input: 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.

Answer this question "What was his tv specials"
output: 

input: He dropped out of college in his junior year, in the fall term of 1935, after starting a series of newspaper reporting jobs covering news and sports. He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma. In 1936, he met his future wife, Mary Elizabeth "Betsy" Maxwell, while working as the sports announcer for KCMO (AM) in Kansas City, Missouri. His broadcast name was "Walter Wilcox". He would explain later that radio stations at the time did not want people to use their real names for fear of taking their listeners with them if they left. In Kansas City, he joined the United Press in 1937. He became one of the top American reporters in World War II, covering battles in North Africa and Europe.  With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents, relieving Bill Downs as the head of the Moscow bureau. CBS offered Cronkite $125 a week along with "commercial fees" amounting to $25 for almost every time Cronkite reported on air. Up to that point, he had been making $57.50 per week at UP, but he had reservations about broadcasting. He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 per week; Hugh Baillie also offered him an extra $20 per week to stay. Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.  Cronkite was on board USS Texas (BB-35) starting in Norfolk, Virginia, through her service off the coast of North Africa as part of Operation Torch, and thence back to the US. On the return trip, Cronkite was flown off Texas in one of her OS2U Kingfisher aircraft when Norfolk was within flying distance. He was granted permission to be flown the rest of the distance to Norfolk so that he could outpace a rival correspondent on USS Massachusetts (BB-59) to return to the US and to issue the first uncensored news reports to published about Operation Torch. Cronkite's experiences aboard Texas launched his career as a war correspondent. Subsequently, he was one of eight journalists selected by the United States Army Air Forces to fly bombing raids over Germany in a B-17 Flying Fortress part of group called the Writing 69th, and during a mission fired a machine gun at a German fighter. He also landed in a glider with the 101st Airborne in Operation Market Garden and covered the Battle of the Bulge. After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948.

Answer this question "Where does Cronkite get his start in  jounalism?"
output:
He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma.