input: Chaouchi received his first call-up to the Algerian national team on 4 February 2008 for training which was due to be held in France, after his good form for club JS Kabylie did not go unnoticed by the national team coach Saadane. On 26 March 2008, he made his debut for Algeria in a friendly against DR Congo coming on as a substitute at half-time for Lounes Gaouaoui.  On 18 November 2009, Chaouchi was selected to play fierce rivals Egypt in what was to be the most important game of his football career, the reward being the remaining African place for the 2010 World Cup finals as first-choice goalkeeper Lounes Gaouaoui was ruled out through suspension.  Chaouchi put in a heroic performance in the play-off as he constantly denied Egypt to send Algeria through to the 2010 FIFA World Cup, with the final score being 1-0 with centre-back Antar Yahia scoring the only goal with a stunning first-half volley at an angle eight yards out from Karim Ziani's punt into the box. After his heroic performance Chaouchi gave Saadane something to think about whilst preparing for the 2010 African Cup of Nations.  In December 2009, Chaouchi was selected by Saadane to play in the 2010 African Cup of Nations hosted in Angola. He was normally regarded as second-choice goalkeeper under coach Rabah Saadane, who had been using Lounes Gaouaoui as his first-choice goalkeeper, but due to Chaouchi's heroic performance in Khartoum and Lounes Gaouaoui withdrawing from the 2010 African Cup of Nations due to an attack of acute appendicitis, Rabah Saadane did not hesitate in using Chaouchi as first-choice goalkeeper in the 2010 African Cup of Nations. Chaouchi's sending off in the semi-final against Egypt for receiving two cautions along with his head-butting of referee Coffi Codjia saw him earn a suspension for 3 matches and $10,000 fine from CAF.  Chaouchi started his country's first match of the World Cup against Slovenia and was at fault for the Slovenian winner scored by captain Robert Koren. The goalkeeper allowed the shot to squirm past his body, condemning Algeria to a 1-0 defeat. He was replaced by Rais M'Bohli for the match against England.

Answer this question "did he play with any other international clubs?"
output: 

input: As Secretary of State for the State of Florida (and co-chair of George W. Bush's election efforts in Florida), Harris was a central figure in the 2000 US presidential election in Florida. The election between Al Gore and George W. Bush was so close in Florida, separated by 537 votes, that a recount of the votes was called for.  After several recounts were inconclusive and the laws governing recounts were unclear, Harris halted the recounting process. She certified that the Republican candidate, Texas Governor George W. Bush, had defeated the Democratic candidate, Vice President Al Gore, in the popular vote of Florida and thus certified the Republican slate of electors. This victory in Florida allowed Bush to win the election. Her ruling was upheld in the state circuit court, but was subsequently overturned on appeal by the Florida Supreme Court.  The Florida Supreme Court decision was reversed by the U.S. Supreme Court in Bush v. Gore. (2000) In a per curiam decision, by a 7-2 vote, the Court in Bush v. Gore held that the Florida Supreme Court's method for recounting ballots was a violation of the Equal Protection Clause of the Fourteenth Amendment. By a 5-4 vote, the US Supreme Court held that no alternative method for a recount could be established within the time limits set by the State of Florida.  The decision allowed Harris' previous certification of Bush as the winner of Florida's electoral votes to stand. Florida's 25 electoral votes gave Bush, the Republican candidate, 271 electoral votes, defeating Gore, who ended up with 266 electoral votes (with one D.C. elector abstaining).  Harris later published Center of the Storm, her memoir of the 2000 election controversy.

Answer this question "Are there any other interesting aspects about this article?"
output: This victory in Florida allowed Bush to win the election. Her ruling was upheld in the state circuit court,

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 was unique about burlesque during this time?"
output:
Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s.