Question: Cosmo Kramer, usually referred to as simply "Kramer", is a fictional character on the American television sitcom Seinfeld (1989-1998), played by Michael Richards. The character is loosely based on comedian Kenny Kramer, Larry David's ex-neighbor across the hall. Kramer is the friend and neighbor of main character Jerry, residing in Apartment 5B, and is friends with George and Elaine. Of the series' four central characters, only Kramer has no visible means of support; what few jobs he holds seem to be nothing more than larks.

The character of Kramer was originally based on the real-life Kenny Kramer, a neighbor of co-creator Larry David from New York. However, Michael Richards did not in any way base his performance on the real Kramer, to the point of refusing to meet him. This was later parodied in "The Pilot" when the actor that is cast to play him in Jerry and George's sitcom refuses to base the character on the real Cosmo Kramer. At the time of the shooting of the original Seinfeld pilot, "The Seinfeld Chronicles," Kenny Kramer had not yet given consent to use his name, and so Kramer's character was originally known as "Kessler."  Larry David was hesitant to use Kenny Kramer's real name because he suspected that Kramer would take advantage of this. David's suspicion turned out to be correct; Kenny Kramer created the "Kramer Reality Tour", a New York City bus tour that points out actual locations of events or places featured in Seinfeld. The "Kramer Reality Tour" is itself spoofed on Seinfeld in "The Muffin Tops." In the episode, when Kramer's real-life stories are used by Elaine to pad the biography of J. Peterman she was ghostwriting, he develops a reality bus tour called "The Peterman Reality Tour" and touts himself as "The Real J. Peterman," even though, as Jerry notes, reality is the last thing Kramer is qualified to give a tour on.  Richards' physicality can be seen in his early 1980s appearances on The Tonight Show, the early 1980s ABC sketch comedy show "Fridays", and his appearance in the film "Young Doctors in Love" where he plays a hit man; a nod to this appears in the "Air Conditioner" episode.

Using a quote from the above article, answer the following question: Did he lose inspiration at any time?
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Answer: 

Problem: Baudelaire was born in Paris, France, on April 9, 1821, and baptized two months later at Saint-Sulpice Roman Catholic Church. His father, Francois Baudelaire, a senior civil servant and amateur artist, was 34 years older than Baudelaire's mother, Caroline. Francois died during Baudelaire's childhood, in 1827. The following year, Caroline married Lieutenant Colonel Jacques Aupick, who later became a French ambassador to various noble courts.

Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness. This obsessive idea is above all a child of giant cities, of the intersecting of their myriad relations.  Baudelaire is one of the major innovators in French literature. His poetry is influenced by the French romantic poets of the earlier 19th century, although its attention to the formal features of verse connects it more closely to the work of the contemporary "Parnassians". As for theme and tone, in his works we see the rejection of the belief in the supremacy of nature and the fundamental goodness of man as typically espoused by the romantics and expressed by them in rhetorical, effusive and public voice in favor of a new urban sensibility, an awareness of individual moral complexity, an interest in vice (linked with decadence) and refined sensual and aesthetic pleasures, and the use of urban subject matter, such as the city, the crowd, individual passers-by, all expressed in highly ordered verse, sometimes through a cynical and ironic voice. Formally, the use of sound to create atmosphere, and of "symbols" (images that take on an expanded function within the poem), betray a move towards considering the poem as a self-referential object, an idea further developed by the Symbolists Verlaine and Mallarme, who acknowledge Baudelaire as a pioneer in this regard.  Beyond his innovations in versification and the theories of symbolism and "correspondences", an awareness of which is essential to any appreciation of the literary value of his work, aspects of his work that regularly receive much critical discussion include the role of women, the theological direction of his work and his alleged advocacy of "satanism", his experience of drug-induced states of mind, the figure of the dandy, his stance regarding democracy and its implications for the individual, his response to the spiritual uncertainties of the time, his criticisms of the bourgeois, and his advocacy of modern music and painting (e.g., Wagner, Delacroix). He made Paris the subject of modern poetry. He would bring the city's details to life in the eyes and hearts of his readers.

What did he try next

Answer with quotes: Baudelaire is one of the major innovators in French literature.

Problem: Mays was born in 1931 in Westfield, Alabama. His father, Cat Mays, was a talented baseball player with the Negro team for the local iron plant. His mother, Annie Satterwhite, was a gifted basketball and track star in high school. His parents never married.

Mays began his major league career on a sour note, with no hits in his first 12 at bats. On his 13th at-bat, however, he hit a towering home run over the left field roof of the Polo Grounds off of future Hall of Famer Warren Spahn. Spahn later joked, "I'll never forgive myself. We might have gotten rid of Willie forever if I'd only struck him out." Mays's batting average improved steadily throughout the rest of the season. Although his .274 average, 68 RBI and 20 homers (in 121 games) were among the lowest of his career, he still won the 1951 Rookie of the Year Award. During the Giants' comeback in August and September 1951 to tie the Dodgers in the pennant race, Mays' fielding and strong throwing arm were instrumental to several important Giants victories. Mays was in the on-deck circle when Bobby Thomson hit the Shot Heard 'Round the World against Ralph Branca and the Brooklyn Dodgers to win the three-game playoff 2-1 after the teams were tied at the end of the regular season.  The Giants went on to meet the New York Yankees in the 1951 World Series. In Game 1, Mays, Hank Thompson and Hall of Famer Monte Irvin comprised the first all-African-American outfield in major league history four years after the color line was broken. Mays hit poorly while the Giants lost the series 4-2. The six-game set was the only time that Mays and retiring Yankee ace Joe DiMaggio would compete against each other.  Mays was a popular figure in Harlem. Magazine photographers were fond of chronicling his participation in local stickball games with kids. It was said that in the urban game of hitting a rubber ball with an adapted broomstick handle, Mays could hit a shot that measured "six sewers" (the distance of six consecutive New York City manhole covers, nearly 300 feet).

When did he start playing baseball?

Answer with quotes:
1951