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INDIRECTNESS IN AMERICAN IDOL JUDGES’ COMMENTS

A THESIS Presented as a Partial Fulfillment of the Requirements for the degree of Magister Humaniora (M. Hum) in English Language Studies

by Raynesta Mikaela Indri Malo 09 6332 008

THE GRADUATE PROGRAM IN ENGLISH LANGUAGE STUDIES SANATA DHARMA UNIVERSITY YOGYAKARTA 2011

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ACKNOWLEDGEMENTS

Greatest thank to the Father, the Son, and the Holy Spirit, for guiding me through all of this. For my beloved parents, Bapa and Mama, and my brother,

Andri, for Opu Piet and family, Pinky and family, and all the family in Sumba and other places, and also for Dena, thanks for all of you for the love and supports.

I would like to express my gratitude to all the lecturers in the English

Language Studies Graduate Program, Sanata Dharma, to Dr. B.B. Dwijatmoko,

M.A. as my supervisor, to Prof. Dr. Soepomo Poedjosoedarmo, Dr. Fr. B. Alip,

M.Pd., M.A., Dr. Novita Dewi, M.S., M.A. (Hons), Drs. F.X. Mukarto, M.S.,

Ph.D., Dr. Alb. Budi Susanto, S.J., and Dr. J. Bismoko. I thank you very much for all knowledge and skills you gave and shared to me. To Mbak Lely and Mas

Mulyadi in the secretariat, the library crews, VDMS and for all people in Sanata

Dharma University, thank you so much for all the helps.

I also thank P. Robert Ramone, CSsR, Rm. Yeremias Balapito, MSF, P.

Silvester Nusa, CSsR, P. Donny Kleden, CSsR, P. Giovanni Don Bosqo, CSsR,

Benya, Friedz, Cipen, Maing, Dedy and those in Wisma Sang Penebus, Nandan, for our relationship and for the prayers and supports. My gratitude also goes to all my friends. For Dita, Nofi, Riny, Tiny, Siska, Disti, Lisis and those from Sastra

Inggris 2004; for friends in KBI, Sizy, Yani, Mia, Mbak Deta, Yhonas, Mbak

Ana, Ka Siska, Emak Susan, Mbak Sonya, Ka Uda, Vovo, Mas Ginting, Adis,

Naely, Novi, Tyra, Wisni, Hadi, Titan, Bang Berto, Mbak Wedha, Sesco, and Ka

Richard; for those in Alamanda 11 & 16, Orin, Ine, Emy; footballers of Savana,

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Venno, Teves, Dichu, Maccy, Ate, Macce; for Utha, Wiwid, Irma Rasi, Doddy,

Ridho, Iyo, Erin, Ima, Neny, Ka Mia, Irma Boleng, Ety Penny, Tommy, Ryan,

Ece, Ita-Ita, thank you guys for our friendship and relationship. I‟ll never walk alone. Hope God bless you all with the greatest love.

Raynesta Mikaela Indri Malo

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TABLE OF CONTENTS

TITLE PAGE...... i APPROVAL PAGE...... ii DEFENSE APPROVAL PAGE...... iii STATEMENT OF ORIGINALITY...... iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS ...... v ACKNOWLEDGEMENTS...... vi TABLE OF CONTENTS...... viii LIST OF TABLES...... x LIST OF APPENDICES...... xi ABSTRACT...... xii ABSTRAK...... xiv

CHAPTER I:INTRODUCTION...... 1 A. Background...... 1 B. Problem Formulation...... 5 C. Research Objectives ...... 5 D. Research Benefits ...... 6

CHAPTER II: THEORETICAL REVIEW...... 7 A. Literature Review ...... 7 1. Pragmatics ...... 7 2. Speech Acts ...... 16 3. Indirectness ...... 21 B. Review on Related Studies...... 34 C. Theoretical Framework ...... 38

CHAPTER III: RESEARCH METHODOLOGY...... 39 A. Types of Study ...... 39 B. Research Data ...... 39 C. Data Collection ...... 40 D. Data Analysis ...... 43

CHAPTER IV: ANALYSIS AND DISCUSSION ...... 46 A. Speech Acts of Indirectness...... 46 1. Assertive ...... 47 2. Declarative ...... 58 3. Directive ...... 66 4. Expressive ...... 71

B. Functions of Indirectness ...... 75 1. Being Ironic ...... 76

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2. Being Polite ...... 80 3. Giving Hints ...... 86 C. Factors Affecting the Use of Indirectness ...... 96 1. Politeness ...... 96 2. Gender ...... 103 3. Power ...... 105

CHAPTER V: CONCLUSION ...... 109

BIBLIOGRAPHY ...... 113

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LIST OF TABLES

Table 3.1 Sample of the Judges‟ Comments Taken from the Subtitle of the Recording ...... 41

Table 3.2 Sample of Judges‟ Comments after Editing ...... 42

Table 4.1.1 Assertive Speech Act ...... 49

Table 4.1.2 Declarative Speech Act ...... 60

Table 4.1.3 Directive Speech Act ...... 66

Table 4.1.4 Expressive Speech Act ...... 71

Table 4.2.1 Comments with Ironic Function ...... 76

Table 4.2.2 Comments with Polite Function...... 81

Table 4.2.3 Comments which Function at Giving Hint...... 87

Table 4.3.1 Comments with Politeness as the main Factor...... 97

Table 4.3.2 Comments with Power as the main Factor...... 107

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LIST OF APPENDICES

Appendix 1: All Indirect Comments in the Context of Use...... 116

Appendix 2: Sentence Structure and Type of Speech Acts...... 142

Appendix 3: Functions of Indirect Comments...... 146

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ABSTRACT

Mikaela Indri Malo, Raynesta. 2011. Indirectness in American Idol Judges’ Comments. Yogyakarta: English Language Studies, Graduate Program, Sanata Dharma University.

Indirectness is one of the relatively efficient ways of communicating with each other. People use indirectness in communication for different purposes. The most discussed and discovered purpose across cultures is for politeness; people use language in indirect way to prevent hurting each other‟s feelings. In many cultures, indirectness is highly valued because face saving and harmony in social relationships are highly respected. The phenomenon of indirect use of language can be found not only in the normal everyday interaction; it can also be found in many instances of language use. One of them is in the interaction between people in the television programs, such as talk shows or reality shows. This paper was aimed at analyzing indirectness in one of the most popular reality shows in America, the American Idol. The indirect uses of language taken as data were those comments given by the panel of judges to the contestants. The reason of choosing the field was because the study on the same topic in the same field is still rarely found. This research was a descriptive research aimed at describing the natural use of language, in this case, the use of indirectness in the American Idol. This descriptive study aimed at (i) finding and describing the type of speech acts employed in the indirect comments given by the American Idol judges; (ii) finding and describing the functions of indirectness of American Idol judges‟ comments; and (iii) finding and describing the factors that affect the use of indirectness in the American Idol judges‟ comments. The main source of the data was the recordings of the American Idol show. The data were limited to the audition of the 8th season of American Idol which was held in 2009. There were 7 recordings for the 8 cities of audition. The total number of data used in this study was 50 indirect comments. This study finds out that there are 4 types of speech act employed in the indirect comments. They are assertive, declarative, directive, and expressive. The use of speech act shows that when giving comments to the contestants, the judges are not only making statement and asking questions; the judges are doing something, for example, giving their opinion through asserting, giving commands and advices, making decisions and expressing their feelings. This study also finds out several strategies through which indirectness is achieved. Through this study, it is also found that there are 3 functions of the use of indirectness in the comments of the judges. The functions are (i) to be ironic, (ii) to be polite, and (iii) to give hints. There are several strategies, through which the functions are achieved, for the first function, there are two ways through which irony is achieved, (i) the use of questions; and (ii) the use of sentences that have relation to the title of the song. For the second function, there are several strategies such as (i) the use of hedges, (ii) statement of regret („sorry), (iii) giving compliments or praises, (compliments – facts pattern) and (iv) the use of

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statement with consideration of the contestants‟ feelings; and for the last function, the strategies are (i) giving advice or order, (ii) the use of conditional if, (iii) using words such as „chance‟ or „shot‟ which indicates opportunity in the next round (especially to say yes), (iv) hyperbole, (v) the use of comparison, (vi) making prediction, (vii) criticizing, etc. This study also reveals that there are three factors that affect the use of indirectness on the comment of the judges. The factors are politeness, gender, and power relation. Politeness factor affects the judges to say something which could lessen the hurt feelings of the contestants, such as by saying „no‟ in an indirect way. It was done to mitigate the possibility that the contestants were being hurt by the judges‟ refusals. The judges have the power over the contestant because the judges were those people who have been working in business for years and completely have more experiences in the show business than the contestants. Intentionally or not, the judges showed their power or showed that they have power through their comments. The last factor, gender, is interrelated to other factors. It is related to politeness in the way that the female judges use indirect comments for polite reason because they are women with the nature of being polite and caring about other‟s feeling. Gender is related to power in the way that the male judges (Simon) stated the non-polite comments because it is the nature of a man that he gives less attention to other feelings and says less polite things to others and because Simon is a person who has power over the contestants; he is superior in the way that he has much more experience in the business than the contestants.

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ABSTRAK

Mikaela Indri Malo, Raynesta. 2011. Indirectness in American Idol Judges’ Comments. Yogyakarta: Kajian Bahasa Inggris, Program Pascasarjana, Universitas Sanata Dharma.

Berbicara dengan cara yang tidak langsung merupakan salah satu cara berkomunikasi yang cukup efektif. Cara ini digunakan untuk mencapai tujuan- tujuan tertentu. Tujuan yang paling banyak dibahas dan ditemukan di antara budaya-budaya dunia adalah kesopanan; seseorang menggunakan bahasa dengan cara yang tidak langsung untuk tidak menyakiti perasaan orang lain. Di berbagai budaya, berbicara dengan cara yang tidak langsung sangat dihargai karena „menyelamatkan wajah‟ orang lain dan keharmonisan dalam kehidupan sosial sangat dijunjung tinggi. Fenomena penggunaan bahasa dengan cara yang tidak langsung tidak saja dapat ditemukan dalam interaksi normal sehari-hari, tetapi juga dalam berbagai konteks penggunaan bahasa. Salah satunya adalah interaksi orang-orang yang berkecimpung dalam program-program televisi, seperti dalam talk show dan reality show. Penelitian ini bertujuan untuk menganalisa penggunaan bahasa secara tidak langsung dalam salah satu program reality show paling terkenal di Amerika, American Idol. Data yang digunakan diambil dari komentar yang diberikan oleh juri kepada kontestan. Alasan pemilihan American Idol sebagai lingkup penelitian ialah karena penelitian mengenai topik yang sama dan di lingkup yang sama belum pernah dilakukan, bahkan penelitian tentang penggunaan bahasa secara umum di bidang ini pun belum banyak ditemukan. Penelitian ini merupakan penelitian deskriptif yang bertujuan untuk menguraikan penggunaan bahasa yang natural, dalam hal ini, penggunaan bahasa secara tidak langsung di American Idol. Penelitian deskriptif ini bertujuan untuk (i) menemukan dan menguraikan tipe-tipe tindak tutur yang digunakan dalam komentar yang diberikan oleh juri American Idol; (ii) menemukan dan menguraikan fungsi penggunaan bahasa secara tidak langsung dalam komentar yang diberikan oleh juri American Idol; dan (iii) menemukan dan menguraikan faktor-faktor yang mempengaruhi penggunaan bahasa secara tidak langsung dalam American Idol. Sumber data yang utama adalah rekaman pertunjukan American Idol. Jumlah data dibatasi pada audisi American Idol musim ke-8 yang diadakan tahun 2009. Terdapat 7 rekaman untuk 8 kota yang menjadi kota audisi. Jumlah total data yang digunakan dalam penelitian ini adalah 50 komentar. Penelitian ini menemukan bahwa terdapat 4 tipe tindak tutur yang digunakan dalam komentar tidak langsung di American Idol. Tipe-tipe tersebut adalah asertif, deklaratif, direktif, dan ekspresif. Penggunaan tindak tutur

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menunjukkan bahwa pada saat memberi komentar kepada kontestan, para juri tidak saja sekedar membuat pernyataan atau bertanya akan tetapi mereka juga melakukan sesuatu, seperti memberi opini, memberi perintah dan saran, mengambil keputusan, dan juga mengekspresikan perasaan mereka. Penelitian ini juga menemukan bahwa terdapat berbagai cara bagaimana menggunakan bahasa dengan cara yang tidak langsung. Melalui penelitian ini juga ditemukan bahwa terdapat 3 fungsi penggunaan bahasa secara tidak langsung. (i) mengejek atau memberi ejekan melalui ironi, (ii) untuk bersikap sopan, dan (iii) memberi petunjuk atau isyarat. Terdapat pula berbagai strategi bagaimana fungsi-fungsi tersebut dicapai. Fungsi yang pertama dicapai dengan cara (i) menggunakan pertanyaan; dan (ii) melalui kalimat-kalimat yang berhubungan dengan judul lagu yang dinyanyikan oleh kontestan. Fungsi yang kedua dicapai dengan cara (i) menggunakan hedges atau penggunaan bahasa yang tidak pasti, seperti menggunakan kata „entah‟; (ii) memberi pernyataan yang menunjukkan penyesalan („maaf‟), (iii) memberi pujian (model pujian-fakta), dan (iv) menggunakan pernyataan dengan mempertimbangkan perasaan para kontestan; dan untuk fungsi yang terakhir, strateginya adalah (i) memberi saran atau perintah, (ii) penggunaan conditional if, (iii) menggunakan kata-kata seperti „chance‟ dan „shot‟ yang mengidikasikan kesempatan di babak selanjutnya (khusus untuk memberi jawaban „ya‟), (iv) menggunakan hiperbola, (v) menggunakan perbandingan, (vi) melakukan prediksi, (vii) memberi kritik, dan lain-lain. Penelitian ini menemukan bahwa terdapat tiga faktor yang mempengaruhi penggunaan bahasa secara tidak langsung. Ketiga faktor tersebut adalah kesopanan, gender, dan relasi kekuasaan. Faktor kesopanan mempengaruhi para juri untuk mengatakan sesuatu yang dapat mengurangi kekecewaan para kontestan, contohnya dengan „tidak‟ dengan cara yang tidak langsung. Hal ini dilakukan untuk mengurangi kemungkinan bahwa seorang kontestan akan kecewa dengan penolakan para juri. Para juri juga memiliki kekuasaan terhadap para kontestan karena para juri tersebut adalah orang-orang yang telah bekerja bertahun-tahun dalam industri musik dan tentunya memiliki pengalaman yang jauh lebih banyak dari pada para kontestan. Baik disengaja maupun tidak, para juri menunjukkan kuasa mereka atau menunjukkan bahwa mereka memiliki kuasa melalui komentar-kometar mereka. Faktor terakhir adalah gender. Faktor ini berhubungan dengan dua faktor sebelumnya. Gender berhubungan dengan kesopanan karena para juri wanita menggunakan bahasa yang tidak langsung untuk memberi komentar dengan alasan bahwa mereka adalah wanita dengan sifat alamiah yang menjunjung kesopanan dan memperhatikan perasaan orang lain. Gender berhubungan dengan

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kuasa karena juri pria (Simon) memberi komentar yang tidak sopan dengan alasan ia adalah pria yang secara alamiah kurang memberi perhatian pada perasaan orang lain dan kurang menggunakan pernyataan- pernyataan yang sopan kepada sesama. Hal itu juga dikarenakan Simon adalah seseorang yang memiliki kuasa terhadap para kontestan; ia menjadi superior dari pada para kontestan karena ia jauh berpengalaman dari pada para kontestan.

