input: In 1907, Foster's manager Sol White published his Official Baseball Guide: History of Colored Baseball, with Foster contributing an article on "How to Pitch." However, before the season began, he and several other stars (including, most importantly, the outfielder Pete Hill) left the Philadelphia Giants for the Chicago Leland Giants, with Foster named playing manager. Under his leadership, the Lelands won 110 games (including 48 straight) and lost only ten, and took the Chicago City League pennant. The following season the Lelands tied a national championship series with the Philadelphia Giants, each team winning three games.  Foster suffered a broken leg in July 1909, but rushed himself back into the lineup in time for an October exhibition series against the Chicago Cubs. Foster, pitching the second game, squandered a 5-2 lead in the ninth inning, then lost the game on a controversial play when a Cubs runner stole home while Foster was arguing with the umpire. The Lelands lost the series, three games to nothing. The Lelands also lost the unofficial western black championship to the St. Paul Colored Gophers.  In 1910, Foster wrested legal control of the team from its founder, Frank Leland. He proceeded to put together the team he later considered his finest. He signed John Henry Lloyd away from the Philadelphia Giants; along with Hill, second baseman Grant Johnson, catcher Bruce Petway, and pitchers Frank Wickware and Pat Dougherty, Lloyd sparked the Lelands to a 123-6 record (with Foster himself contributing a 13-2 record on the mound).

Answer this question "were there any other records?"
output: Foster himself contributing a 13-2 record on the mound

input: When he graduated, he embarked on a business career. However, the stock market crash in 1929 left him essentially unemployed. He then took odd jobs, working as a trapeze performer, an insurance salesman, and a nightclub singer. Albert stopped using his last name professionally, since it invariably was mispronounced as "Hamburger". He moved to New York City in 1933, where he co-hosted a radio show, The Honeymooners - Grace and Eddie Show, which ran for three years. At the show's end, he was offered a film contract by Warner Bros.  In the 1930s, Albert performed in Broadway stage productions, including Brother Rat, which opened in 1936. He had lead roles in Room Service (1937-1938) and The Boys from Syracuse (1938-1939). In 1936, Albert had also become one of the earliest television actors, performing live in one of RCA's first television broadcasts in association with NBC, a promotion for their New York City radio stations.  Performing regularly on early television, Albert wrote and performed in the first teleplay, The Love Nest, written for television. Done live (not recorded on film), this production took place November 6, 1936, and originated in Studio 3H (now 3K) in the GE Building at Rockefeller Center (then called the RCA Building) in New York City and was broadcast over NBC's experimental television station W2XBS (now WNBC). Hosted by Betty Goodwin, The Love Nest starred Albert, Hildegarde, The Ink Spots, Ed Wynn, and actress Grace Brandt. Before this time, television productions were adaptations of stage plays.  Albert landed the starring role in the 1938 Broadway musical The Boys from Syracuse when he met Burl Ives, who had a small role in the play. The two later briefly shared an apartment in the Beachwood Canyon community of Hollywood after Ives moved west the following year. Also in 1938, Albert made his feature-film debut in the Hollywood version of Brother Rat with Ronald Reagan and Jane Wyman, reprising his Broadway role as cadet "Bing" Edwards. The next year, he starred in On Your Toes, adapted for the screen from the Broadway smash by Rodgers and Hart.

Answer this question "Was this his child hood dream?"
output: When he graduated, he embarked on a business career. However, the stock market crash in 1929 left him essentially unemployed.

input: In 2003, University of Texas classics professor Thomas Palaima wrote an article for the Austin-American Statesman accusing Hedges of plagiarizing Ernest Hemingway in Hedge's 2002 book War Is a Force That Gives Us Meaning. Palaima said that Hedges had corrected a passage in his first edition of War Is a Force That Gives Us Meaning that was close to Hemingway, and he should have cited the paraphrase in all subsequent editions. Hedges' publisher at the time, PublicAffairs, said it did not believe the passage needed to be cited to Hemingway. The New Republic said that Palaima's allegation had resulted in the passage being reworded. But, after posting the article online, the magazine posted a correction box that read:  "In the original version of this article, The New Republic indicated that PublicAffairs changed the text of War Is a Force That Gives Us Meaning only after having been alerted by Thomas [Palaima] to the presence of plagiarism. In fact, the wording had been changed months earlier, and an edition with the present language existed at the time of Palaima's e-mail to PublicAffairs. However, there was still no attribution to Hemingway in the new version, despite the obvious similarities in ideas and formulation".  In June 2014, Christopher Ketcham accused Hedges of plagiarism in an article published in The New Republic. Ketcham claims that Hedges plagiarized many writers over his career, including Matt Katz, Naomi Klein, Neil Postman, Ernest Hemingway, along with Ketcham's wife: Petra Bartosiewicz. Hedges, his editors at Truthdig, and his publisher Nation Books denied the claims made by Ketcham. In a response first published by The Real News on June 16, 2014, Hedges noted that Ketcham based his allegations on an unpublished manuscript which the latter man admitted he had never seen and passages that were actually footnoted or sourced. Hedges accused Ketcham and The New Republic (TNR) of malicious intent and character assassination. On the following day (June 17), The New Republic republished Hedges' response along with Ketcham's (and TNR's) response to the counter-allegations made by Hedges.  The Washington Free Beacon reported The New York Times spokesman saying that it "did not have reason to believe Hedges plagiarized in his work for the paper" and had no plans to investigate Hedges for plagiarism. The American Prospect and Salon declined to publish Ketcham's article, and The Nation Institute and Truthdig issued statements dismissing Ketcham's allegations.

Answer this question "How did this effect his journalism?"
output:
The American Prospect and Salon declined to publish Ketcham's article, and The Nation Institute and Truthdig issued statements dismissing Ketcham's allegations.