Calendar Letters: Oscars In Memoriam, women in Washington and more

Make time to remember

I was drawn to read “Oscars Must Remember Her” on seeing the photo of Vanessa Marquez — the talented young Hispanic girl cast in the film “Stand and Deliver.” I hope she receives recognition at the Oscars’ “In Memoriam,” although cast mates and other Hollywood people were extremely disappointed she was not included in the recent SAG awards “In Memoriam” segment. I remember that the young “Stand and Deliver” cast appeared in the city of Pico Rivera’s 40th anniversary parade in 1988. Another talented Hispanic actor, Lupe Ontiveros (who was in many films including including “Selena” and my favorite, “This Christmas”) lived in Pico Rivera and she was not included in the Oscars’ “In Memoriam” after she passed away in 2012. The excuse that award shows do not have enough time to include everyone is weak. Just make the “In Memoriam” segment longer.

Kathy Courtemarche

Seal Beach

Still not enough women in power

Regarding “This State of the Union was a Joust Between Trump and a Sea of Women in White” [Feb. 5]: Lorraine Ali rightfully celebrated the “women in white” at Trump’s State of the Union address. Trump himself acknowledged a historic number of women in Congress. What he failed to do, and what has not gained enough attention in general in coverage of the “women in white,” is to put their numbers in perspective with respect to other countries.

Spain, Sweden, France, Canada, Slovenia and Bolivia have already achieved gender equity in their legislatures. The U.S. percentage currently? 23.4% women in Congress.

So while the excitement about more women in Congress is understandable, especially for those who fought hard to make important progress, the time for celebrating our exceptionalism in this area has yet to come.

Jack A. Draper III

Columbia, Mo.

About women of a certain age

Regarding “Fabulous at 70-plus” [Feb. 5]: At 77, I agree with Mary McNamara that 70 is the new fabulous and I am, to the best of my ability, enjoying the luxury of aging. I admire and respect the women mentioned. But that is a very small number of women. How about an article about “real” people. What about fabulous older women who are ailing and have no support systems? Where is the concern for those 70 and older women who must worry about a $35-a-month rent increase? What about those who are faced with increasing costs of basic necessities, like food? What about women who worry about what will happen when they no longer are able to drive and don’t have chauffeurs?

Eileen Miller

Huntington Beach

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In our youth-obsessed country, this article documents the issue of ageism toward women and articulates the success of women in the workforce.

The good news is that many companies are not stigmatizing older women and are recognizing the advantage of hiring 40-plus women.

Don’t stop looking for work!

As an agent in the modeling industry in the mid-’70s through the mid-’90s, it was rare to book a model who was approaching her 30s. In today’s market, womenwear is modeled by women with gray hair.

Judith Fontaine

Brentwood

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It was a lovely article and a great illustration by Charlie Powell.

I’d like to put in a plug for the non-famous working elderly. I’m almost 81 and I have several volunteer activities that give me enormous pleasure.

I know too many people who think they are too old to work, but they are defining work too narrowly as paid employment.

Carol Mitchell

Marina del Rey

A good chorus of brothers

Regarding “At the Gay Men’s Chorus of L.A., Accusations of Misconduct and a Leader Departing” [Feb. 5]: I read with sadness Jessica Gelt’s article. Sadness because my brothers felt violated and sadness because this is not the GMCLA that I know.

This is my eighth year singing with GMCLA. I look forward to our regular Monday-night rehearsals and enjoy participating in the many things this remarkable organization does.

I am indeed sorry to know that my choral brothers suffered this kind of assault and indignity. I do not believe that it is rampant or even characteristic of GMCLA. I will continue to be part of the good work that we do, and continue to be a proud member of GMCLA.

Patrick Cullen

Los Angeles

Learn from her spot-on words

Regarding “What Matters in Rape Stories” [Feb. 7]: I am a retired Los Angeles high school English teacher. I often reproduced Mary McNamara’s columns and used them in class as examples of exemplary writing. Her recent column on rape, I am sure, will be used in classrooms throughout Los Angeles. Thank you for returning to print.

Marti Sutherland

Fallbrook, Calif.

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As usual, Mary McNamara nails it. That is all that need be said.

David Weaver,

San Juan Capistrano

Credit but no spoilers, please

In Christopher Knight’s review of “Velvet Buzzsaw” [“Picture an Art Critic,” Feb. 6], he gives credit to Otto Preminger, the director of the 1944 film “Laura.”. In The Times, it never “starts with the writing.” So, giving credit where it’s due, the screenplay was written by Jay Dratler, Samuel Hoffenstein and Betty Reinhardt, based on the 1943 novel “Laura” by Vera Caspary.

Gita Endore

Los Angeles

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Whatever evils may be ascribed to fictional characters in “Velvet Buzzsaw,” “All about Eve” and “Laura,” they pale beside the cardinal sin of Christopher Knight, who begins his essay by identifying the murderer in a classic mystery movie. He’s going to have to learn to add the words: “Spoiler Alert.”

Preston Neal Jones

Hollywood

A more critical approach

Regarding “Kamala Harris Lays Out ‘Truths’” [Feb. 3], Kate Tuttle’s review of Kamala Harris’ book, “The Truths We Hold”: I think it would be best if you chose reviewers who were not so in thrall to the subject/author of the book they review and did not accept unquestioningly the claims of that subject/author.

Alan Myerson

Culver City

Folding comics is no joke

With all the technology and elite staff you have, you would think you could produce (print) the comics to be able to fold the paper in half and the fold not go through the middle of a comic strip. Think you could make this happen before I die?

Leroy Thomas

Inglewood

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