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Wink: An Online Journal 1 Paragraph: Beth Smith Instructor: Mary McLaughlin Bart Simpson Bart Simpson may be the unlikeliest of icons, but he is undoubtedly an American idol. One of the youngest inhabitants of Springfield, a town whose entire population seems to have severe jaundice, Bart has a reputation like no other. Not above dropping his pants to showcase his rear-end, Bart is infamous for mouthing off to authority and crank calling local businesses. Those who suffer his antics the most include his father Homer, an employee at a nuclear plant; his teacher and principal, who are accustomed to keeping him after class; and his younger sister Lisa, a child genius who is mostly just annoyed by his misbehavior (Corliss 2,3). His foolishness often lands his neck in the hands of his father or keeps him after school hours to write on the blackboard as discipline. Yet, regardless of how much mischief he gets himself into or how many times he is punished for it, loyal viewers never hold a grudge against him. People everywhere have fallen for the little prankster with the “paper bag-shaped head” (Corliss 1). Sure he is at an advantage being only ten years old, and many people can relate to his character. However, his appeal is not limited to former class clowns or those who enjoy skateboarding; he is loved and admired by all. His ability to evoke laughter is remarkable. I would challenge anyone to watch an episode of “The Simpsons” and not let out a single chuckle. His daily punishment of writing on the blackboard after class once included the phrase, “I am not delightfully saucy” (qtd. in Corliss 3). Well, I disagree. In fact, if I had the opportunity to say one thing to Bart Simpson, I would tell him that he is saucier than a plate of southern hot wings, and that is why I admire him. Works Cited Corliss, Richard. “Bart Simpson.” TIME 100 The Most Important People of the Century. 8 June 1998. TIME, Inc. 6 Dec 2006. <http://www.time.com/time/time100/artists/profile/simpson.html> December 6, 2006 .

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Mediasprawl: Springfield U.S.A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Iowa Journal of Cultural Studies Volume 3, Issue 1 2003 Article 10 SUBURBIA Mediasprawl: Springﬁeld U.S.A Douglas Rushkoff∗ ∗ Copyright c 2003 by the authors. Iowa Journal of Cultural Studies is produced by The Berkeley Electronic Press (bepress). https://ir.uiowa.edu/ijcs Mediasprawl: Springfield U.S.A. Douglas Rushkoff The Simpsons are the closest thing in America to a national media literacy program. By pretending to be a kids’ cartoon, the show gets away with murder: that is, the virtual murder of our most coercive media iconography and techniques. For what began as entertaining interstitial material for an alternative network variety show has revealed itself, in the twenty-first century, as nothing short of a media revolu tion. Maybe that’s the very reason The Simpsons works so well. The Simpsons were bom to provide The Tracey Ullman Show with a way of cutting to commercial breaks. Their very function as a form of media was to bridge the discontinuity inherent to broadcast television. They existed to pave over the breaks. But rather than dampening the effects of these gaps in the broadcast stream, they heightened them. They acknowledged the jagged edges and recombinant forms behind the glossy patina of American television and, by doing so, initiated its deconstruction. They exist in the outlying suburbs of the American media landscape: the hinter lands of the Fox network. And living as they do—simultaneously a part of yet separate from the mainstream, primetime fare—they are able to bear witness to our cultural formulations and then comment upon them.
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