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.
QUESTION: Were there any other famous burlesues
IN: Muhammad Ali (; born Cassius Marcellus Clay Jr.; January 17, 1942 - June 3, 2016) was an American professional boxer and activist. He is widely regarded as one of the most significant and celebrated sports figures of the 20th century. From early in his career, Ali was known as an inspiring, controversial, and polarizing figure both inside and outside the ring. Cassius Clay was born and raised in Louisville, Kentucky, and began training as an amateur boxer when he was 12 years old.

Ali said that he first heard of the Nation of Islam when he was fighting in the Golden Gloves tournament in Chicago in 1959, and attended his first Nation of Islam meeting in 1961. He continued to attend meetings, although keeping his involvement hidden from the public. In 1962, Clay met Malcolm X, who soon became his spiritual and political mentor. By the time of the first Liston fight, Nation of Islam members, including Malcolm X, were visible in his entourage. This led to a story in The Miami Herald just before the fight disclosing that Clay had joined the Nation of Islam, which nearly caused the bout to be canceled. In fact, Clay was initially refused entry to the Nation of Islam (often called the Black Muslims at the time) due to his boxing career. However, after he won the championship from Liston in 1964, the Nation of Islam was more receptive and agreed to publicize his membership. Shortly afterwards on March 6, Elijah Muhammad gave a radio address that Clay would be renamed Muhammad (one who is worthy of praise) Ali (most high). Around that time Ali moved to the south side of Chicago and lived in a series of houses, always near the Nation of Islam's Mosque Maryam or Elijah Muhammad's residence. He stayed in Chicago for about 12 years. Only a few journalists (most notably Howard Cosell) accepted the new name at that time. Ali later announced: "Cassius Clay is my slave name." Not afraid to antagonize the white establishment, Ali stated, "I am America. I am the part you won't recognize. But get used to me. Black, confident, cocky; my name, not yours; my religion, not yours; my goals, my own; get used to me." Ali's friendship with Malcolm X ended as Malcolm split with the Nation of Islam a couple of weeks after Ali joined, and Ali remained with the Nation of Islam. Ali later said that turning his back on Malcolm was one of the mistakes he regretted most in his life. Aligning himself with the Nation of Islam, its leader Elijah Muhammad, and a narrative that labeled the white race as the perpetrator of genocide against African Americans made Ali a target of public condemnation. The Nation of Islam was widely viewed by whites and some African Americans as a black separatist "hate religion" with a propensity toward violence; Ali had few qualms about using his influential voice to speak Nation of Islam doctrine. In a press conference articulating his opposition to the Vietnam War, Ali stated, "My enemy is the white people, not Viet Cong or Chinese or Japanese." In relation to integration, he said: "We who follow the teachings of Elijah Muhammad don't want to be forced to integrate. Integration is wrong. We don't want to live with the white man; that's all". Writer Jerry Izenberg once noted that, "the Nation became Ali's family and Elijah Muhammad became his father. But there is an irony to the fact that while the Nation branded white people as devils, Ali had more white colleagues than most African American people did at that time in America, and continued to have them throughout his career."
QUESTION:
Did he decide to join with them?