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Article evaluation

 * Hip Hop feminism
 * This sentence, "Hip hop feminism is based in a tradition of black feminism, which emphasizes that the personal is political because our race, class, gender, and sexuality determine how we are treated", needs a citation.
 * It just needs more citations in general.
 * The opening section could be broken down into smaller sub sections.
 * It's rated a "c" on two different scales so it could be edited and fixed more.

American Burlesque Draft for Final
 Opening Section 

To be added in the 2nd paragraph - Throughout the 1930s and 1940s, burlesque theaters and magazines used slogans like "Girls and Gags!" or "Fillies and Fun!" to draw people in.

 Literary & Theatrical Origins 

New section History 

American burlesque began in New York in the 1860s with the creation of a burlesque troupe called the British Blondes. The British Blondes emerged during the the time when feminists and activists where politically active in the fight for abolition and suffrage. During this time women were using more publicly available spaces and this is exactly what the British Blondes were doing. The British Blondes established burlesque as a female dominated performance, with a few men occasionally joining. They also established the performance as has having a strip tease and a narrative. Burlesque acts also included a combination of dancing, singing, minstrelsy, witty repartee, and political commentary. In the nineteenth century, burlesque allowed for more spontaneity than most other forms of theater and because of this, some burlesque performers made no attempt to describe what was happening on stage.

Starting in 1869, the popularity of burlesque was rapidly increasing. Between 1870 and 1940, every state in America was visited by burlesque troupes.

During the era of Vaudeville tours, it was typical to have a burlesque show that was part of the troupe. In Vaudeville shows, there were multiple performance acts, including burlesque acts, that traveled together, creating a variety show of sorts for live audiences in smaller towns where local performance venues were not common. During the 1920s and 1930s, Vaudeville troupes diminished because towns were building movie theaters. The end of Vaudeville marked an important transitional time period for burlesque.

After Vaudeville ended burlesque performances evolved into refined strip shows involving glamorous gowns, gloves, hats, and ruffles. During the early twentieth century, burlesque was mostly confined to clubs in larger cities.

 Burlesque in America - change name to Burlesque Performances (??)

add a citation to"The popular burlesque show of this period...by the 1930s" in the 4th paragraph and change the date to mid-1920s.

 Burlesque Shows on Film -

Restructure entire section

In 1937, Epes W. Sargent wrote in Variety that,"Burlesque is elastic; more so, perhaps, than any other form in theatrical entertainment."

Exploitation producers and distributors where drawn to burlesque films because they could be recut and repackaged, and could be retitled with little to no effort,.

Not many burlesque films tried to have a narrative, but a few did. Two example are that tried to connected a stinted narrative with burlesque were, Paris After Midnight (1950) and The Professor Misbehaves (1953).

Some figures from the 1950s indicate that burlesque films could cost a studio an upwards of $50,000 to produce, but Dan Sonney states that most only cost about $15,000 because they were shot quickly and in some cases were done in less than a day.

Prior to burlesque films, the typical narratives in movies tried to contain female sexuality by oppressing it. Burlesque films challenged this notion because the women in these films confronted the viewers with the sight of women who were uninhibited with their sexual expression. The women in these films strutted, pranced, swung their arms, and then stripped of their clothes in what was an unrestricted sexual display. Burlesque films subverted the opinion that the vast majority of people had of women by letting the women in the films be free to express their sexuality.

 Reworked with my edits - still being worked on 

When the popularity of burlesque performances was declining, films sought to capture the spirit of American burlesque so a wide audience of people could see and enjoy the performances. Many burlesque films just featured the performers doing their routine and not many burlesque films tried to have a narrative, but some did. Exploitation producers and distributors where drawn to burlesque films because they could be recut and repackaged, and could be retitled with little to no effort.

Some figures from the 1950s indicate that burlesque films could cost a studio an upwards of $50,000 to produce, but Dan Sonney states that most only cost about $15,000 because they were shot quickly and in some cases were done in less than a day.

Prior to burlesque films, the typical narratives in movies tried to contain female sexuality by oppressing it. Burlesque films challenged this notion because the women in these films confronted the viewers with the sight of women who were uninhibited with their sexual expression. The women in these films strutted, pranced, swung their arms, and then stripped of their clothes in what was an unrestricted sexual display. Burlesque films subverted the opinion that the vast majority of people had of women by letting the women in the films be free to express their sexuality.

 Neo-Burlesque 

''Elements of parody, political commentary, and camp are often absent from neo-burlesque. '' Peer Edit: Hello! Overall I agree with most of your edits and the necessity of them. I was wondering if you wouldn't mind clarifying why you would change "Burlesque in America" to "Burlesque Performances in America." You have a lot of really good content to add and improve upon! -Ailise