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.
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Susan-Ann White writes:
