COUNTERPUNCH LETTERS : A Dangerous Life in ‘Aladdin’s’ Time

Those having problems with the “Aladdin� lyrics ought to take a quick look at their history books (“No Magic in ‘Aladdin’s’ Offensive Lyrics,� May 17). Arabia at the time was just as dangerous to residents as well as visitors. If one was not threatened by all the sultan or sheik’s men, then it would be from gangs of thieves with lifestyles and behavior that would shame modern counterparts.

As it turns out, the line, “Where they cut off your ear if they don’t like your face; it’s barbaric, but hey, it’s home,� is tame compared with what really happened. Plus, it even helps set the tone of danger in the movie.

Regarding the complaint that the movie relies too heavily on negative stereotypes and uses standard English for the main characters, the main theme of “Aladdin� is not a documentary on Arabian culture but rather how one has to be true and forthcoming to oneself and others to be a real hero and not to rely on a person--or a genie--who can give it all to you quickly and easily.

JOHN Y. KIM

Los Angeles

Casey Kasem and Jay Goldsworthy would make a more honest impression if they protested the public executions, torture, rape and cutting off of arms (or hands) in countries like Saudi Arabia, Sudan, Iraq and Kuwait.

By the way, there is no public stoning in Israel. There is no capital punishment.

HAROLD DANIELS

Los Angeles

In waxing indignant about the lyrics in “Aladdin,� Kasem and Goldsworthy overlook a far more insulting stereotype: Princess Jasmine is deplorably intelligent and blasphemously independent. And when she has the shocking presumption to choose her own husband, her father (the head and chief example of the state) cheerfully bows to the will of this female . The picture presented is profoundly insulting to a culture that does not allow women to vote or even drive.JIM STINSON

Pasadena

Wanting to Get Even

I echo Dr. Roderic Gorney’s complaint about the cruel and hurtful behavior predominating our entertainment media (“Media’s Fascination With Grotesque Love Defies Basic Laws of Survival,� May 17), but I believe he fails to illuminate the roots of the problem.

By stating that the grotesquerie we seek in entertainment is vicarious revenge for the pains and unfulfillments of childhood, I think he neglects a key factor by not mentioning the permeating stress of 20th-Century life: a continuously reinforced state of unfulfillment as consumers.

The basic structure of modern society is the marketplace, and the market’s goal is to persuade us to pursue commodities unceasingly. The market is the pusher; we are the addicts, and, like all addicts, we never get enough. The psychic pain caused by this daily failure is the true reason we are hooked on revenge.

As long as the language of commerce dominates our public discourse and as long as our environment screams at us to consume, we suffer the nagging anguish of not having enough and not being good enough--and our entertainment will continue to be the outlet and instrument of our revenge.

CRAIG FLEMING

Pasadena