That’s a rap: Regarding Kendrick Blackwood’s “Tone Death” (July 28): I hate to sound callous or uncaring, but people are shooting each other over the name of a street that they’re probably renting on. If these wanna-be Tupacs and Biggies want to kill each other over what they say in a rap song, then go for it! As far as I see it, it’s natural selection. Just make sure you hit each other and not innocent people.
Name Withheld Upon Request
Smoke gets in your eyes: Regarding David Martin’s “KC Disasterpiece” (July 21): The irony is as thick as his sauce: a child psychiatrist whose own sons have been allowed to exhibit aberrant adolescent behavior. Dr. Davis, your good name may be coming to a burnt end. A pity that others in your holding company’s employ are being dragged down with you into that fiery pit. As Mr. Trillin might say, “Ah’m gonna miss those beans.”
What’s your beef?: It was very disappointing to see your cover story “KC Disasterpiece,” which was, for the Pitch, a disaster. Poorly constructed, held together primarily by hyperbole, hearsay and innuendo.
It now appears that KC does NOT have an alternative newspaper after all. Very sad.
Back to Square One
Home page: Regarding what people think of Ken McClain: There’s always someone to try and run down anyone who does good in his life (Kendrick Blackwood’s “Independence Square,” July 7).
Mr. McClain is trying to do good for
Independence and make it a better place to live. He’s done a great job with the Square area and Truman Road. I love driving down Truman Road and seeing the pretty houses that he’s redone. Before, the town looked deserted!
Mr. McClain is a great businessman and lawyer. And he loved his grandmother very much. She was so proud of him for what he was doing for her town. She made him an honest and caring man.
So people need to set back and see what Ken McClain can do for their town instead of criticizing him. I don’t see anyone else trying to do anything.
Blame it on the rain: I read the review that Alan Scherstuhl gave of Singin’ in the Rain (Double Downpour,” July 28), and I must say that I wish he had reviewed the two stage productions that we were promised a critic’s glimpse of rather than critiquing the movie, which we all have seen a hundred times or more.
No mention is made of Don or Lina in the Theatre in the Park production. Were they just not onstage at all, because they were absent from your review? I guess what I’m trying to say is, do your job as a columnist who writes reviews of live theater. Don’t tell us how it compares to the movie. We’ve seen it, and forgive us if some of us do not fantasize about Debbie Reynolds, much as I love her. I guess I will have to rely on other sources to find out how a show really went.
Country scramble: I read with great interest Charles Ferruzza’s June 30 article “Separate Checks” and his reference to diversity efforts at Denny’s over the years.
Commitment to the advancement of ethnic, cultural and racial harmony at Denny’s has a proven track record recognized by civil rights leaders and national news media such as Fortune, Essence and 60 Minutes. A few examples:
Forty-four percent of our board of directors are people of color
Twenty-five percent of our senior leadership team are people of color
Twenty-nine percent of overall management at Denny’s are people of color
Forty-eight percent of the workforce at Denny’s are people of color
Denny’s has contracted more than $850 million in goods and services from minority businesses since 1995.
Among our franchisees, minority businesspeople collectively own 45 percent of all Denny’s franchise restaurants.
Working with the National Civil Rights Museum and the King Center, Denny’s has raised over $4 million in the past three years to support the cause of human and civil rights.
I hope this information demonstrates that Denny’s is passionate about doing the right thing, learning from the past and moving forward.
Director, Public Relations, Denny’s
Spartanburg, South Carolina
Correction: The painting “Ceci n’est pas Une pipe,” cited in Gina Kaufmann’s July 28 SeeSaw, is by René Magritte, not Marcel Duchamp.