 1954 best-selling book The Year the Yankees Lost the Pennant by Douglass Wallop. Hunter later said the filming was hellish because director George Abbott was only interested in recreating the stage version word for word. He also starred in They Came to Cordura (1959), with Gary Cooper and Rita Hayworth. Sidney Lumet starred him opposite Sophia Loren in That Kind of Woman (1959).
Question: Tell me about Hunter's music career?
Answer: Hunter had a 1957 hit record with the song "Young Love," which was No. 1 on the Billboard Hot 100 chart for six weeks

Question: Blood, Sweat & Tears (also known as "BS&T") is a jazz-rock American music group. They are noted for their combination of brass and rock band instrumentation. The group recorded songs by rock/folk songwriters such as Laura Nyro, James Taylor, the Band and the Rolling Stones as well as Billie Holiday and Erik Satie. They also incorporated music from Thelonious Monk and Sergei Prokofiev into their arrangements.

Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz and Bobby Colomby formed the original band. The creation of the group was inspired by the "brass-rock" ideas of the Buckinghams and its producer, James William Guercio, as well as the early 1960s Roulette-era Maynard Ferguson Orchestra (according to Kooper's autobiography). Al Kooper was the group's initial bandleader, having insisted on that position based on his experiences with the Blues Project, his previous band with Steve Katz, which had been organized as an egalitarian collective. Jim Fielder was from Frank Zappa's the Mothers of Invention and had played briefly with Buffalo Springfield. Kooper's fame as a high-profile contributor to various historic sessions of Bob Dylan, Jimi Hendrix and others was a catalyst for the prominent debut of Blood, Sweat & Tears in the musical counterculture of the mid-sixties. Kooper, Colomby, Katz and Fielder did a few shows as a quartet at the Cafe Au Go Go in New York City in September 1967, opening for Moby Grape. Fred Lipsius then joined the others two months later. A few more shows were played as a quintet, including one at the Fillmore East in New York. Lipsius then recruited the other three, Dick Halligan, Randy Brecker and Jerry Weiss, who were New York jazz horn players Lipsius knew. The final lineup debuted at the Cafe Au Go Go on November 17-19, 1967, then moved over to play The Scene the following week. The band was a hit with the audience, who liked the innovative fusion of jazz with acid rock and psychedelia. After signing to Columbia Records, the group released Child Is Father to the Man. The album cover was considered quite innovative showing the band members sitting and standing with child-sized versions of themselves. The album slowly picked up in sales despite growing artistic differences among the founding members which resulted in several personnel changes for the second album. Colomby and Katz wanted to move Kooper exclusively to keyboard and composing duties, while hiring a stronger vocalist for the group, causing Kooper's departure in April 1968. He became a record producer for the Columbia label, but not before arranging some songs that would be on the next BS&T album. The group's trumpeters, Randy Brecker and Jerry Weiss, also left and were replaced by Lew Soloff and Chuck Winfield. Brecker joined Horace Silver's band with his brother Michael, and together they eventually formed their own horn-dominated musical outfits, Dreams and The Brecker Brothers. Jerry Weiss went on to start the similarly-styled group Ambergris.

Using a quote from the above article, answer the following question: What else happened with the band?
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Answer:
Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz and Bobby Colomby formed the original band.