Question:
Joe Simon was born in 1913 as Hymie Simon and raised in Rochester, New York, the son of Harry Simon, who had emigrated from Leeds, England, in 1905, and Rose (Kurland), whom Harry met in the United States. Harry Simon moved to Rochester, then a clothing-manufacturing center where his younger brother Isaac lived, and the couple had a daughter, Beatrice, in 1912. A poor Jewish family, the Simons lived in "a first-floor flat which doubled as my father's tailor shop." Simon attended Benjamin Franklin High School, where he was art director for the school newspaper and the yearbook - earning his first professional fee as an artist when two universities each paid $10 publication rights for his art deco, tempera splash pages for the yearbook sections.
Upon graduation in 1932, Simon was hired by Rochester Journal-American art director Adolph Edler as an assistant, replacing Simon's future comics colleague Al Liederman, who had quit. Between production duties, he did occasional sports and editorial cartoons for the paper. Two years later, Simon took an art job at the Syracuse Herald in Syracuse, New York, for $45 a week, supplying sports and editorial cartoons here as well. Shortly thereafter, for $60 a week, he succeeded Liederman as art director of a paper whose name Simon recalled in his 1990 autobiography as the Syracuse Journal American, although the Syracuse Journal and the Syracuse Sunday American, were the separate weekday and Sunday papers, respectively. The paper soon closed, and Simon, at 23, ventured to New York City.  There, Simon took a room at the boarding house Haddon Hall, in the Morningside Heights neighborhood of Manhattan, near Columbia University. At the suggestion of the art director of the New York Journal American, he sought and found freelance work at Paramount Pictures, working above the Paramount Theatre on Broadway, retouching the movie studio's publicity photos. He also found freelance work at Macfadden Publications, doing illustrations for True Story and other magazines. Sometime afterward, his boss, art director Harlan Crandall, recommended Simon to Lloyd Jacquet, head of Funnies, Inc., one of that era's comic-book "packagers" that supplied comics content on demand to publishers testing the new medium. That day, Simon received his first comics assignment, a seven-page Western.  Four days later, Jacquet asked Simon, at the behest of Timely Comics publisher Martin Goodman, to create a flaming superhero like Timely's successful character the Human Torch. From this came Simon's first comic-book hero, the Fiery Mask. Simon used the pseudonym Gregory Sykes on at least one story during this time, "King of the Jungle", starring Trojak The Tiger Man, in Timely's Daring Mystery Comics #2 (Feb. 1940).
Answer this question using a quote from the text above:

Did he continue to work for the Herald?

Answer:
Shortly thereafter, for $60 a week, he succeeded Liederman as art director


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:

What were the two types of burlesque?

Answer:
High burlesque