When you and I go to the ballet, we focus on the young, athletic, undoubtedly 100% heterosexual men in tight tights prancing on tippy-toes and leaping across the stage.  But when liberals go to the ballet, they are too distracted to watch what's happening on the stage, instead looking at the audience and thinking, "Oh, my God, why are there so many white people here?"

This is a big problem that the WaPo had to address.

This summer’s announcement that Misty Copeland, a charismatic dancer of the American Ballet Theatre, would become the first black principal ballerina in the company’s history was met with cheers. With the applause came lamentations of how long it has taken for non-white dancers to receive the recognition they deserve. The first mainstream American production of “Swan Lake” to star two black dancers was only staged in April, with Copeland and Brooklyn Mack of the Washington Ballet in the lead.

I am relieved that ballet producers, who are usually quite liberal, have started to address their own history of racism.

Company ranks have broadened, like the rest of the country, to include many more hyphenated identities.

I think we need more hyphenated identities, don't you?

Sultry, powerful dancers from Latin America or lithe artists from Asia also add elements of different qualities and style to their movements, so that the steps in ballets themselves have become more subtly nuanced with these influences, too..

When you go to the ballet, don't you enjoy seeing some sultry Latin Americans or lithe Asians?  (And don't you  love liberal stereotyping?)

In 2012, 80 percent [of ballet audiences] were white, two-thirds were female, and more came from families earning $150,000 a year

Oh no!  Perhaps ballets glorifying black Muslims will help:

... it is a time of structural as well as artistic experimentation for American ballet. For that, there is reason to be bullish. Take, for example, “Les Bosquets,” a 2014 ballet about riots that took place in the Parisian suburb of Montfermeil and other black Muslim neighborhoods in 2005, when bubbling tensions over race and identity in France exploded into unrest onto the streets. In the ballet, the character of Ladj Ly, a black filmmaker jooks (a form of hip-hop) opposite a ballerina, an outsider to the world of the banlieue.

A hip-hop ballerina!  And yet, audiences are still largely white.  Why do you think this is so?  Pick the exclamation you find most likely:

A) The unconscious racism of the performers offends minorities.

B) Micro-racism, in the form of airborne bacteria from white audiences, permeates the air and attacks minorities with a vengeance, giving them head colds and earaches.

C) There is "hip-hop ballet" but still no "rap ballet."

D) Blacks don't like to be in audiences with white liberals for fear of being patronized.

or

E) Blacks simply don't like ballet.

When there is a racial disparity in an area of interest, why must it always be a "problem" to be "solved"?  It reminds me of the hysteria a New York Times reporter experienced when he went to a national park and started counting white people in the parking lot.

This article was produced by NewsMachete.com, the conservative news site.