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CHAPTER 1

INTRODUCTION

A. Background

Language is generally a tool or media for communication, used by people to communicate each other, to share information one another. Language is the universal characteristics of human race. However, the use of language as a universal medium is limited by the fact that language is specific to a society or particular context. For instance,

Indonesians and Americans speak different languages, or another example, people with speech-impairment speak differently from normal people. The different context also influences how a language is used as a medium for communication; for example, a rich businessman will talk differently when he talks to his servant from when he talks to his partner in business.

With every utterance in communication, a speaker performs a speech act. The theory of speech act was first introduced by Austin (1962) who claims that many utterances (things people say) are equivalent to actions. Austin‟s Speech Act Theory tries to explain how speakers, by using language, are trying to accomplish intended actions and how hearers understand intended meaning from what is said. For example, in an audition of singing competition, a contestant whose singing is not very well is asking to the judges of the competition for singing more songs. However, the judges do not want the contestant to sing anymore because they think that the result will be the same. Then, one of the judges says, „we‟ve done the entire album.‟ By saying this, the judge intends to say

„don‟t sing anymore‟. The judge basically directs the contestant to stop singing. From the example, it can be seen that through language, people do not only say something, but also

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perform something. The judge in the example does not only express his or her thought but also direct the contestant to do something.

A speech act theory generally explains the utterances as having three aspects: locutionary, illocutionary and perlocutionary acts. Locutionary acts are basically the speech acts that are taking place (the sentence „we‟ve done the entire album‟).

Illocutionary act is the action intended to be performed by a speaker in uttering a linguistic expression, either explicitly or implicitly or the type of action the speaker intends to accomplish by producing an utterance (giving direction or instruction).

Perlocutionary acts are the effects of the utterance on the listener; it shows the effect of what is said (the contestant in the previous example might be crying or even angry because of disappointment) (Huang, 2006). Searle, linguist who modified Austin‟s speech acts theory, labeled illocutionary acts as the complete speech acts since illocutionary acts contain both the saying and the doing carried by a sentence.

Searle (1975) classifies 5 types of speech acts. The first type is representative or assertive which expresses the speaker‟s belief. The second type is directive which expresses attempts by the speaker to get the addressee to do. The third type is commisive which expresses the speaker‟s intention to do something. The fourth type is expressive which conveys a psychological attitude or state in the speaker, such as joy, sorrow, likes/dislikes, etc. The fifth is declarative which expresses immediate changes in some current state of affairs, for instance by declaring a war, firing from employment, or nominating a candidate.

For example the sentence stated by Paula Abdul, the former judge of the singing competition American Idol, when commenting one of the contestants in the audition of the 8th season of American Idol in Arizona, „You really gotta work on your voice‟. This is a directive speech acts since it represents the speaker‟s suggestion to the hearer to do

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something. This statement is an illocutionary act which means to suggest the contestant to have more practice to build a good voice if the contestant wants to be a singer.

It can be inferred then that to use language in communication, speakers of a language are not only required to have competence in semantic and syntactic knowledge of the language but are also required to have competence in communicative skills

(communicative competence). It involves professing pragmatic knowledge, which Searle defines as knowledge of acceptable speech acts within a society, and the rules that govern them (as cited by Faerch and Kasper, 1984).

Communication in general is culturally dependent. It means that using language in communication is also culturally dependent; one speaks according to the acceptable rules or customs in his or her society. Cultural aspect that is related to or is conveyed through language is politeness (and impoliteness). Each society has its own parameter of measuring politeness and determines its own way or rule of how to be polite, such as in communication. Most societies measure politeness (and impoliteness) using the scale of directness and indirectness. For instance, a boy who says „open the window‟ to his teacher is regarded to be impolite since he uses or employs a direct request. In a society like

Indonesian society, the younger a person is, the more indirect use of language he or she should use when speak to older people. The above expression should be, for example,

„would you mind opening the window?‟

Indirectness is basically an element of conversational style through which the conveyed meaning is not said or stated explicitly (Tannen, 2006). Culture is an important element that differentiates the degree of indirectness; how much indirectness is expected, or what form that it will take. Different culture also affects the use of indirectness as

Japanese are more indirect than Americans (Tannen: 2006), or the Britons are said to be

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more indirect than Americans (the Americans are said to use more directness) (Kövecses:

2000).

Besides in every day communication, directness and indirectness is also found in various contexts of communication such as in letters, radio broadcasting, and TV shows.

This paper is aimed at analyzing indirectness in one of the most popular TV shows in

America, American Idol. The focus of this paper is the indirectness in the judges‟ comments in the contest. As in other talent shows, in the contest of American Idol, there are some judges involved to give comments or opinions on the performance and voice of the contestant and also to vote whether a contestant could go to the next step or not. The comments, especially the bad or rude comments, sometimes trigger protest from the contestants and also from the fans or audiences. In giving good or bad comments to the contestant, the judges employ both direct and indirect use of language. As it is stated earlier, the focus of this study is at analyzing the use of indirectness in the American Idol judges‟ comments. One of the examples has been presented before in the beginning of this chapter that a judge, rather than saying „no‟ or „don‟t‟, saying „we‟ve done the entire album‟ to get the contestant stop singing. Another example is when the judges do not have a heart to hurt the contestants, and then they use indirect speech when rejecting the contestant. For example, by saying „you‟re pretty girl; you can make a lot of money by working as a model. I‟m so sorry‟. One who says this statement is being polite to reject the contestant with the use of soft words and use the strategy of giving praise first and then the truth (I‟m so sorry).

The kind of saying or comment as in the example above is often found in the

American Idol. Through this study, the writer wants to find out the functions of indirectness in the American Idol judges‟ comments and also the factors that affect the use of indirectness in the American Idol judges‟ comments.

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B. Problem Formulation

The problems of the research can be formulated as follows:

1. What are the types of speech acts employed in the indirect comments given by

American Idol judges?

2. What are the functions of the indirectness in American Idol judges‟ comments?

3. What factors affect the indirectness in American Idol judges‟ comments?

C. Research Objectives

Based on the problems formulated above, it is clear that there are three objectives of the study. The first objective is to find out the type of speech acts employed in the indirect comments given by American Idol judges. The significance of analyzing the speech acts used in indirectness is to know what types of acts are performed through the judge‟s comments; what the judges actually wanted to say.

The second objective is to know the functions of the indirectness of American Idol judges‟ comments. By having the analysis on the functions of indirectness, the writer wants to find out whether the uses or functions of indirectness employed in the comments of American Idol judges are the same with the use of indirectness in other fields. The writer then will compare the result of the analysis of indirectness in the American Idol judges‟ comments with the result of previous analysis on the same topic.

The third objective is to identify the factors that affect the indirectness in American

Idol judges‟ comments. As the objective of the second problem, the objective of having the third question is also to find out whether the factors that affect the indirectness in the comments given by the judges are the same with the factors that affect the use of indirectness in other fields or not. It is aimed at finding out new factors that may affect the use of indirectness in communication.

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D. Research Benefits

The study has both theoretical and practical benefits. Theoretically, the study contributes to the development of the theory on pragmatics especially on the topic of politeness; particularly indirectness or indirect speech. This study opens new field of data that is the conversation in a TV show. Although indirectness has been studied for many years, the data used are rarely from this field. Through this study, new concepts and functions of indirectness can be found and therefore can add new information and understanding for the improvement of pragmatic field.

Practically, the study can contribute to the improvement of the use of language especially how to employ indirectness in everyday communication in order to achieve particular goals. Indirectness can be used for achieving both politeness and impoliteness.

It is the right of the speakers to choose the goal they want to achieve in the communication. This study can also be used in the educational field since this study opens new views of indirectness not only as a tool for politeness but also as tool for impoliteness. This study recommends new fields for the study of indirectness, or pragmatics in general, to be done in the same or similar fields, such as from other competition shows, TV dramas or talk shows.

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CHAPTER II

THEORETICAL REVIEW

This chapter is divided into 3 main parts. The first part is the Literature Review which includes theories that will be used to answer the problems of the study. There are three theories that will be used: (i) the theory of pragmatics that is used as the general theory of this study in which speech acts and indirectness are in included. This study is the major theme of this study of language use in the American Idol and the user of the language, the judges; (ii) the theory of speech acts which is used to answer the first problem on the types of speech acts employed in the indirect comments of judges. This theory is used to find out the intended goal of the judges in giving particular comment indirectly; and (iii) the theory of indirectness which is used to answer the last two problems on the functions of indirectness and on the factors that affect the use of indirectness in the comments of the American Idol judges. The second part of this chapter is the Review on Related Studies which presents earlier studies on the same topic, the use of indirectness in communication. The third part is the Theoretical Framework which presents the explanation on how each theory will be used to assist the analysis in answering the problems is provided.

A. Literature Review

1. Pragmatics

Pragmatics is the systematic study of meaning by virtue of, or dependent on the use of language (Huang 2007: 2). It means that pragmatic is concerned with the meaning of language when the language is used in particular context. Pragmatics studies the relationship between context of use, sentence meaning, and speaker‟s meaning.

According to Yule, pragmatics is the study of the relationship between the linguistic

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forms and the users of the forms (1996: 4). Only pragmatics (compare to syntax and semantics) concerns with the presence of human in the analysis of language use. Yule also elaborates the definition into four parts, first, pragmatics is the study of speaker‟s meaning since it concerns with the study of meaning as communicated by the speaker and interpreted by hearer. Second, pragmatics is the study of contextual meaning in the way that pragmatics study involves the interpretation of what people mean in a particular context and how context influences what is said. Third, pragmatics is the study of how more gets communicated than is said because in pragmatics one could also learn that what is unsaid is recognized as part of what is communicated. Fourth, pragmatics is the study of the expression of relative distance since in pragmatics one could study about how speaker determines how much need to be said considering his or her (the speaker‟s) closeness to the hearer (distance between the speaker and hearer).

Further Yule explains the benefit of studying the use of language through pragmatics is that one can learn and discuss about people‟s intended meanings, their assumptions, and their purposes or goals, and also kinds of action that they are performing (such as offering, requesting, etc). Generally, the central topics of inquiry in pragmatics include deixis and distance, reference and inference, presupposition and entailment, cooperation and implicature, speech acts and events, and also politeness.

In line with Yule, Leech says that meaning in pragmatics is defined relative to speaker or user of the language. That is why he calls the relation as triadic relation; between language, its meaning, and its speakers. Pragmatics is then defined as the study of meaning in relation to speech situations. For that reason, it is also important to know the aspects of speech situation. They are (i) the addresser or the addressee – interlocutors, any individual involved in the interaction -, (ii) the context of an utterance - the physical or social setting of an utterance as well as any background knowledge assumed to be

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shared by speaker and hearer and which contributes to hearer‟s interpretation of what speaker means by a given utterance-, (iii) the goal(s) of an utterance, (iv) illocutionary act of an utterance, and (v) the utterance as a product of a verbal act (1983: 13).

Mey (2006) explains that the way people understand and interpret a word depends on the situation in which the word is being used. The situation involves the situation where speakers and hearers connect in a set of interaction where they meet and discuss, respecting each other‟s background and underlying assumptions about what exactly is common to them as actors in particular situation of language use. The stress of Mey‟s ideas is on the importance of situation and context in understanding and comprehending others‟ intention in the course of language use.

According to Mey (2006), all situations of language use are subject to major world constraints. There are rules, written and unwritten, which determine what can be said and done and what cannot be said or done in a situation; these rules are applied depend on the way the situation is incorporated into a larger frame, such as political and social frame.

Further, there is power in every situation; the power that exists in the individual interlocutors and it is vested in them on account of their social and commercial position.

Interlocutors speak not only for their own voice and goals but also others‟, such as institution.

Mey, as cited in Hoye (2006), also differentiates the old term „applied pragmatics‟ from a new coined term „applying pragmatics‟. Applied pragmatics at one hand includes practices rooted in a pragmatic perspective on the user of language, the use of language, and the context of language use, where the backgrounds of the users (i.e. personal, social, cultural, and ideational) are seen as important aspect. On the other hand, applying pragmatics highlights on how to apply pragmatic knowledge in a critical, creative, and

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practical way, in the context of real-world problems, rather than studying the doctrine of canonical pragmatics theory (Mey, 2001: 308-319).

Mey‟s applying pragmatics is in line with Verschueren‟s micro-pragmatic issues and macro-pragmatic issues of language use (1998). These two processes, the micro and the macro processes, work simultaneously; they interpenetrate and synergize. The micro- pragmatics concerns about the day-to-day context of language use between individuals and groups in communication situated in their local contexts. The macro-pragmatics looks at the societal backgrounds and institutional setting in which the local practices occur.

The micro-pragmatics focuses on the sentence/utterance level of discourse, such as deixis and indexing of personal, temporal, and locative features; reference, anaphora, and cataphora; and word order and clustering of particles. The macro-pragmatics focuses on the institutional and institutionalized language practices, where inequality of power may occur as the product of gender difference, perceived social standing and social privilege, and (lack) of access to power. Macro-pragmatics investigates language use in terms of the totality of contexts, in which the unique and dynamic of human activity in using language occurs, for example the analysis of the doctor-patient interviews, teacher-student interaction, teaching curriculum and the sets of attitudes and beliefs propagated through the hidden curriculum, the language of the workplace, language of the media and advertising, and the language of the government, politics, and ideology (Hoye, 2006).

Pragmatics then can be applied in all series of language use, as to quote

Verschueren (1998), pragmatics is really a perspective rather than a component of linguistic theory so as pragmatics can be applied in investigating all language or linguistic phenomena, from the level of individual, the group, the institution, up to the level of

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society as a whole; from the level of sentence/utterance up to the extended discourse of language use.

Hoye (2006) further emphasizes that applying pragmatics in the investigation of language use aims at developing an understanding of the importance of language role in the construction of identity of individual, group, as well as society and the impact of having the identities. Applying pragmatics stresses on the problems of the use of language that occur in social environments where unsuccessful communication may lead the interlocutors to social exclusion and disadvantage. It also aims to reveal the hidden relationship between social power and language use, for example by helping people understand the power of language to discriminate others.

As context plays an important role in understanding language use, Hymes (1974) argues for an ethnographic approach to the study of language use. An ethnography of a communicative event is basically a description of all the aspects that are important in understanding how that particular communicative event achieves its objectives. Hymes terms those aspects as SPEAKING. It is an acronym that every letter of it represents one or more aspects as can be explained as follows (Wardaugh, 2006: 247).

(i) S refers to setting and scene. Setting is the time, place, and physical

circumstances where the event of language use takes place. Scene refers to

the psychological condition or cultural definitions of the event. For example,

the 8th season of American Idol show has 8 cities in America and 2009 as its

setting and has audition of singing competition as its scene.

(ii) P refers to the participants involve in the speech event. In American Idol, the

participants are the contestants, the judges, the host, the supporters, and the

audiences.

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(iii) E refers to ends. An end of a speech event can be categorized into goals and

outcomes. A goal refers to what is expected to be achieved in the speech

event, while an outcome refers to what is actually achieved. In American

Idol, the goal of an auditionee taking part in the audition is to be accepted in

the competition. However, the outcomes could be either being accepted or

being eliminated.

(iv) A refers to acts or speech acts employed in the speech events. For example

the comments of the judges of American Idol might be an order or command

(directive), an opinion (assertive), or a compliment (expressive).

(v) K refers to keys which can be determined in terms of tone, manner, and spirit

through which the speech is done. The keys can be marked through both

verbal (serious or playful speech) and the non-verbal act (gesture,

deportment, or facial expression). For example, in giving comments to the

contestants, the judges of American Idol might use a playful or humorous

speech to give opinion about a bad performance. Or they also could employ

particular facial expression when they are surprised by the performance.

(vi) I refers to instrumentalities or channel chosen to be used in the speech

events, such as the medium of spoken or written, and also the forms of

speech for instances, the language, dialect, register, and code. In the

American Idol singing competition, the instruments chosen by the judges

could be spoken and English.

(vii) N refers to the norms used in the speech event. There are two kinds of

norms, the norm of interaction refers to the rules of speaking, who can say

what, when, and how; and the norm of interpretation which refers to the

rules which determine how any speech may be interpreted.

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(viii) G refers to genre or style of the speech events, i.e. sermon, interview,

classroom teaching, etc. for American Idol, the genre used when the judges

give comments to the contestants is giving commentary and judgment on

other people‟s performances.

Hymes‟ SPEAKING is basically an indication that talk is a complex activity that the interlocutors (speakers, hearers, or audiences) have to competent in the communication. Wardaugh states that Hymes‟ formula shows that any particular bit of talk is actually a piece of „skilled work‟ because in order to be successful, the speaker must reveal sensitivity to and awareness of each of the eight factors drawn above (2006:

249). Here, as it is explained in the Introduction, an interlocutor is required to have good communicative competence in order to succeed in the communication and the good competence can be achieved when the interlocutor pays attention to the eight aspects of speaking or communication.

Halliday also emphasizes the understanding of language use through the idea of context of situation in which the speech is taking place. He termed the word register to explain that language comes to life only when functioning in some situation and always in relation to a setting, the background of interlocutors and actions or events from which the things which are said derive their meaning (1979: 28). Register refers to the fact that the language we speak or write varies according to the type of situation…it functions at revealing the general principles which govern this variation, so that we can begin to understand what situational factors determine what linguistics features (1979: 31).

There are 3 important aspects of register or context of situation: (i) Field, which refers to what is going on: the nature of the social-semiotic activity. It embraces the subject-matter as well as the whole activity of the speaker or participant in a setting; (ii)

Tenor, which refers to who are taking part in the event: the statuses and mutual roles of

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the interactants. It concerns the relationship between participants, from the variation in the degree of formality to the relationship and the degree of emotional charge in it; and

(iii) Mode which refers to what part the language is playing: the rhetorical and communicative channels such as the spoken and written medium or other more detailed choices (Halliday, 2005: 283).

In the case of American Idol, there are various registers that can be revealed. For example, at the time the judges give comments about the performance of a contestant, aspects that can be revealed are: (i) the field: giving opinion about the performance of a contestant in the audition of a singing competition; (ii) the tenor: the judges and the contestants; and (iii) the mode: spoken, directing, commanding, complimenting, etc.

Through this study, the researcher aims to analyze the use of language in the level of group of people, who specifically use language in a public domain. By applying pragmatics, the element of language use, such as the indirect use of language can be investigated. Pragmatics is used to find the relation between the context (the TV show of

American Idol), the speakers (the judges) and the speakers‟ meaning in using language, especially the indirect use.

Based on the context, the show of American Idol is a commercial TV show and has been distributed and watched worldwide. According to Hill (2005), reality TV is a television program which presents different categories of programs about real people, from information to entertainment, from documentary to drama. This kind of television program is sometimes called as popular factual television.

American Idol (as Big Brother) is categorized as contemporary reality TV formats which focuses on the light entertainment genres such as talent shows or game shows.

American Idol is a reality TV program which presents the competition of young people in a singing talent contest.

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Hill (2005) notes that popular programs such as American Idol in the USA or I‟m a

Celebrity . . . in the UK have attracted over 50 percent of the market share, which means more than half the population of the TV viewers responsive to these programs. As evidence, in the final round of American Idol in 2002, the show attracted 23 million viewers and in January 2003, American Idol attracted nearly 25 million viewers and made it as the most watched non-sports show in the history (2005: 3).

In order to achieve such ratings, these reality series have to be all-round entertainers. They have to use strategies to attract the viewers, such as by presenting interesting format of the show. For American Idol, the show usually presents all types of contestants or singer-wannabe, from the best one, the quite good one, to the worst one.

The last type is often becoming one of the interesting points of the contest.

Besides the contestants, the judges are also playing important role in increasing the ratings of the show. The 8th season of American Idol was the first time when the show had four main judges, Simon Cowell, Paula Abdul, Randy Jackson and Kara Dioguardi (there were only 3 main judges form the 1st season up the 7th season). The four main judges are those people who have been working in the show business for many years, for example as singer, producer, song writer, and also talent scout. However, it is not their experiences which are prominent in the show; it is their interesting and attacking comments about the contestants‟ performance which attracted the attention of viewers. Whether it is the tactic of the producer or not (deliberately done or not), it is actually working very well to attract the viewers of the show. The attacking comments of the judges often cause anger or criticism from the contestants and the viewers. However, the viewers always wait to see what the judges will say next or in the following week. Although causes anger and criticism, the attacking comments become the key of the high-ratings of the show.

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Through this study, the researcher is aimed to analyze the comments of the judges, particularly the indirect comments, whether it is an attacking comment or not. Regardless the way the producer set up the show to be interesting or attracting, this study will focus solely on the indirect comments of the judges and the judges themselves as the speaker.

This study emphasizes on the judges‟ intention in giving the comments indirectly and the factors that affect the judges in giving the comments indirectly.

2. Speech Acts

English grammar books divide three basic sentence types, declarative, interrogative, and imperative as the forms which generally perform the communicative functions of statement (it‟s raining), question (what time is it?), and command or request

(close the door!). However, according to Finegan, this analysis or classification is oversimplified (2004: 295). Consider the sentence, can you pass the sauce? which will be taken literally as the question, based on its interrogative structure, about the hearer or addressee‟s ability in passing or taking for the speaker the sauce. If this question is asked by someone (the speaker) sitting in an end of a long table to another person (the hearer) sitting at the middle of the table, near the sauce, then this sentence will be interpreted as not merely a question of the hearer‟s ability, but as a request to pass the sauce or to take the sauce for the speaker. From the above illustration, it is clear that people often employ interrogative and/or other sentence types for purposes other than asking questions, or making statements, or commanding.

The above illustration on sentence structure and its functions once became the basic idea of Austin (1962) in developing the speech act theory. As it is explained briefly in the introduction, the speech acts theory tries to explain how speakers, by using language, are trying to accomplish intended actions and how hearers understand intended

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meaning from what is said. According to Austin, there are sentences that are not used just to say things, for example to describe state of affairs, but ratherly actively to do things

(Levinson, 1983). Austin then termed this kind of sentences as performatives. All utterances, in addition to meaning whatever they mean, perform specific acts via the specific communicative force of an utterance. The same utterance may have a variety of communicative forces in different contexts. Austin divided speech acts into three main aspects or acts: locutionary act, illocutionary act, and perlocutionary act (Sadock, 2005).

Locutionary act is the act of speaking by producing meaningful linguistic expression. Illocutionary act is the action intended to be performed by a speaker in uttering a linguistic expression, either explicitly or implicitly. Perlocutionary act is the production of consequences or effects of a linguistic expression on the audience; such consequences or effects special to the circumstances of the utterance.

Locutionary act is the basic act of speaking which involved in the construction of speech, such as uttering certain sounds and using words based on the grammatical rules of a particular language. It is the act of using words to form sentences and those wordings making sense in a language with correct grammar and pronunciation. Austin (1962) defined locutionary acts as consists of three related subparts. The first is the Phonic act, the physical act of producing an order of vocal sounds (in the case of spoken language), manual signs (in the case of signed language) or a set of written symbols (in the case of written language). This act corresponds to phonetics and (or) phonology. The second is the Phatic act, which is the act of making a linguistic expression, i.e. constructing a well- formed sentence. This act corresponds to morphology and syntax. The third is the Rhetic act that is the act of contextualizing the utterance or linguistic expression. This act is related to semantics and pragmatics (cited in Huang, 2006).

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An illocutionary act refers to the type of function the speaker intends to fill, or the type of action the speaker intends to accomplish by producing an utterance. It is an act which is defined within a system of social conventions. For examples, accusing, apologizing, blaming, congratulating, giving permission, joking, nagging, naming, promising, ordering, refusing, swearing, thanking, etc. The same linguistic expression may have different illocutionary forces in different contexts, e.g. „The gun is loaded.‟

This expression may have three different illocutionary forces, first, as a threat; second as a warning; and third as an explanation. The same speech act for example requesting a ticket at a ticket office can be carried out using different utterances as follow:

a) A day return ticket to Brussels, please. b) Can I have a day return ticket to Brussels, please? c) I‟d like a day return to Brussels.

A perlocutionary act concerns the intentional or unintentional effect an utterance may have on the addressee. A perlocution is the act by which the illocution produces a certain effect or influence on the addressee, e.g. a bank robber may say „The gun is loaded‟ to a cashier to open a till, and the opening of the till is the perlocutionary act, sometimes called the perlocutionary effect (Austin 1962, cited in Huang, 2006).

Degand states that these acts, locutionary, illocutionary, and perlocutionary acts, are not fractions. They however are dimensions of a speech act. They cannot be performed in separation from one another. Any expression or statement will always show all of these three dimensions. Accordingly, in order to have a speech act one needs a meaningful linguistic expression (locution), function or communicative intention of the speaker (illocution), and intended effect on the hearer (perlocution), such as to get the hearer to perform some action, or to have her/ him understand a problem, etc (Degand,

2006).

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Searle in 1975 modified the speech acts theory proposed by Austin and distinguished five kinds of speech acts; assertive (or representative), directive, commisive, expressive, and declarative. Assertive or representative express the speaker‟s belief for example in asserting, concluding, claiming, reporting, and stating. Directive expresses attempts by the speaker to get the addressee to do something for example by advising, commanding, ordering, questioning, requesting, etc. Commisive expresses the speaker‟s intention to do something such as by offering, pledging, promising, refusing, threatening, etc. Expressive conveys a psychological attitude or state in the speaker, such as joy, sorrow, likes/dislikes, etc. It is expressed through apologizing, blaming, congratulating, praising, thanking, etc. Declarative expresses immediate changes in some current state of affairs. By performing this type of speech act, the speaker brings about change in the world. For instance by declaring war, firing from employment, nominating a candidate, etc (Huang, 2006).

Holtgraves (2008) elaborates Searle‟s taxonomy of the kinds of speech acts.

Representative or assertive is the used when the speaker is trying to represent an actual state of affairs, to commit the speaker to something being the case. The typical sentence types include asserting, concluding, informing, predicting, and reporting.

A directive is an attempt to get the hearer to do particular future actions. The typical sentences include requesting, ordering, and questioning. With these speech acts, a speaker is attempting to alter the world in some way with words. A commissive is an attempt to commit the speaker to a future action. Prototypes include warning, promising, threatening, and guaranteeing. As with directives, the speaker of a commissive is attempting to alter the world in some way.

With a declarative, the speaker brings about a change in some institutional state of affairs. The examples are declaring war or performing a marriage. The point of a

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declarative (e.g., declaring war) is to alter the situation or status of the world (world-to- words) by stating that the prepositional content matches the state of the world (words-to- world). Lastly, by using expressive, the speaker attempts to express a psychological state, for instance by thanking, complaining, greeting, and apologizing. The point of an expressive is simply to express the speaker‟s inner psychological condition or to express certain attitude that is represented by the utterance.

In its basic theory or concept, the one proposed by Austin and later developed by

Searle, it is stated that in order to be effective, speech act needs to be situated. The utterance I now pronounce you husband and wife can unite two individuals in a marriage bound if several conditions are met or satisfied, such as, the setting is a wedding ceremony, the utterance is uttered at the right moment, the utterer is a designated person with legal permission, the two individuals must be legally eligible to marry each other, and they must propose to become spouse (Finegan, 2004). From the above conditions for satisfying speech act of legitimating a marriage, at least the last two conditions might not be met in some situations, for instance, some cultures still maintain the arranged- marriage. In such situation, the three other conditions are sufficient for legitimating a marriage.

A speech act then should be produced under certain appropriate condition, as it is stated in the beginning of this part; it should meet a number of felicity conditions, as

Austin termed it. There are four felicity conditions that should be met by a speech act; the propositional condition, the preparatory condition, the sincerity condition, and the essential condition (Searle, 1969). For example, as it is cited in Huang (2006), following is Searle‟s felicity condition for promising,

1) Propositional: future act A of S 2) Preparatory : a) H would prefer S‟s doing A to his not doing A, and S so believes

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b) It is not obvious to both S and H that S will do A in the normal course of events 3) Sincerity: S intends to do A 4) Essential: the utterance of e counts as an undertaking to do A. where S stands for the speaker; H for the hearer; A for the action; and e for the linguistic expression.

The propositional content of the felicity condition above is about what the speech is about, in this case to predicate some future act of the speaker; the preparatory condition is a real world prerequisite for the speech act, in this case that the addressee would prefer the promised action to be accomplished, that the speaker knows this, but also that it is clear to both the speaker and the addressee that what is promised will not happen in the normal course of action; the sincerity condition says that when carrying out an act of promising, the speaker must genuinely intend to keep the promise. If this condition is not met, the act is still carried out but it is an instance of „abuse‟; and the essential condition states that with a promise, the speaker must have the intention to create an obligation to act. If this condition is not met, the act has not been carried out.

To sum up, speech acts is a theory which is used give explanation on how speakers, by using language, are trying to do intentional actions. The theory of speech acts is important for this study since it is used to investigate the intention or intended actions of the judges which are expressed through the indirect comments. The investigation will depend on or in relation to the context of use, in this case the show of American Idol.

3. Indirectness

As mentioned in previous part, people use language to accomplish intended actions. The use of sentence structures, declarative, interrogative, and imperative is not merely aimed at achieving the basic goal of each structure, making statement, asking question, and issuing command or request, respectively. The structures however are also employed in achieving certain kinds of intended actions. For instance, the imperative

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sentence tell me your name, would normally understood not as a directive to do something, but as a request for information; the declarative sentence I wonder who‟s at the door would normally taken not as merely a statement of wondering but as a polite request to the hearer to open the door; and the interrogative sentences in a conversation of

A and B

A: Do you like ice cream? B: Is the Pope a Catholic? A: (Smiling and buy 2 cones of ice cream for both of them)

where B‟s question is used to make statement of his/her liking ice cream (it might be interpreted as absolutely!!! or badly!!!).

In the above ice cream example, B makes no apparent answer to the information A is seeking. Yet, A is satisfied with the answer (and then buy 2 ice cream for both of them) because he/she seeks an indirect interpretation. In this case, there is at least one condition that must be satisfied if B wants his/her question understood by A, that is B knows or believes that A knows that the Pope must be a Catholic since a Pope is the head of the

Roman Catholic Church. This knowledge is the condition that can help A interprets B‟s question correctly that B likes ice cream.

B‟s question (as a reply to A‟s question) is an example of indirect speech act. This kind of language use is a universal phenomenon as it is believed to happen in all languages. Indirectness refers to a speech act in which the expressed meaning of an utterance does not match the speaker‟s implied or intended meaning. An indirect illocutionary act requires the speaker‟s and the listener‟s shared knowledge on particular topics in the conversation and the ability to make interpretations on the listener‟s part

(Thomas 1995: 119).

As a communication style, indirectness is found in everyday interaction.

Indirectness is used as a more useful method in communication. For example to perform

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different expression such as giving hints, avoiding confrontation, joking, being ironic, or expressing politeness by saving the face of either speaker. In many cultures, mainly in the

Asian or eastern cultures, indirectness is appreciated because saving face and harmony in social relationships are highly respected.

For English, the conventional forms of language to express politeness include certain kinds of words and expressions such as terms of address and expressions preferred according to social factors such as social distance, social status, power, and the formality of the conversation. The use of indirectness can help increasing politeness in language since it lessens the sense of being imposed. For example is the use of interrogatives in making a request, the addressee will not feel as imposed upon if the request is phrased as a question.

Srinarawat states that the concepts of indirectness have been conventionally associated with speech acts (2005: 176). Searle (1975) proposed that indirect speech acts can be explained by the theory of speech acts and Grice‟s Cooperative Principle of conversation (CP). The basic idea of CP is that people involved in communication rely on their corporation each other to make conversation efficient. The cooperative principle states,

Make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged (Grice, as cited in Finegan, 2004: 300).

This very general principle states that people should communicate in a rational and efficient manner; say what you mean, just the facts, don‟t wander around, and so on. This principle is then classified into four maxims or general principles, namely the maxim of quantity (make your contribution as informative as is required and not more informative than is required), the maxim of quality (try to make your contribution one that is true; do not say what you believe to be false and do not say that for which you lack adequate

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evidence), the maxim of relevance (be relevant) and the maxim of manner (be perspicuous; avoid obscurity, avoid ambiguity, be brief, be orderly).

However, it is no secret that people many times violate those maxims. They are often irrelevant, they sometimes say too much or too little, and so on. More interestingly, speakers are sometimes forced by cultural norms or other external factors to violate a maxim. For example, for politeness reason, A will say „it‟s cold here‟ rather than directly

„close the window‟ to B. In this case, A is not being clear about what he/she wants B to do. It is a violation of maxim of manner for which A is not perspicuous.

According to Searle, the indirect illocution of the sentence: „I wonder if you would mind leaving the room.‟ is required as a more polite directive rather than a flat imperative or an explicit sentence such as „Leave the room.‟, and „I order you to leave the room.‟. It is in line with Brown and Levinson (1987) definition of indirectness as a set of politeness strategies which can be used to minimize imposition on the hearer and to establish solidarity between the speaker and the hearer.

Based on the work of Brown and Levinson, politeness is described as the attempt to save face for another. Face (first introduced by Erving Goffman in 1967) is basically the public self-image of a person. It refers to the emotional and social sense of self that everyone has and expects everyone else to recognize (Yule, 1996: 60). The expectation is called face wants (one‟s expectations concerning his or her public self-image). There are two kinds of face; the positive face is the desire to be liked, accepted, and understood and so on; and the negative face which is the dislike of being imposed upon. In order to be polite, people communicate so as to „save‟ face, using strategies that attend to either positive or negative face.

Brown and Levinson classify politeness strategies into five groups, bald on record, positive politeness strategies, negative politeness strategies, off-record politeness

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strategies and say nothing (don‟t do the FTA). The off-record politeness refers to indirect strategies, which avoid making any explicit imposition on the hearer (1987: 69–70 cited in Srinarawat 2005). An off-record utterance, or indirect use of language, is something a speaker says that is either more general than the speaker‟s intended meaning, or different from the speaker‟s intended meaning. The hearer must then make some implication to obtain the implied message (1987: 211). Brown and Levinson suggest that one way of dealing with a face-threatening act (FTA), an act that basically threatens the hearer‟s face-wants, is to do it in an indirect way. Thus, the basic way of using indirect politeness strategies is to invite conversational implicatures by violating the Gricean maxims of efficient communication.

Basically, numbers of speech acts are possible FTAs, and their weight or power can be calculated with a formula that takes into account (i) the power that the listener possesses over the speaker, (ii) the social distance, and (iii) the degree of imposition

(Tanaka, 2004: 15).

There are several strategies that a speaker can choose in order to lessen the degree of a FTA. In order to fulfil positive face wants, there are 15 super-strategies: (1) notice or attend to hearer; (2) exaggerate (interest, approval and so on); (3) strengthen interest in hearer; (4) use in-group identity markers; (5) seek agreement; (6) avoid disagreement; (7) presuppose common ground; (8) joke; (9) assert speaker‟s interest and knowledge of speaker‟s wants; (10) offer promise; (11) be optimistic; (12) include both speaker and hearer in the activity; (13) give or ask for reasons; (14) assume or assert reciprocity; and

(15) fulfill hearer‟s wish for x. On the other hand, negative politeness strategies are: (i) be indirect; (ii) use hedges; (iii) be pessimistic; (iv) minimize the imposition; (v) give deference; (vi) apologize; (vii) impersonalize speaker and hearer; (viii) state the FTA as a rule; (ix) nominalise; and (x) go on record as incurring a debt (Tanaka, 2004: 15).

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Brown and Levinson (1987) state that acts that can threaten the hearer‟s negative face are for example, orders, requests, suggestions, and reminders. On the other hand, there are also acts that can threaten positive face, such as criticism, disagreement, expressions of violent emotion, and taboo topics. There are also threats to the speaker‟s face, such as thanking, offering excuses, accepting thanks and apologies (cited in Tanaka,

2004: 16).

Indirectness has been studied most in the relation to politeness or polite behavior.

Works such as of Brown and Levinson suggest that the off-record or indirect speech for example ironic or sarcastic is a face-saving strategy. A face-saving strategy is the strategy used by someone who wants to say something that might threaten the hearer‟s face, but say it in another way that might lessen the possible threat. By using indirect speech, the speaker intends to lessen the possible threat, i.e. hurts the hearer‟s feeling.

Leech (1983) proposed Politeness principle or PP to function alongside Grice‟s cooperative principle (CP). The main idea is that the greater part of politeness comes across in the form of implicatures. The purpose of politeness is the maintenance of harmonious and smooth social relations between interlocutors. Like the CP, the PP is expanded by means of a set of maxims. (i) the tact maxim, with the orientation towards the hearer and has positive and negative sub-maxims: minimize cost to the hearer and maximize benefit to the hearer; (ii) the generosity maxim, with the orientation towards costs and benefits to the speakers, for example by offering to do something which involves benefit to the hearer but cost to the speaker. The sub-maxims are minimizing benefit to self and maximizing cost to self; (iii) the praise maxim which concerns with the positive and negative opinions about hearer. The sub-maxims are minimizing dispraise of the hearer and maximizing praise of the hearer; (iv) the modesty maxim is the sister of the praise maxim. However, it is oriented toward the speaker by the use of positive and

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negative opinions about the speaker. The sub-maxims are: minimize praise to self and maximize dispraise of self; (v) the agreement maxim which is a relation between the opinions of the speaker and those of the hearer. It cannot be differentially as speaker or hearer oriented. The sub maxims are: minimize disagreement with the hearer and maximize agreement with the hearer; (vi) the sympathy maxim which is also related to the relation between the speaker and the hearer. That is why there is no difference between speaker and hearer oriented as the four maxims before. This maxim has to do with the sympathy or expression of positive feelings and antipathy or expression of negative feelings. The sub-maxims are the maximizing sympathy towards the hearer and minimizing antipathy towards the hearer (cruse, 2000: 361-366).

Following the major principles or maxims of PP, in addition, there are three minor principles which by Leech, are called as the second-order principle for politeness. (i) the banter principle, which allows people to be polite while being superficially rude, as when one says to a good friend „the monkey is coming with his new car‟; the interlocutors are friends and that is why they do not need to be polite; (ii) the irony principle, which allows people to be impolite while being superficially polite, as in „you‟re so mature‟ said to someone who has been acting like a child; (iii) Pollyanna principle, which underlies the use of euphemisms. The sub maxims are: minimize the hearer‟s discomfort/displeasure and maximize the hearer‟s comfort/pleasure (Cruse, 2006: 132).

Besides for politeness reason, there are also studies such as of Colston and Huang that report the use of indirectness as the tool for offensiveness. There are claims which state that indirectness is related to the opposite of politeness, impoliteness and rudeness

(Srinarawat, 2005).

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According to Culpeper et. al, impoliteness is the use of strategies that are designed to attack face and thereby cause social conflict and disharmony. Impoliteness is characterized by face attack acts which are harmful to the hearer‟s positive and negative‟s face (2003: 1545).

Beebe defines rudeness as a face-threatening act (FTA) which breaks a socially established norm of communication of the social context in which it occurs (1995: 159).

It means that when a speaker says something which conveys rudeness, it will bring a social disharmony, at least between the speaker and the hearer. In rudeness, there is a lack of redressive action to lessen the force of the act. Rudeness does not occur in a context where the interlocutors are closely related or have intimate relationship where redressive action is needed. As a result, rudeness causes antagonism, discomfort or conflict and disruption of the social harmony.

Indirect speech can attack both the hearer‟s positive and negative face. For example, the attack to the hearer‟s positive face can be seen in the sentence „you are so mature‟ (said to a person who has been behaving in a very childish manner); and the sentence no, no, go ahead. White carpet is boring and the red spots really improve it (said to a person who has just spilled red wine on the new white carpet of the speaker) is an example of indirect speech which attacks the hearer‟s negative face.

Besides politeness and impoliteness, indirectness or indirect speech act is also used for other purposes. Thomas (1995: 143 as cited in Srinarawat) lists some reasons of the use of indirectness or indirect strategy. a) the desire to make one‟s language more/less interesting; b) the desire to increase the force of one‟s message; c) competing goals; and d) politeness/regard for face (2005: 179). Srinarawat also provides some functions of indirectness or indirect speech such as being ironic, giving hints, sensing others‟ ideas, selfdefense, and giving opinions (2005: 184). Tannen points out the following benefits of

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indirectness: establishing rapport, self-defense, avoiding confrontation, and gleaning aesthetic pleasure through the use of joking, irony, and figures of speech (1986).

In dealing with indirectness, there are some strategies that can be used by speakers.

Srinarawat lists some indirect strategies described by Brown and Levinson (1987).

(i) Giving hints, such as by saying „It‟s cold in here‟ to give hint to the hearer to,

for example, close the door or window.

(ii) Understating, such as by saying „It‟s all right‟, to a friend who asks about her

new dress, in order to implicate that the speaker does not particularly like the

dress. However, the speaker wants to minimize the effect of her statement.

(iii) Overstating, for example in „I tried to call a hundred times, but there was

never any answer‟ which is said by a speaker who is tired of calling his friend

but the friend seems not to feel guilty. The speaker overstates by saying

hundred times which basically means „several times‟.

(iv) Being ironic, for example in saying „John‟s a real genius‟ after John has done

twenty stupid things. Irony, in principle, is basically the use of words that say

the opposite of what is really meant. It usually involves a contrast. The

speaker of the sentence is being ironic in the way that he states something

which is the reverse or the contrary of the fact.

