Problem: Background: Hooper was born on August 24, 1887, in Bell Station, California. His family had migrated to California as many other families from the United States due to the California Gold Rush. His father, Joseph "Joe" Hooper, was born in Morrell, Prince Edward Island in Canada. Joe was the fourth child and second boy born to English-born William Hooper, Harry's grandfather, and his Portuguese wife Louisa.
Context: Breaking into the majors with the Red Sox in 1909, Hooper played in 81 games and hit .282. Between 1910 and 1915, he teamed with Tris Speaker (CF) and Duffy Lewis (LF) to form the Golden Outfield, one of the finest outfield trios in baseball history. Religious differences may have been the biggest challenge for the Golden Outfield. At the time, a common Protestant sentiment was that Catholics would move to their communities and change the established culture. Speaker, who was a Protestant, once went a year without speaking to Hooper or Lewis, who were both Catholic.  Though Hooper was a hard competitor on the field, he became known for his likable personality and sense of humor, which contrasted with Speaker's tough exterior. Hooper became a favorite with the fans and he established a reputation as a clutch player. He became known as a top-caliber defensive right fielder and a solid leadoff hitter. He invented a maneuver known as the "rump-slide" for catching shallow fly balls.  In 1910 Hooper played 155 games and hit .267 in a league-leading 688 plate appearances, marking the first of eleven consecutive seasons where he had at least 564 plate appearances. He led all AL outfielders with 30 assists that season, but he also committed a league-high 18 errors. In 130 games the next year, Hooper hit .311; the outfield trio of Hooper, Lewis and Speaker hit .315 combined.  Hooper's batting average dropped to .242 in 1912. Boston won the 1912 World Series, during which Hooper made a catch that The Pittsburgh Press referred to as one of the finest plays in baseball history. The paper noted that Hooper "does not seek the limelight. He is reserved and bashful, and every action of his upon the baseball field plainly shows these qualities." On May 30, 1913, Hooper became the first player to hit a home run to lead off both games of a doubleheader, a mark only matched by Rickey Henderson and Brady Anderson over 80 years later. In 1914, he recorded 230 putouts in right field, which was the first of several seasons in which he finished in the top three in that category among right fielders.  On October 13, 1915, in game five of the 1915 World Series, he became the second player to hit two home runs in a single World Series game. Duffy contributed a third home run as the Red Sox won another world championship four games to one. Hooper was also the captain of the Red Sox in 1919. Hooper became known for talking Boston manager Ed Barrow into converting Babe Ruth from a pitcher to an outfielder.
Question: Was he ever injured?
Answer: 

Background: 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.
Context: 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: how was it received?
Answer:
popular in London theatres between the 1830s and the 1890s.