Question:
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.
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation.  In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.  Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.  17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire.  In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.
Answer this question using a quote from the text above:

how did it become a popular word?

Answer:
'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic.

input: Carson began his broadcasting career in 1950 at WOW radio and television in Omaha, Nebraska. Carson soon hosted a morning television program called The Squirrel's Nest. One of his routines involved interviewing pigeons on the roof of the local courthouse that would report on the political corruption they had seen. Carson supplemented his income by serving as master of ceremonies at local church dinners, attended by some of the same politicians and civic leaders whom he had lampooned on the radio.  The wife of one of the Omaha political figures Carson spoofed owned stock in a radio station in Los Angeles, and in 1951 referred Carson to her brother, who was influential in the emerging television market in southern California. Carson joined CBS-owned Los Angeles television station KNXT. In 1953, comic Red Skelton--a fan of Carson's "cult success" low-budget sketch comedy show, Carson's Cellar (1951 to 1953) on KNXT--asked Carson to join his show as a writer. In 1954, Skelton during rehearsal accidentally knocked himself unconscious an hour before his live show began, and Carson successfully filled in for him. In 1955, Jack Benny invited Carson to appear on one of his programs during the opening and closing segments. Carson imitated Benny and claimed that Benny had copied his gestures. Benny predicted that Carson would have a successful career as a comedian.  Carson hosted several shows besides Carson's Cellar, including the game show Earn Your Vacation (1954) and the CBS variety show The Johnny Carson Show (1955-1956). He was a guest panelist on the original To Tell the Truth starting in 1960, later becoming a regular panelist from 1961 until 1962. After the prime time The Johnny Carson Show failed, he moved to New York City to host Who Do You Trust? (1957-1962), formerly known as Do You Trust Your Wife?. In 1958, he appeared as a guest star in an episode entitled "Do You Trust Your Wife" on NBC's short-lived variety show, The Polly Bergen Show. On Who Do You Trust?, Carson met his future sidekick and straight man, Ed McMahon. Although he believed moving to daytime would hurt his career, Who Do You Trust? was a success. It was the first show where he could ad lib and interview guests, and because of Carson's on-camera wit, the show became "the hottest item on daytime television" during his five years at ABC.

Answer this question "When did he join television?"
output: In 1955, Jack Benny invited Carson to appear on one of his programs

Answer the question at the end by quoting:

Nilsson was born in Bedford-Stuyvesant, Brooklyn in 1941. His paternal grandparents were Swedish circus performers and dancers, especially known for their "aerial ballet" (which is the title of one of Nilsson's albums). His maternal grandparents were the cornerstone of his young life. While his grandmother played piano, his grandfather Charlie supported the family in a tiny railroad apartment on Jefferson St in Brooklyn.
Nilsson is the subject of a 2006 documentary, Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him)? produced by David Leaf and John Schienfeld. The film was screened in 2006 at the Seattle International Film Festival and the Santa Barbara International Film Festival. In August 2006, the film received its Los Angeles premiere when it was screened at the 7th Annual Mods & Rockers Film Festival followed by a panel discussion about Nilsson featuring the filmmakers and two friends of Nilsson, producer Richard Perry and attorney/executive producer Lee Blackman.  The filmmakers re-edited the film with rare found footage of Nilsson, further interviews, and family photographs, and finally released it on September 17, 2010 at selected theaters in the United States. A DVD, including additional footage not in the theatrical release, was released on October 26, 2010.  Nilsson's final album, tentatively titled Papa's Got a Brown New Robe (produced by Mark Hudson) was not released, though several demos from the album were available on promotional CDs and online.  The musical Everyday Rapture features three songs by Nilsson and, similarly, the film A Good Year features "Gotta get up", "Jump into the fire" and "How can I be sure of you".  On July 29, 2013, Sony Music released a definitive box-set of his RCA era albums called The RCA Albums Collection. Each of the albums in the 17-CD set had additional bonus tracks, along with 3 of the 17 discs that contained rarities and outtakes spanning his entire career. Additionally, several weeks later on August 13, Flash Harry was finally issued on CD also featuring additional material. Completing the two CD releases, the first book written about Nilsson was published covering his life story.

who produced this socumentary?
)? produced by David Leaf and John Schienfeld.