(v) Using metaphors such as in the sentence „Harry‟s a real fish‟. Metaphor is the

use of language in imaginative way to describe something by referring to

something else. It is to show that the two things have the same qualities. The

speaker of this sentence is comparing Harry to fish because Harry has a

excellent ability in swimming, like a fish.

(vi) Using rhetorical questions, for instance when saying „what can I say?‟, the

speaker is implicating; “Nothing, it‟s so bad”. A rhetorical question is

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basically a question which is asked only to make statement or to produce an

effect rather than to get an answer (Collins COBUILD Dictionary). A question

like this is said to be not completely honest and sincere.

(vii) Being vague or ambiguous, such as by saying „Perhaps someone did

something naughty‟. This sentence might be said by a speaker who wants to

accuse the hearer of doing something naughty. However, it is done indirectly

by saying ambiguous sentence. Here, the speaker does not directly accuse the

hearer (2005: 178).

Oktoprimasakti (2006) lists the direct and indirect strategies suggested by Beebe et al (1990) and 3 others found in Indonesia. The direct refusal is done by directly expressing unwillingness, e.g., „I can‟t‟, „I don‟t want to, „No‟. The indirect refusal is done through several different strategies: (i) Giving reason why one cannot accept the invitation such as by saying „I have another appointment‟ or „I have to finish my homework‟. (ii) Using white lie or a reason which is not in accordance with the true reason. (iii) Giving an answer with consideration of interlocutor‟s feelings for example by first expressing appreciation to lessen the effect of the disappointment of the hearer such as by saying ‟Thank you. (But I cannot go)‟. (iv) Giving suggestion of willingness that the speaker will accept the invitation in the future for example by saying „I‟ll do it next time‟.

(v) Giving suggestion of solution of what the hearer can do because the speaker cannot accept or help the hearer for instance by saying ‟Why don‟t you ask B? I think he‟ll love to go.‟ or „You can try and get a loan from the bank‟. (vi) By letting interlocutor off the hook such as by saying e.g. „It‟s OK‟ or „Don‟t bother‟. (vii) Making statement of regret that the speaker cannot accept the invitation by saying e.g., „I‟m so sorry‟. (viii) Using hedges such as in ‟Oh, I‟m not sure‟ to avoid giving direct refusal to the request. (ix)

Making statement of principle such as by saying „I don‟t believe in dieting‟ to someone

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who invites the speaker to do diet. (x) Criticizing the requester for example by saying

‟you know I don‟t like Jazz, why did you buy me a ticket?!‟ (xi) Requesting, such as in I‟m sorry I can‟t watch the concert, but may I have the ticket and give it to my sister? She loves concerts‟ to imply a refusal that the speaker cannot go to the concert. (xii) Using

Indonesian special strategy such as „wah, aduh, walah‟ which are used to intensify surprise, appreciation or criticism (105-106).

The easiest way to identify an indirect speech act (to distinguish it from the direct one) is to see whether there is a direct relationship between the structural form and function. When there is a direct relationship, it is a direct speech act. Conversely, when there is no direct relationship, it is an indirect speech act. In this sense one can infer that an interrogative sentence used to make a request is an indirect speech act or a declarative sentence is used to make an ironic comment instead of stating facts or expressing something, it is also an indirect statement/speech act (Yule, 1996: 54-55).

As mentioned earlier, the three sentence types are typically associated with the three basic illocutionary forces, namely, asserting/ stating, asking/questioning, and ordering/requesting, respectively. A sentence will be a direct speech act when there is a direct match between a sentence type and an illocutionary force. In addition, explicit performatives, which happen to be in the declarative form, are also taken to be direct speech acts since they contain their illocutionary force explicitly named by the performative verb in the sentence (I promise to pick you up at 9). On the other hand, a sentence will be taken as an indirect speech act if there is no direct relationship between a sentence type and an illocutionary force. Therefore, in the following examples, a plain performative used to make a request, as in (1), functions as a direct speech act; or an imperative employed in (2) is also a direct speech act. On the contrary, an interrogative used to make a request, as in (3), is an indirect speech act.

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(1) I request you to pass the salt. (2) Pass the salt. (3) Can you pass the salt?

Finegan (2004) gives four characteristics of speech acts, (i) indirect speech acts violate at least one maxim of cooperative principle; (ii) the literal meaning of the locution of an indirect speech act differs from its intended meaning; (iii) hearers and readers identify indirect speech acts by noticing that an utterance has characteristic i (it violates a maxim) and by assuming that the interlocutors is following the cooperative principle; (iv) as soon as hearers and readers have identified an indirect speech act, they identify its intended meaning with help of knowledge of the context and the world around them

(2004: 303).

It is further explained that one precondition for a successful speech act is that the interlocutors share adequate background about the context of the interaction or communication, about each other and their society, and about the world in general

(Finegan, 2004). Interlocutors should be familiar with both language and society. The background information about language, culture, and environment is the aspect that is needed in order to understand or interpret indirect speech acts.

There are some reasons or factors that affect people in using indirect speech acts.

Srinarawat (2005) mentions that more educated and experienced speakers tend to use more indirect speech act since in some communicative events, a speaker needs certain linguistic and interactional skills, such as to use indirectness. It is also found that gender, does matter in the use indirectness. It is found that women preferred indirect speech, whereas men chose to use a more direct style. This finding is also in line with the

Holmes‟ statement that women‟s language is more indirect, oriented more towards affective and interpersonal relationships, e.g. by interrupting others less often and asking more questions that help maintain the conversation. Men, on the other hand, are more

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direct and confrontational, more concerned with the referential function of their talk.

Women‟s language has been described as powerless and men‟s as powerful (Kuntjara,

2001).

Politeness, as the most mentioned cultural aspect that related to indirectness, is another factor. The need to save face which is appreciated highly in some cultures is the basic idea of politeness. People use indirectness to save face of their partner in communication since indirectness lessen the impact of face threatening acts.

The two factors above, gender and politeness, are basically related to each other in the way that gender plays important role in achieving politeness. Eckert and McConnell-

Ginet argues that the indirection or the act of using indirect speeches is aimed at preventing hurt feelings (that is why indirectness is said to be related to politeness), and it is women who are seen as caring about other‟s feelings and maintaining politeness norms

(2003: 188). Janet Holmes (1995) also argues that women tend to be more (linguistically) polite than men. Women give compliments (and also being complimented) more than men. Women also apologize (and also being apologized) more than men (Eckert &

McConnell-Ginet, 2003: 136).

However, on the opposite of its function as a politeness strategy, indirectness can also be seen as conveying the meaning which are threatening or could threaten the addressee‟s face. The comments, although they are in indirect from, they convey the non- polite meanings rather than the polite one. The factors then will be the same with the factors affect the impolite action or strategy employed by particular speaker. Loucher and

Bousfield (2008) states that firstly, there is and can be no interaction without power; secondly, and more pertinently, impoliteness is an exercise of power as it has arguably always in some way an effect on one‟s addressees in that it alters the future action- environment of one‟s interlocutors. Impoliteness, whether understood as intentional face-

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aggravation or not is inextricably tied up with the very concept of power because an interlocutor whose face is damaged by an utterance suddenly finds his or her response options to be sharply restricted. Loucher and Bousfield (2008) also cites Wartenberg that a social agent A has power over another social agent B if and only if A strategically limits

B‟s action-environment (Wartenberg 1990: 85). The citation clearly shows that power relationship between interlocutors is another factor that could affect the use of indirectness.

B. Review on Related Studies

There are several studies that related to this study on indirect use of language. The first study was done by Srinarawat (2005) who conducted a study on how Thai people employ indirectness as a politeness strategy in communication. The main purposes of the study were to find out the forms and functions of indirect speech employed by Thai speakers and to investigate the subjects or speakers‟ choice of direct or indirect means of communication. The study is based on the conceptual framework of indirectness and politeness models of Grice, Searle, leech, Brown and Levinson, and Tannen.

The source of data was divided into two, from the conversation drawn from five contemporary Thai novels, and from the answer of 475 subjects or speakers to a questionnaire regarding their choice of direct or indirect speech in certain interactional conditions. The subjects were selected by using stratified random sampling and were grouped according to occupation, gender, level of education, and age.

From the analysis of the conversation taken from the novels, it is found that indirect speech is found mostly in interrogative form, followed by declarative and finally by imperative. The major function of indirectness is to convey irony. Other functions are giving hints, sensing other ideas, self-defense, and giving opinions. From the analysis of the questionnaire, it is found that subjects prefer indirectness primarily to put emphasis on

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politeness, followed by self-defense, avoiding negative result, being ironic, and giving hints. It is also found that there is a relationship between the subjects‟ use of indirectness and their educational level. The more educated a speaker is, the more indirectness is used in his/her use language. Beside educational level, gender also plays role in the choice between direct and indirect speech acts where female respondents use more indirectness than male respondents.

Another study was done by Oktoprimasakti (2006) on the direct and indirect strategies apply by Indonesian people when refusing, such as of request or invitation. The study was aimed at answering two research problems, (i) the strategy used in refusing; and (ii) whether the difference in status and gender of the requesters affects the strategy used. The study was done by using the modified version of discourse comprehension test

(DCT) developed by Bebee et al (1990).

The findings of this study were (i) Indonesians used mostly indirect refusals by using six primary strategies such as by giving reason, using white lie, giving suggestion of willingness, making statement of regret, and so on; and (ii) Indonesians use indirect strategies for face saving and the strategy used varies according the status of the requester. Indonesians use more strategies and attempt when refusing requesters of higher status and use less effort when refusing the requesters of lower status.

The third study was done by J. César Félix-Brasdefer (2005) who did study on

Indirectness and Politeness in Mexican Requests. In his study, he examined the notions of indirectness and politeness in the speech act of requests, including head acts and external modifications, among Mexican university students in formal and informal role-play situations.

The data were collected at a large public American university from a group of

Mexican students who had recently arrived in the United States as part of a study abroad

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program. The sample included four males and six females (mean age: 22.7). The data were collected during the first month after the subjects‟ arrival. All subjects were university students at Tecnológico de Monterrey in México. The data were analyzed according to a modified classification of request strategies originally presented by Blum-

Kulka et al. (1989) and included strategies used as head acts and strategies used as external modifications to the head act. Head acts were examined according to three degrees of directness: 1) direct; 2) conventionally indirect; and, 3) non-conventionally indirect (hints). External modification included peripheral elements which preceded or followed the head act: precursors, preparators, disarmers, reasons, alternatives, and positive politeness strategies. The Statistical Package for the Social Sciences (SPSS 11.5) was used to analyze the data. Two statistical analyses were employed: repeated-measures analysis of variance (ANOVA) and paired-samples t-tests. The alpha level was set at .05.

This study found out that firstly, indirectness is used when the relationship between the interlocutors are + Power or + Distance, whereas directness was more common as the relationship between the interlocutors was closer (-Distance). Unlike the non- conventional indirectness (e.g., hints), it is found that there is a relationship between conventional indirectness and politeness because conventionally, indirect requests increased levels of deferential politeness and were used to express respect or distance between the interlocutors. Secondly, unlike Brown and Levinson‟s (1987) and Leech‟s

(1983) observations that indirectness increases degrees of politeness during the realization of a face-threatening act such as requests, the results of this study showed that on-record or direct requests are situation-dependent and seem to be the expected behaviour among these Mexican subjects in a solidarity politeness system (-Power, –

Distance). The results are consistent with other studies which found that directness in

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German and Polish cultures should not be considered impolite, but rather should be seen as a way of expressing closeness and affiliation.

The fourth study was done by Fachun Zhang and Hua You (2009) who did study on the motives of indirectness in daily communication from Asian perspective. In their study, they defined indirectness as the means in which one meaning is conveyed indirectly through utterances or non-verbal behaviours in order to achieve certain goal, or the means in which one‟s intent is revealed in a roundabout way. According to them, when people speak or behave indirectly, they must have various purposes or motives beneath, which need attention to find out. And of course, there are still many more factors beneath the use of indirectness, which need further research. Indirectness is often used in our daily communication as a major communicative skill to keep a harmonious interpersonal relationship.

The findings of the study were that from Asian perspective, there are various motives of the use of indirectness in daily life. They are (i) politeness, (ii) self-protection,

(iii) humour, and (iv) rejection or denial. For politeness, as it has been discussed by many other linguists, indirectness is used in many speech acts, such as request, invitation, etc. especially affected by the social distance between the speaker and the hearer, and the need to feel accepted by other people. For example, when making request, people usually used indirectness to make the request less obvious that the speaker expects the hearer to comply. In the case of self-protection, the indirect request used by people seems to provide greater freedom for the hearer to refuse. However, the indirect request is basically functions as the safest way to save face of speaker because if the speaker does not want to lose face, the safest way is by not offending others. It can be seen that, while being indirect to save face of others, the speaker is also saving his/her face. The use of indirectness can also be motivated by humour because humour can maintain a

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harmonious interpersonal relationship and avoid potential conflict. For example, when facing the common predicament in their lives, people use humour to express our sincerity, generosity and kindliness in a light way. The power of humour lies not only in making people laugh, but also in lubricating the interpersonal relationship, showing one‟s friendliness and tolerance towards others, etc. For the last motives, rejection or denial, people use indirectness to make the refusal or rejection less direct. It is more or less done also for politeness reason that the speaker wants to save face of the hearer.

C. Theoretical Framework

The theory of pragmatics is used as a general background or general theory of this study. It gives a view from where this study is conducted. By using this theory, the writer is trying to limit the area of the study; that the analysis will be a pragmatic analysis on the use of indirectness.

The theory of speech acts will help the writer answering the first question on the types of speech acts employed in the indirect comments. By using this theory, the writer then will find out how speakers, by using language, are trying to accomplish intended actions and how hearers understand intended meaning form what is said. This theory will also help in explaining intended actions of the speaker, in this case the judges.

The theory of indirectness is used to answer the last two questions on function of indirectness and the factors that affect the use of indirectness. This theory will guide the researcher in finding out the functions of the indirect comments given by the American

Idol judges in the 8th season of the show. This theory will also be helpful in finding out the factors that affect the judges‟ use of the indirectness through their comments.

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CHAPTER III

RESEARCH METHODOLOGY

This chapter of Research Methodology elaborates the methodology applied in the study. This chapter covers 5 parts, Types of Study, Research Data, Data Collection, Data

Analysis, and Test as the result verification.

