input: After Osceola's death, army doctor Frederick Weedon persuaded the Seminole to allow him to make a death mask of Osceola, this being a European-American custom at the time for prominent people. Later he removed Osceola's head and embalmed it. For some time, Weedon kept the head and a number of personal objects Osceola had given him. Later, Weedon gave the head to his son-in-law Daniel Whitehurst. In 1843, Whitehurst sent the head to Valentine Mott, a New York physician. Mott placed it in his collection at the Surgical and Pathological Museum. It was presumably lost when a fire destroyed the museum in 1866. Some of Osceola's belongings are still held by the Weedon family, while others have disappeared. Captain Pitcairn Morrison sent the death mask and some other objects collected by Weedon to an army officer in Washington. By 1885, the death mask and some of Osceola's belongings had arrived in the anthropology collection of the Smithsonian Institution, where they are still held. In 1966, Miami businessman Otis W. Shriver claimed he had dug up Osceola's grave and put his bones into a bank vault to rebury them at a tourist site at the Rainbow Springs. Shriver traveled around the state in 1967 to gather support for his project. Archaeologists later proved that Shriver had dug up animal remains; Osceola's body was still in its coffin. In 1979 the Seminole Nation of Oklahoma bought Osceola's bandolier and other personal items from a Sotheby's auction. Because of the chief's significance, over time some people have created forgeries of Osceola's belongings. Rumors persist that his embalmed head has been found in various locations.

Answer this question "when did he do that"
output:

input: Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.

Answer this question "What else should I know about burlesque"
output: In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome

input: In early January 2010, multiple media outlets reported that, following the 2010 Winter Olympics, The Jay Leno Show would be shortened to 30 minutes and begin airing weeknights at 11:35 pm ET, with Conan O'Brien and Jimmy Fallon's shows following it beginning at 12:05 am on March 1, 2010. On January 10, NBC Universal Television Entertainment Chairman Jeff Gaspin confirmed that The Jay Leno Show would indeed move to 11:35. Leno immediately accepted the return to 11:35 p.m., calling the move "all business." He had made it known in the press in November 2009 that he wished to return to his old timeslot; behind the scenes, Leno had privately indicated that he did not believe the 10:00 experiment would work. On the other hand, O'Brien's contract stipulated that the network could move the show back to 12:05 a.m. without penalty, a loophole put in primarily to accommodate sports preemptions, the network's traditional nightly Wimbledon tournament highlights show, and specials such as New Year's Eve with Carson Daly. O'Brien did not seriously respond for several days after the announcement, then drafted a press release explaining why he felt it was unfair to him, his staff, Fallon, and the legacy of The Tonight Show to move the show past midnight. He concluded by saying that he "cannot participate in what I honestly believe is [The Tonight Show's] destruction." O'Brien received an outpouring of celebrity and viewer support for rejecting the move, while Leno received heavy criticism. On January 21, O'Brien signed a $45 million deal allowing him to leave the network, and aired his final episode of Tonight on January 22; Leno returned as host of Tonight on March 1.

Answer this question "Did Leno mind the time slot change?"
output:
Leno immediately accepted the return to 11:35 p.m., calling the move "all business.