Problem: Monty Kip Sopp (born November 11, 1963), better known by his ring name Billy Gunn, is an American professional wrestler, former professional bull rider, and singercurrently working for New Japan Pro Wrestling (NJPW). Gunn is best known for his appearances in the World Wrestling Federation/Entertainment (WWF/E) from 1993 to 2004 and from 2012 to 2015. He also served as a coach on WWE's Tough Enough, and was a trainer in its developmental branch, NXT. He is also known for his appearances with Total Nonstop Action Wrestling (TNA) from 2005 to 2009.

On April 13, 2008, he faced former partner B.G. James at Lockdown and lost. After the match, he appeared to want to make amends as he raised B.G.'s hand after the match, only to clothesline him down to the mat and taunt him with a DX crotch chop. Kip went on to declare himself "The Megastar", an arrogant gimmick similar to "The One" gimmick from his WWF tenure. Kip later stopped making appearances on Impact! until April 24 when he was attacked backstage by Matt Morgan for no reason. The next week on Impact!, Kip got back at Morgan by attacking him backstage in Jim Cornette's office. On May 8, 2008, Cornette forced Morgan into being Kip's tag team partner for the Deuces Wild tournament at Sacrifice, though both were unable to win. Kip went on another brief disappearance from television until the June 5 edition of Impact!, where he partnered with Lance Hoyt and James Storm in a losing effort against Morgan and The Latin American Xchange.  On the August 14 episode of Impact!, Kip was revealed to be the new image consultant and member of The Beautiful People, dubbed Cute Kip and was using his Mr.Ass Attire, after they brought him out during their interview on Karen Angle's show Karen's Angle. at Bound for Glory IV, Kip, Love and Sky lost to Rhino, ODB and Rhaka Khan in a Bimbo Brawl. at Final Resolution (December 2008), Kip competed in the Feast or Fired match but failed to get a case. At Genesis 2009, Kip became the one-night-only replacement for the injured Kevin Nash in the Main Event Mafia.  As of March 19, 2009, Sopp was taken off of TNA Impact! along with Jacqueline Moore to become road agents. Sopp returned as Cute Kip and lost to Awesome Kong in an intergender stretcher match on May 14, 2009. On the May 28 edition of Impact!, Kip was fired by The Beautiful People. On the June 18 edition of Impact!, Mick Foley hired him as his handyman, turning Kip into a face. he made another appearance on the August 6 edition of Impact where Kip had to clean up the IMPACT Zone after a chaotic fifteen minute RIOT. on October 9 edition of Xplosion, Kip was defeated by Rhino. on October 30 edition of Xplosion, Kip defeated Sheik Abdul Bashir. on the November 13 edition of Xplosion, Kip lost to Rob Terry and on December 3, 2009 edition of Xplosion, Kip competed in his final TNA match where he lost to Kiyoshi.  Sopp's profile was removed from the TNA website on December 29, 2009, confirming his departure from the promotion.

What is The Beautiful People?

Answer with quotes: !, Kip was revealed to be the new image consultant and member of The Beautiful People, dubbed Cute Kip and was using his Mr.Ass Attire,

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.
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 using a quote from the text above:

Were there any other famous ones?

Answer:
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