A. Types of the Study

This study is descriptive in nature. It tries to describe the natural use of language, in this case the use of indirect speech or indirectness in English in giving comments to other people‟s performance. The description is shown in the analysis of data which consist of sentences and any lexical item as part of the comments. This study describes first how indirectness is used to perform particular kinds of speech act, such as expressive and assertive. This study also describes the functions of indirectness and factors that affect the use of indirectness in the comments given by American Idol judges.

B. Research data

The object of the study was the indirect comments given by the judges of the show of American Idol singing competition. The main source of the data was the recording of the American Idol show. Number of data was limited to the audition of the 8th season of

American Idol (2009). This field was chosen because the study investigating indirectness in this field has not been done yet, even the study of how language is used in general in this field is also rarely found. The availability of data was also one of the factors that affect the choice of this season to be studied. In Indonesia, especially in Yogyakarta, the availability of data was very limited; not all seasons of American Idol could be accessed for personal use. The mixture of the judges was also a factor in choosing the 8th season as data for this study since there were four main judges in the show and it was for the first

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time in the history of American Idol. The judges were two men, Simon Cowell and Randy

Jackson, and two women, Paula Abdul and Kara Dioguardi.

C. Data Collection

As it is stated before, the data for this study were taken from the audition of the 8th season of the show of American Idol. There were 8 cities where the audition of the 8th season of American Idol were held; Glendale (Arizona), Kansas City (Missouri), San

Francisco (California), Louisville (Kentucky), Jacksonville (Florida), Salt Lake City

(Utah), New York City, and San Juan (Puerto Rico). However, there are only 7 recordings of the auditions since the auditions of New York City and Puerto Rico were presented in one recording. There were fifty data used in this analysis as the source of indirectness.

There are some steps undertaken in gathering the data. The first step is to copy the video recording of the audition of the 8th season of American Idol which is available in the internet café. The second step is to take the scripts of the subtitles of the show. In this step, the writer first plays the video recording using KMPlayer (one of the player for audio/video recording). Then the writer copies the scripts of the subtitles by right-click at the player, then chooses „subtitles‟ – „subtitles explorer (can edit)‟. After being copied, the scripts are pasted to MS Word program to be arranged in a well-ordered display.

The third step is to watch the show (each audition) carefully and thoroughly in order to identify the speaker involved in the conversation, the narrator (the host of

American Idol, Ryan Seacrest), the contestant, or the four judges (Simon Cowell, Paula

Abdul, Kara Dioguardi and Randy Jackson). It was done because the scripts of the subtitles that had been copied before did not contain any information about the speakers involved in the conversation. For example in the following script of the subtitle (Table

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3.1) taken from the video recording of the audition of a man named Dalton Powell from

San Francisco.

Table 3.1 Sample of the Judges‟ Comments Taken from the Subtitle of the Recording. 00:18:08 What are you gonna sing? - Uh, Ooh, Baby, Baby by, uh, Smokey Robinson. 00:18:13 Great. 00:18:13 All right. 00:18:18 All right. 00:18:56 What is going on, man? 00:18:58 Have you ever sung... 00:18:59 In front of people, no. 00:19:03 So you nervous, too, huh? 00:19:05 Yeah, I get stage fright. - You're scared. 00:19:07 Yeah. 00:19:08 Dalton, are you a fan of the show? 00:19:10 Simon keeps it interesting. 00:19:13 Well, you know what? You're a smart guy. - ************simon 00:19:17 "Simon keeps it interesting." 00:19:18 Yeah, Simon, so keep it interesting for him right now. 00:19:22 No, Dalton, I think we know what the answer's gonna be, right? 00:19:25 It's a no, but you've shown great intelligence during this audition. 00:19:32 - Look at him. - So everything's worked out fine. 00:19:34 - Nice to meet you. - Thanks for coming out, da. 00:19:36 - Take care. - Good looking out. 00:19:37 So Dalton‟s high hopes are dashed.

The above script (Table 3.1) lacks of the information on the speakers involved in the conversation. By watching the video recording carefully and thoroughly, the writer then edited the scripts by adding the speakers‟ name in front of each sentence. The time presented in the first column was also removed since it was not necessary for the analysis.

After the editing, the above example will be as following,

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Table 3.2 Sample of Judges‟ Comments after Editing

Simon What are you gonna sing? – Dalton Uh, Ooh, Baby, Baby by, uh, Smokey Robinson. Simon Great. Dalton All right. All right. Randy What is going on, man? Paula Have you ever sung... Dalton In front of people, no. Randy So you nervous, too, huh? Dalton Yeah, I get stage fright. – Kara You're scared. Dalton Yeah. Paula Dalton, are you a fan of the show? Dalton Simon keeps it interesting. Randy Well, you know what? Simon You're a smart guy Kara "Simon keeps it interesting." Randy Yeah, Simon, so keep it interesting for him right now. Simon No, Dalton, I think we know what the answer's gonna be, right? It's a no, but you've shown great intelligence during this audition. Randy Look at him. Simon So everything's worked out fine Simon Nice to meet you. Randy Thanks for coming out, dawg Dalton Take care. Randy Good looking out

The third step is also aimed at removing the words of the narrator, Ryan Seacrest since they are not used in the analysis. As can be seen in the example, the last sentence said by Ryan „so Dalton‟s high hopes are dashed‟ is not presented in the edited version.

The fourth step is to sort the data. In this process, the direct comments are separated from the indirect comments because the direct comments will not be used in the analysis.

The writer uses the theory of indirect speech to identify the use of indirectness in comments of the judges. Basically, the simplest way to determine whether a sentence is an indirect sentence or not is by looking at the relationshp between the structure and the function of the sentence. According to Yule (1996), when there is an indirect relationship

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between structure and function, then it is an indirect speech acts. Conversely, when there is a direct relationship, then it is a direct speech act. So, a declarative, if it is used to make statement is a direct speech act while if it is used to make a request is an indirect speech act. Srinarawat (2005) adds that based on Yule‟s explanation, if an interrogative sentence used to make request is considered as an indirect speech act and if a declarative sentence is used to make an ironic comment instead of stating facts or expressing something, it is also an indirect statement/speech act.

D. Data Analysis

This part presents the steps taken in answering the problem formulated in the first chapter. Before coming to the steps taken to answer the problem, the preliminary step was to collect all the indirect comments given by the judges from the recording of the 8th season of American Idol. There were 74 indirect comments collected from the recording that can be used as data for this study. The next step is to do the analysis in a cyclic method. Firstly, there were 25 data out of 74 chosen to be analyzed in the first cycle. The steps for the analysis are presented in the rest of this section. After having the first cycle, the analysis for the second cycle was done to find whether this study could find more findings, different from the first cycle. There were also 25 indirect comments used as data. As the analysis of the second cycle discovers new findings, therefore there were 50 indirect comments used as data for this study. The third cycle, used 24 indirect comments did not find new findings for the study. Therefore, the data and findings of the third cycle were not included in this study. In this study, the researcher also employed second opinion from participants with the same educational background or level as the researcher in the interpretation of data to avoid subjectivity and to make the interpretation more valid.

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There were several steps taken in answering the problems formulated in this study.

The first problem is on the type of speech acts employed in the indirect comments given by the American Idol judges. Before answering the question, the data were first classified based on sentence types, declarative, interrogative, and imperative. This was done prior to the analysis to determine whether the comments are indirect or direct sentences. In this step, this means was taken to make it easier to determine the type of speech act employed in each comment. This preliminary step was important since speech acts is related to the illocutionary force or the intended actions which are different from what a speaker says.

A speaker may use an interrogative form to convey a command. It means that although the sentence is in interrogative form, but it employs the directive type of speech acts.

After having the classification, the data were then analyzed into the type of speech acts. In this first step, the theory of speech acts was used to determine whether a comment is an assertive, directive, expressive, commisive, or a declarative. For example, the comment Michael, five years wouldn‟t make any difference is a declarative sentence.

However, this comment is not only to state that even in five years Michael would not be able to sing any better, but it is also a command to Michael to stop singing or trying to be a singer. Then this declarative sentence falls into the category directive speech act since by saying this comment, the speaker is not only stating something, but also commanding.

In this step, the contexts of language use were explained in the analysis of each comment. The context is an important aspect in a pragmatics study, beside the interlocutors, since it affects the way people use language. For example in the above sentence Michael, five years wouldn‟t make any difference, the judge, Simon Cowell, gave this comment as an answer to the contestant‟s request to sing one more time to prove that he is talented. However, Simon did not think that Michael could sing any

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better. Therefore Simon gave the comment above in order to direct Michael to stop singing.

The second step in the data analysis was to find out the functions of the indirectness in the comments of the judges. The types of speech acts from the previous step are taken in assisting the analysis of the second problem. For example, take the comment from

Simon to Michael above. The type of speech acts employed in the comment is directive.

Since it is a directive, then the function of the indirectness is to order or advising the contestant to stop singing or to stop trying to be a singer. The analysis of the second problem is based on the theories of indirectness elaborated in the second chapter.

The third step was to identify the factors that affect the use of indirectness by the judges of American Idol. In this part, the data were analyzed based on the functions of indirectness found in the previous analysis. For example, if in the analysis of the second problem on the functions of indirectness, there are 5 functions found, then those 5 functions will be used as the basis of the analysis of the third problem. Take for instance the comment that Simon gave to Michael above. It is found that the function of indirectness of the comment is first to give command or advice to the contestant, and second to insult the contestant. These two functions then will be the basis of the analysis of the factors; i.e. the factors that affect the judge to give command or advice to the contestant, and the factor that affect the judge to insult the contestant.

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CHAPTER IV

ANALYSIS AND DISCUSSION

This chapter contains the answer to the research questions. It covers the discussion and analysis of the data of the use of indirectness in American Idol judges‟ comments which is divided into three parts. The first part is about the types of speech acts employed in the indirect comments of the American Idol judges; the second part is about the functions of the indirectness; and the last part is about the factors that affect the use of indirectness by the judges.

A. Types of Speech Acts

This part presents the answer to the first problem: the types of speech acts employed in the use of indirectness in the judges comments. In this part, the data are first classified based on sentence types, declarative, interrogative, and imperative. It is important since speech acts is related to the illocutionary force or the intended actions which are different from what a speaker says. A speaker may use an interrogative form to make request. It means that although the sentence is in interrogative form, it employs the directive type of speech acts.

Based on the classification of the data into the type of sentence (see

Appendix 2), it can be inferred that from fifty indirect speeches found in

American Idol judges‟ comments, most of them employ the declarative form, while the interrogative form occupies the second position. It is also found that the imperative form is employed infrequently. After having the classification, the next discussion is on the analysis of the types of speech acts employed in the indirect

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comments of the judges. Based on the analysis of data, there are four types of speech acts employed in the indirect comments given by the judges in the audition of the 8th season of American Idol (see Appendix 2); the first is assertive (or representative), the second is declarative, the third is directive, and the fourth is expressive speech acts.

1. Assertive (Representative)

By definition, assertive or representative is a type of speech act which expresses the speaker‟s belief or thought, such as by asserting, concluding, claiming, reporting, and stating (Searle, 1975). As this study concerns the comments given by the judges, then it is clear why this type of speech act becomes dominant. A comment is basically given when someone is giving his/her ideas or opinion about something and then giving the explanation on it. Opinion is defined as thought, belief, or judgement about particular issue (Collins COBUILD

Advance Learner‟s Dictionary).

There are 17 comments employing the assertive speech act (see Table 4.1.1.

Assertive Speech Act). All the sentences are included into assertive type of speech act since through all those sentences, the judges are giving their opinion and judgement on the performances of the contestant; they are showing their belief or thought about the performances.

The first assertive sentence is (2) „probably top five, honest to gosh‟. It is given by Paula when commenting the performance of Emily Whynne Hughes.

The indirection implies that according to Paula, Emily‟s performance when sings the song By Heart is an excellent performance; it implies that she is a very good

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singer and qualified to be in the competition and even reaches the top five of the finalist rank. The use of the phrase „top five‟ is the key to the indirectness of this comment. If someone, in an audition of a competition where thousands of people involve fighting to be the winner or to be the number one, is said to be possible to reach that position, it means that the audition of that particular person is more than just a good audition. It further indicates that the contestant, in this case Emily, is going to the next round after the audition.

The next assertive sentence is (4) „And I don't think you've got star quality.

And I don't think you ever will‟. Simon gives comment (4) when commenting the performance of Randy Madden, who deeply hopes that he can go to Hollywood and be a rock star. However, Simon Cowell thinks the opposite based on Randy‟s performance and personality. Simon states that Randy is like a drama queen because at the time the judges seem to be not interested in him, Randy starts crying. A star shouldn‟t be crying if being criticized by others. The audition is just a start of the competition. If Randy couldn‟t take the criticism in the audition what will happen if he goes through the next round and get more criticisms. Through this comment, Simon is directly saying that Randy does not have a star quality because of the reason above. Simon is also indirectly saying that because Randy does not have a star quality then he does not fit in the competition of American

Idol which is actually a searching of a star. The indirectness is achieved through the use of the word „star‟, which is important in a competition as American Idol whose purpose is the searching and making of new star or idol in the show business and entertainment world. By comparing the quality or personality of

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Randy and the quality or personality of a star required by the competition, the comment of Simon then becomes an indirect comment to say that Randy is not suitable in the American Idol or to be a star in the show business. In the context of the audition, it is an indirect comment which implies that Simon is saying „no‟ to the contestant.

Table 4.1.1 Assertive Speech Act No Data Judges Comments 1. 4 Simon And I don't think you've got star quality. And I don't think you ever will. 2. 10 Simon Okay. All right, I just wondered if you turned up on the right show or not. 3. 12 Simon I'll tell you what it sounded like. It sounded like a cat jumping off the Empire State building, and the noise it would make before it hit the floor. If that makes sense. 4. 18 Randy You're probably just like a cool bar singer, you know? You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me. 5. 26 Paula Have you ever sung? 6. 30 Simon George, have you ever done this before? Auditioned, or sang in public? 7. 33 Simon I think you would struggle within the parameters of this competition. 8. 38 Simon You're never ever, in a million billion years, gonna win a show like this. 9. 47 Simon Jessika, I can swim, but I'm not going to win ten Olympic medals at the Olympic games. 10. 2 Paula Probably top five, honest to gosh. 11. 7 Simon Michael, I genuinely couldn't understand a word of that. (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously. 12. 16 Kara I see a package here. 13. 19 Simon Can I just say no to all three of you? 14. 21 Paula When people sing Michael, it usually is a disaster. And this was definitely not a disaster. 15. 28 Simon You can‟t sing those big songs. 16. 39 Simon Well, you managed the worst song so far. 17. 46 Simon Well, that's the end of the relationship, isn't it? *The bracketed sentences are the responses from the contestants.

