IN: A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.

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.

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OUT: English style of burlesque was successfully introduced to New York in the 1840s.

input: In 1965, after graduating from Alvin High School, Ryan was drafted by the New York Mets in the 12th round of the 1965 Major League Baseball draft. He was assigned the minor league Marion Mets in the Appalachian League. When Ryan was called up to the New York club the following year, he was the second-youngest player in the league. His first strikeout was Pat Jarvis, and he gave up his first major league home run to Joe Torre, a future NL MVP and Hall of Fame big-league manager. Ryan missed much of the 1967 season due to illness, an arm injury, and service with the Army Reserve; he pitched only 7 innings for the Mets' minor league affiliate in Jacksonville. Ryan returned to the major leagues to stay starting with the 1968 season. Ryan was unable to crack the Mets' pitching rotation, led by Tom Seaver and Jerry Koosman. Ryan was used more as a reliever and spot starter by the 1969 Mets. To deal with frequent blisters on his throwing hand he often soaked his fingers in pickle brine, although the technique's effectiveness was questioned by Ryan's teammates and coaches. Ryan pitched well for the Miracle Mets in the 1969 postseason. Against the Braves in the NLCS, Ryan completed a Mets sweep by throwing seven innings of relief in Game 3, getting his first playoff win (it would take him 12 years to get another). Then in the 1969 World Series, Ryan saved Game 3, pitching 2 1/3 shutout innings against the Baltimore Orioles. The Game 3 victory gave the Mets a 2-1 lead in the Series, which they went on to win in five games. It would be Ryan's only World Series appearance in his career. On April 18, 1970, Ryan tied a Mets record by striking out 15 batters in one game. Four days later, Ryan's teammate, Tom Seaver, topped it with a then MLB record 19 against the San Diego Padres (though Ryan would tie this record four years later). Ryan has credited his time with Seaver and the Mets with turning him from just a flamethrower to a pitcher. Contrary to popular belief, Ryan never wanted to be traded from the Mets and felt betrayed by the team that drafted him. His views on this only calmed once he started running the Rangers and gained a better understanding of the business side of baseball.

Answer this question "did he have any other records?"
output:
(though Ryan would tie this record four years later).