The Thinking 
Housewife
 

A Mobster, Feminism and Classical Ballet

August 7, 2017

THERE’S no such thing as transgenderism in classical ballet.

As the brilliant E. Michael Jones says in this interview about his new book, “How Meyer Lansky took over the Cincinnati Ballet and what Four Ballerinas did about it,” ballet is about male/female relationships. Feminism and the entire social engineering project to confuse sexual differences are contrary to the romantic ideals of ballet, which glorify male and female and their efforts to understand and complement each other.

Modern dance is entirely different. It turns dancers into “sex robots” and is essentially about failed relationships.

“Every year we have to suffer through a new version of the sex robot dance at the Cincinnati ballet,” says Jones, whose son is a ballet dancer for the Cincinnati company. “… Everybody got sick of it.”

Four ballerinas rebelled against the sex robot dance and its political agenda. They realized that every time they did modern dance, they were “silent propagandists for failed relationships,” Jones says.

Learn more about Jones’s book — and what the mobster Meyer Lansky has to do with all this — in the interview with Judith Sharpe. It will be available free at In the Spirit of Chartres for another week. The final ten minutes of the interview are especially important.

— Comments —

Susan-Ann White writes:

I have not listened to the interview with the author you cite because he says his son is a ballet dancer.

Male ballet dancers have always seemed effeminate and immodest and I fail to see how such men can thwart feminism. I do not believe that men should be ballet dancers. If ballerinas require a man for a particular ballet performance, he should dress like a man and dispense with the tights and tutu.
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