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The next sentence is (10) „Okay. All right. I just wondered if you turned up on the right show or not‟. Simon Cowell gives this comment after asking some questions to the contestant Elijah Scarlet, who sings indistinctly with his very deep voice. The conversation between Simon and Elijah can be seen in the following

(a) Simon : Can I ask you a question? Elijah : Yes. Simon : Have you ever seen this show?* Elijah : Yes, I've seen it. Simon : You've heard it?* Elijah : Yeah. Simon : All right. And you are aware of what...what the purpose of the show is?* Elijah : Yeah, I'm aware. Simon : Okay. All right, I just wondered if you turned up on the right show or not.#

Basically Simon‟s questions (marked by ) might also be seen as indirect speeches even if the conversation is not ended by the last sentence. Those interrogative sentences are not only the request of information, about the contestant, that Simon wants to know but also the representation of Simon thoughts about the contestant. Simon questions indirectly say that Elijah is like someone who never saw or heard about the show and not aware of the purpose of the show. The last declarative sentence is basically says the same idea. The word

„wonder‟ implies Simon‟s doubt about Elijah. The indirectness is realized through the use of questions () of doubt and the conclusion (#) which also expresses doubt.

The next assertive sentence is (12) „I'll tell you what it sounded like. It sounded like a cat jumping off the Empire State building, and the noise it would

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make before it hit the floor. If that makes sense‟. Simon states this when commenting the performance of Chelsea Marquardt. Actually, Chelsea‟s audition is not going well considering her voice and the way she sings which is so horrible.

Right after Chelsea sings Simon gives this comment which expresses his thought about Chelsea's performance. The use of indirectness is achieved through the use of simile that is the comparison of one thing with another thing of a different kind.

In this case Simon compares Chelsea's voice with the sound that a cat will make after jumping off the Empire State building and before hitting the floor since

Chelsea's voice is little and shaky one. People facing this kind of sentence should have knowledge about the world, in this case about the sound of a cat jumping off a very high building such as the Empire State building. The sound that the cat makes before hitting the floor is the cat‟s scream with its unclear voice. The sound, if it can be described, is the terrible one. By saying the sentence, Simon indirectly says that Chelsea‟s voice is terrible.

Sentence (18) „You're probably just like a cool bar singer, you know?

You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me‟ is an assertive one because by saying this sentence, Randy is giving his opinion on the performance of Matt Bridesky. Randy thinks that it is good for Matt to be only as a bar singer. Randy‟s use of hedging „I‟m not sure‟ is the indicator of the use of indirectness in this sentence. Randy refuses to say clearly or directly his thoughts that Matt is better keeping his job as a bar singer rather than being an American idol.

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In sentence (26) „Have you ever sung?‟ Kara Dioguardi is being doubtful with the ability of Dalton Powell who sings indistinctively with shaky voice. This type of indirect speech is similar to data (6) above. Kara in this case expresses her doubtful thought by asking the question to Dalton about his experience in singing especially in public. Kara uses this interrogative sentence to indirectly say that

Dalton‟s singing is a terrible one like someone who has never sung before.

Simon gives the comment (30) „George, have you ever done this before?

Auditioned, or sang in public?‟ when commenting the performance of George

Ramirez whose audition is not going well. This comment is basically of the same type with the previous comment given by Simon (6) and Kara (12). In this case,

Simon is also being doubtful with the experience of George in singing, especially in public. By using question, Simon is indirectly asserting his opinion that the way

George sings is like someone who has never sung or been in an audition before and it is not good if he wants to be an American idol since it is required that the contestants are those who can sing and at least have experiences.

In (33) „I think you would struggle within the parameters of this competition‟ Simon is commenting the performance of Michael Perelli who sings nervously since the judges disallow him to sing with his guitar which actually can make him comfortable when singing. Simon‟s comment is an assertive one since it expresses Simon‟s thought. Simon thinks that Michael‟s voice is not interesting and because of that will make him struggle within the parameter of the competition which requires high-quality voice. The indirectness is revealed through the use of the word „parameter‟ which refers to the measurement or

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standard used to determine whether a contestant is qualified to be in the competition or not. When Simon says that Michael would struggle within the parameter of the competition, it means that Michael is not really qualified to be in the competition; and if he goes through the next round after the audition, he would find a lot of problems or difficulty in competing because there are other contestants who are better than him.

Sentence (38) „You‟re never ever, in a million billion years, gonna win a show like this‟ is the comment for Rich Kagel, a contestant who seems to force his voice too much when singing. The use of hyperbole or exaggeration or overstatement is the strategy of indirectness in this comment. The hyperbole phrase „million billion years‟ indicates that Rich is really a bad singer (based on his terrible performance and voice) and because of that he cannot and will never succeed in such singing competition as American Idol; not only in the 8th season or in 2009, but also in the next million billion years.

The next assertive sentence is (47) „Jessika, I can swim, but I'm not going to win ten Olympic medals at the Olympic Games.‟ Simon states this sentence when commenting the performance of Jessika Byer who is really confident about her experiences and winning on some singing competition out of 700. Based on

Jessika‟s performance, Simon wonders why she can win those competitions before. Simon then states his opinion that one may be able to swim but it is just not enough to win a swimming competition. It is also the case in singing competition. Jessika can sing, but it is not enough for her to win American Idol.

Indirectness is achieved through the use of Simon‟s statement of principle or

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opinion that although he (Simon) knows how to swim, he will not win the

Olympic medal at the Olympic Games since his skill is not enough for him to win the game. This statement is not merely the information about Simon for people or in this case Jessika to know. Simon uses it as example to explain the situation to

Jessika that although Jessika can sing, she will not win the competition of

American Idol. Through his comment, Simon indirectly telling the fact to Jessika that she will not go through to the next round or win the American Idol.

The assertive sentence (7) is Simon‟s comment to the performance of

Michael Gurr right after he sings the first song Starts with Good Bye by Carrie

Underwood. Basically Michael‟s audition does not succeed since he sings horribly like someone in pain. Simon‟s comment can be seen as follows,

Michael, I genuinely couldn't understand a word of that. (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously.

The indirection can be taken from the first sentence of the above comment and the last three sentences can be taken as the emphasis to strengthen or support the meaning and intention of the first sentence. The first sentence does not function merely as information of Simon‟s condition; it also functions indirectly to say that the audition is so terrible and that people, or at least Simon, cannot understand even only a word of the song. The other sentences are the emphasis to support the first sentence. The word „Bulgarian‟ shows how terrible Michael‟s performance and voice are, so that even the song which is actually written in English cannot be understood (or understood as song written in other language than English). The word „seriously‟ is the last and major emphasis of the first comment that the

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audition is seriously bad. Here, the indirectness is achieved through Simon‟s statement of his not understanding to indirectly say that the audition is a terrible one and so that he cannot understand even only a word of the song.

The assertive sentence (16) „I see a package here‟ is the comment from

Kara Dioguardi when commenting the performance of Casey Carlson who sings very well in the audition. The indirectness of this comment is shown through

Kara‟s statement about the condition of the contestant. Casey in this case has most things that a star should have or that a person should have in order to be a star.

The „package‟ refers to whole presentation of the talent and personality of the contestant, from voice, stage performance and the look or appearance. Kara states the comment to indirectly say that, first, the performance of Casey in the audition is terrific and second, more than the performance, Casey projects to the audience her good looking face supported by proper and wonderful outfit.

Sentence (19) „Can I just say no to all three of you?‟ is Simon‟s comment to the performance of Andrew Lang who sings the song by The Temptation, My

Girl. Andrew comes to the audition room with his two girl friends who act as cheerleaders to support him. Right after he sings, Simon says the comment (34).

Basically the task of the judge is to give comment to the performance of the contestant, not to the performance of other people, i.e. the supporter of the contestant. However, Simon gives his comment to all of them, the contestant and his two friends. It means that not only the performance of the contestant which is bad, but also the performance of the supporter; they do not help at all. Literally

Simon‟s question (the word „can‟) concerns with the permission given by the

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hearer to the speaker to do something and it also gives choice to the hearer to say yes or no. Usually, the word „can‟ is used to make polite request. In the case of this comment, it can also be used to say no politely. The interrogative sentence is basically implies that Simon wants to say no for Andrew and the cheerleaders.

Simon use the question with „can‟ in front to mitigate the effect of his statement.

„Can‟ gives space for the hearers to feel that they have choices although they know that they cannot choose and that the speaker is basically has made the decision. By using question, the indirectness of this comment is achieved.

Specifically for the contestant, this comment can also be taken as indirection through the use of the phrase „all three of you‟ since one of the three people is the contestant, Andrew.

The assertive sentence (21) „When people sing Michael, it usually is a disaster. And this was definitely not a disaster‟ is Paula‟s comment to the performance of Asa Barnes who sings Michael Jackson‟s song The Way You

Make Me Feel. As Paula has been in American Idol since the first season, she has experiences of watching people sing different songs of Michael Jackson. She also experiences that Michael Jackson's songs are not easy songs to sing and that people usually fail to sing his songs. Through this comment, Paula is indirectly saying that Asa‟s performance in the audition is wonderful because he successfully sings Michael Jackson‟s song. The indirectness is achieved through the use of comparison, which is between Asa's performance and other previous performances of contestants who also sang the same song.

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In (28), „You can't sing those big songs‟ Simon is criticizing the contestant,

Dana Murano for choosing incorrect song to sing or for singing a good song in a terrible way. The indirectness is achieved through criticizing the contestant by which Simon asserts his opinion about the audition.

In (39) „Well, you managed the worst song so far‟ Simon indirectly says that

Austin Sisneros‟ performance is a bad performance considering his song choices.

Austin is given two chances to show to the judges that he has the talent they are looking for. When he finished the first song, Simon says that Austin‟s song choice is weird. Then Austin is given the second chance to sing the second song. (39) is the comment given by Simon after Austin sings his second song. This comment implies that Austin's second song is also a weird song to choose for an audition; the same case with the first song.

The last assertive sentence is (46) „Well, that's the end of the relationship, isn't it?‟ This sentence falls into the type of interrogative sentence by the use of question tag „isn‟t it‟ following the declarative clause. Usually a question tag is used to check whether the statement before it is right or not. In this case, Simon uses „isn‟t it‟ to ask Jessika Byer whether his statement „that's the end of the relationship‟ is right or not. Jessika tells that she is one of the fans of the show,

American Idol and she tells that she has been watching them (the judges) every week on the television and that is why she becomes very nervous in the audition.

Simon then says (46) after hearing Jessika's story. Simon wants to say that the relation between Jessika and American Idol ends at the audition day when the judges say no to Jessika considering her performance and that the relation will not

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continue with her joining the show in Hollywood. The indirectness is achieved through the use of question tag which mitigates the directness of Simon‟s opinion that that is the end of relationship between American Idol and Jessika. The tag seems to give Jessika chance to confirm or deny what Simon has just stated in the non-interrogative part of the sentence. However, the falling intonation used by

Simon when uttering the tag is basically implies that he has no doubt about the correctness of his statement.

From the sixteen uses of the assertive type of speech acts above, it can be seen that the main function of assertive is to give opinion or to state one‟s thought on particular thing, in this case the judges thoughts and opinion on the contestants‟ performance. It is also clear that most assertives are expressed in declarative/statement form or structure. However, there are also assertives

(smaller in number) which are expressed in the interrogative structure.

It is also found that there are different ways through which indirectness is achieved, (i) the use of questions which express the doubt of the judges; (ii) the use of certain important words related to the show, i.e. star or top five; (iii) the use of comparison; (iv) the use of hedging; and (v) the use of statement related to the contestants‟ condition or judges‟ condition.

2. Declarative

Declarative is a type of speech act which expresses changes in some current state of affairs. By performing this type of speech act, the speaker brings about change in the world. The point of a declarative is to alter the situation or status of the world.

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In the case of the audition of American Idol, the judges have the rights to declare whether a contestant can go to the next round (Hollywood) or not. It is the rights of the judges and no one else can do it or can take such decision. The judges are those who have the authoritative rights to do it. By taking the decision

(declaring that a contestant can or cannot go to Hollywood), the judges bring about change in the world since by doing that they alter the status of the contestants, from auditionees to be whether a Hollywood contestant or not.

The decision is taken at the time of voting where the judges usually give a

„yes‟ or a „no‟ to the auditionee. However, in many instances the judges say something else rather than just „yes‟ or „no‟. The judges in this case are taking decisions in indirect way; they are using indirect speech acts. The reason why the comments are categorized as declarative is merely because they are stated at the time of voting to imply whether a judge wants to say „yes‟ or „no‟. The comments are basically employing other type of speech acts. As can be seen from Table 4.1, in the column of speech act type which lists the declarative type, there are other types of speech act typed right below some declarative types. It is done to make clear that to make declaration, the judges also employ other types of speech act.

There are 16 declarative sentences found in the judges‟ comments (see Table 4.1.2

Declarative Speech Act).

In (1) „I've never seen anything like that in a not-so-good way‟ Kara is being indirect to say no to Tuan Nguyen who sings The Way You Make Me Feel with his own style along with his toe taps style. While other judges say „no‟ to Tuan at the time of voting, Kara says (1). The clause „I've never seen anything like that‟ could

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imply either yes or no. However, the phrase „not-so-good way‟ gives emphasis to the second possibility that it is a „no‟.

Table 4.1.2 Declarative Speech Act No Data Judges Comments 1. 1 Kara I've never seen anything like that in a not-so-good way. 2. 3 Paula The competition would sorely miss you if you weren't in it. 3. 5 Paula You know what, I do appreciate your story, and I know that this is hard for you. 4. 6 Paula But it's--you know what, I think you should be in a band, I really do. 5. 9 Kara I...I...I was speechless. 6. 15 Kara I want to see what you can bring to the show. 7. 17 Paula Um, I would love to give you another chance. 8. 20 Kara You're just honey, you're not gonna make it in this competition. 9. 23 Kara I...I don't think she has the...the vocals, but I like her vibe. 10. 24 Paula It just wasn't a good choice. 11. 34 Simon Okay, then you gotta get a job like anybody else has done, and in your spare time, you put a band together. 12. 40 Kara There is…there's something very genuine about him. He's got a nice face. There is something I like about you. There's something there. 13. 42 Paula It's not your thing, honey. 14. 43 Randy Adeola, we've got mad love for you, man, but singing is not your skeeze, dude, I'm telling you. Trust us. 15. 44 Kara You have to keep your day job. I'm sorry to tell you that. I'm sorry, Adeola. 16. 50 Simon But I'm gonna give you another shot.

Sentence (3) „The competition would sorely miss you if you weren‟t in it‟.

Paula gives the comment to the performance of Emily Whynne-Hughes, who has a very nice voice and sings very well in the audition. Paula, by using this assertive sentence, is giving her opinion on what will happen when Emily does not join the competition of American Idol, that the competition will miss Emily very much.

The conditional clause if you weren‟t in it emphasizes that Emily is accepted. The

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clause is a conditional clause which means „you‟re in it‟. This sentence then can be taken as a „yes‟ from Paula.

Comment (5) „You know what, I do appreciate your story, and I know that this is hard for you‟ and (6) But it's...you know what, I think you should be in a band, I really do occur basically in one complex sentence. The conversation is as following,

(b) Simon : Paula? Don't need anything else, just a yes or a no. Paula : Oh, shut up. You know what, I do appreciate your story, and I know that this is hard for you. Simon : Yes or no. Paula : But it's--you know what, I think you should be in a band, I really do. Simon : Yes or no. Paula : I‟m sorry Simon : So that is a...What is that one thing to mean? Paula : I don't know. Figure it out yourself. Simon : It's a no. I'm sorry. *the underlined sentences are the indirect comments.

The conversation above occurs at the time of voting when it is the turn for Paula to vote for Randy Madden. Since Paula is being touched by Randy‟s story of his dream to be a rock star, Paula refuse to directly say no to Randy. Both (5) and (6) are then categorized as declarative since they are stated at time of voting.

Sentence (5) is an expressive sentence to express Paula‟s sorry to the contestant that they, the judges, have to reject him although his story of his strong passion to become a rock star is really a touchy one. Sentence (6) is a directive one since by saying this, Paula gives advice to Randy that it is better (should) for him to be in a band because it is more suitable for him than in a competition as American Idol, considering his ability and performance. Paula‟s indirectness can also be seen

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from Simon‟s question after she utters (5) and (6). Simon‟s question „So that is a...What is that one thing to mean?‟ shows that Paula‟s statement before is not clear, whether it is a yes or a no. Paula‟s last sentence (to Simon) „I don‟t know.

Figure it out yourself.‟ clearly stresses her point that she does not want to vote directly and if Simon wants to make it clear, he has to figure out himself.

The next declarative sentence is (9) „I...I...I was speechless‟ which is given by Kara at the time the judges have to vote for Aundre Caraway who sings his own song in a rather weird way. This is basically an expressive act to show that

Kara is speechless because she is shocked after watching Aundre‟s performance.

It must be a very bad audition that it shocks Kara so she cannot say anything even just a „yes‟ or a „no‟. By saying (9), Kara is basically wants to say no for Aundre.

In (15) „I want to see what you can bring to the show‟ Kara is being indirect to say yes for Ashley Anderson, while other judges directly say yes. By saying the assertive sentence (15) Kara is basically saying that Ashley is accepted to be part of the show (in Hollywood) and Kara is curious of what Ashley would do in the show, whether she can prove that she is a good singer or not.

(17) „Um, I would love to give you another chance‟ is an indirect comment given by Paula to Casey Carlson who sings very well and presents herself as someone who has the package to be a star (good looking and appropriate outfit).

The word „chance‟ is the key to the indirectness that Paula gives another chance or opportunity for Casey to prove herself as a singer and that chance refers of course to the next round after the audition. Randy‟s question after Paula says (17)

„That‟s a yes?‟ indicates that Paula is being unclear in saying her decision and that

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it needs a confirmation. Paula then says „yes‟ to answer Randy‟s question which then make it clear what she wants to say exactly.

The next declarative sentence is (20) „You‟re just honey, you're not gonna make it in this competition‟ which is given by Kara to Andrew Lang, who comes to the audition with his two girl friends as cheerleaders. Randy and Kara basically say the same thing that it is a no for Andrew. However, while Randy does it directly, Kara does it indirectly. Based on Andrew‟s performance, she predicts that Andrew will not succeed in the competition (which is clear from the assertive sentence (20)) and because of that, it is useless if Andrew succeeds in the audition phase.

The declarative sentence (23) „I...I don't think she has the...the vocals, but I like her vibe‟ is Kara‟s comment to Tatiana Del Toro at the time of voting. While the three other judges say yes directly to Tatiana, Kara does it indirectly because she still doubts Tatiana's skills (the vocal). The last clause „but I like her vibe‟ indicates that there is a part of Tatiana that Kara likes and that Kara wants to see

Tatiana on the next round.

The declarative sentence (24) „It just wasn't a good choice‟ is Paula‟s indirect comment to Dean Anthony Bradford who sings terribly at the audition.

While other judges directly say no to dean, Paula does it indirectly. Rather than saying no, she gives comment to Dean‟s song‟s choice that it is not a good choice.

It then implies that Dean‟s audition is not a good audition and because of that he is not accepted.

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The next is (34) „Okay, then you gotta get a job like anybody else has done, and in your spare time, you put a band together‟. Simon gives this comment at the time of voting for Michael Perelli, the auditionee who starts pleading when Randy and Paula say no for him. This sentence is basically a directive speech act since by saying this comment Simon is giving advice to Michael of what Michael should better do than being in American Idol. This advice implies a no for Michael; rather than being in American Idol, it is better for Michael to get a job and put a band together with his friends.

(40) „There is…there's something very genuine about him. He's got a nice face. There is something I like about you. There's something there‟ is an indirect comment given by Kara to vote for Austin Sisneros. This is basically an expressive speech act since through this comment Kara is expressing her liking for Austin. „Genuine‟, „nice face‟ and „like‟ are elements that emphasize Kara‟s fondness. Although the thing that „genuine‟ and „like‟ refer to is not clear, Kara‟s intention is still being implied through the comment. Kara‟s fondness of Austin then implies that Kara would like to say yes for Austin.

The next declarative comments (42) „It's not your thing, honey‟, (43)

„Adeola, we've got mad love for you, man, but singing is not your skeeze, dude,

I'm telling you. Trust us‟ and (44) „You have to keep your day job. I'm sorry to tell you that. I'm sorry, Adeola‟ are given by the judges except Simon at the time of voting for Adeola Adigulke who sings awfully in the audition. Basically all the judges give a no to Adeola. However, it is only Simon who does it directly. The other judges do it indirectly. Sentence (42) is given by Paula to mean that Adeola

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could not sing at all considering her voice and it means that Adeola cannot join the show. Sentence (43) is the comment from Randy which is presented in a more polite way to say no to Adeola. Randy is basically saying the same thing with

Kara that singing is not right for Adeola since she does not have the skill for that.

Randy states his opinion by first saying that the judges are actually like Adeola because she is a very nice girl. The word „skeeze‟ refers to „skill‟ in English.

Randy also convinces Adeola („trust us‟) to believe that what he says before is true. Sentence (44) is given by Kara to indirectly say no to Adeola. The indirectness is achieved by giving solution for Adeola that it is better for her to get her previous job back (Adeola gave her job up for American Idol one day before the audition). Kara also expresses her sorry that the judges have to eliminate

Adeola.

The last declarative sentence is (50) „But I'm gonna give you another shot‟ is Simon‟s comment given at the time of voting for Monique. This comment is of the same case as (17) above. While in (17) the keyword is „chance‟, in this comment, the keyword is „shot‟ which refers to „try‟ or „effort‟. By saying (50),

Simon gives another opportunity for Monique to try or to put effort to prove in

Hollywood that she is a good singer. This comment is an indirect „yes‟ for

Monique.

From the fifteen uses of declarative speech act employed in the comments given by the American Idol judges, it can be concluded that declarative speech act is used for either indirectly saying yes or no at the time of voting. The indirectness is achieved through several ways, (i) expressing the judge likes or dislikes of the

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auditionee, (ii) giving advice, (iii) the use of conditional if, (iv) using words such as „chance‟ or „shot‟ which indicates opportunity in the next round (especially to say yes), (v) stating the judges opinion about what the auditionees have done, and

(vi) expressing sorry (especially to say no). From the discussion above it can also be seen that most of indirect declarative speech acts are used by the female judges, in this case Paula and Kara.

3. Directive

Directive is a type of speech act which conveys the attempt, wishes or desires of the speaker to get the addressee or hearer to do something for example by advising, commanding, ordering, questioning, requesting, etc (Searle, 1975).

Following are 9 sentences which can be classified into directive speech act:

Table 4.1.3 Directive Speech Act No Data Judges Comments 1. 8 Simon Michael, five years wouldn't make any difference. 2. 11 Paula You really gotta work on your voice. 3. 22 Simon I think you would do a lot of things very well, but not singing. 4. 27 Simon Aquila, we've done the entire album. 5. 29 Simon Good, that's the direction I want you to take. Right, then right (to the door). 6. 41 Simon Um, did you actually deliver the resignation letter? (Yes, I did.) I think you may need to retract it, Adeola, based on that performance. 7. 45 Simon So do we. 8. 48 Simon Okay. Can we have another song? 9. 49 Simon Would it have been better for you and your voice to have chosen someone more within your range?

The first directive sentence is (8) „Michael, five years wouldn't make any difference‟. Simon gives this comment to Michael Gurr who sings like someone in pain. Before saying this comment, Simon says that he cannot understand even a

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single word of Michael‟s singing and Paula agrees with Simon. The contestant then asks the judges whether they can give him time around 5 minutes and then he will come back and do the audition again. Simon then says „Michael, five years wouldn't make any difference‟ which indirectly means a no for Michael‟s request.

Simon indirectly orders Michael not to sing anymore because even in five years, not only in five minutes, Michael will not be singing any better than what he has done. The directive is achieved through the use of hyperbole (five years) which sounds so much if Simon only want to say that the five minutes rehearsal would not make any difference in Michael‟s performance and so that it is useless for

Michael to do it.

Sentence (11) „You really gotta work on your voice‟ is Paula‟s comment on the performance of Lea Marie Golde. Since this is an imperative sentence, it brings with it the directive sense that Paula wants Lea to practice singing more to build her voice. The word „gotta‟ is used in informally English to represent the word „got to‟ with the meaning „have to‟ or „must‟. This word indicates that Paula is giving advice to Lea. Through this advice Paula intends to say that lea is not ready to be in American Idol competition since her voice has not been fully developed yet. Lea needs to practice more to be part of the show.

Sentence (22) „I think you would do a lot of things very well, but not singing‟ is Simon‟s comment when commenting the performance of Tatiana Del

Toro, a Puerto Rican artist auditioning in San Francisco. Before performing,

Tatiana first tells about herself and her talents and about her experiences in the show business, as model and singer. However, Simon, after watching Tatiana‟s

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performance, does not think that singing is right for Tatiana. He then expresses his thought by saying the sentence above. This sentence is a directive, since through this sentence, Simon is indirectly advising Tatiana not to be a singer. Simon compares Tatiana‟s skill in other professions such as model (although Simon himself has not yet seen how good Tatiana in it) to her skill in singing. This comparison is the key to the indirection of this comment. Tatiana is better doing other profession than singing.

The next directive sentence is (27) „Aquila, we've done the entire album‟. It is Simon‟s comment to Aquila Eskew-Gholston who sings her own songs.

Although the three other judges seem to be enjoying the performance (regardless whether it is good or not), Simon does not. Simon thinks that Aquila‟s performance is horrible and the songs are sounded the same. Aquila then asks to be given one more chance to show her ability in singing. Simon answers by stating the above sentence to show his opinion that they‟ve done the entire album so there is no need for Aquila to sing anymore. This is a directive since Simon indirectly gives command to the contestant not to sing any more song.

Simon gives the comment (29) „Good, that's the direction I want you to take. Right, then right‟ to Dana Murano. Before saying this, Simon says „You can't sing those big songs‟ which implies that the audition is not going well. Then the contestant says „Oh, I will take as much direction as you guys want‟. Simon then continues with the sentence (29) which indirectly means that Simon orders the contestant to get out of the audition room. The situation in the audition room is a contestant is standing in front of the judges and the door is behind the contestant.

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If the contestant turns right and then right again, he/she will find the door out.

When Simon says take right then right it means that Simon is ordering the contestant to go to the door to get out of the room.

The next directive sentence is (41) Um, did you actually deliver the resignation letter? (Yes, I did.) I think you may need to retract it, Adeola, based on that performance. Simon gives this comment to Adeola Adigulke who sings terribly in the audition. After watching Adeola‟s performance, Simon, without saying anything else, asks the question „Um, did you actually deliver the resignation letter?‟ which then followed by his reason of asking that question. It is a directive since Simon indirectly orders Adeola to retract the resignation letter due to her performance which is shockingly bad, according to Simon. The indirectness is achieved through the use of declarative sentence structure which expresses Simon‟s opinion about what Adeola should do. Simon uses the word

„think‟, „may‟, and „need‟ (instead of „must‟ for example) to lessen the directness of his statement.

The sentence (45) „So do we‟ is Simon‟s comment to the contestant, Jessika

Byer who sings the song by Celine Dion, I Surrender. Right at the time Jessika sings the sentence „I surrender‟ Simon says „so do we‟ and then Jessika stops singing. By saying this sentence, Simon wants to say that „we‟ (the judges) also surrender when hearing Jessika sings the song terribly; they cannot hear her sing anymore. Simon has a habit to give comment which has relation to the title of the song sung by particular contestant (see also datum 36). The indirectness in this comment is achieved through the use of the word „surrender‟ which comes from

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the sentence „so do we‟ where „do‟ refers to the previous sentence taken from the song „I surrender‟. The word „surrender‟ itself has the meaning of stop fighting or give up to the opponent side. In this case, the judges give up hearing Jessika sings the song because her voice is not good, and because they give up, they (want) to stop hearing it. By saying that they give up, Simon wants to say indirectly that they do not want to hear Jessika sing anymore. It then becomes a request for

Jessika to stop singing.

The next directive sentence is (48) Okay. Can we have another song? Simon states this when commenting the performance of Joel Contreras. By saying this,

Simon basically does not need a „yes‟ or „no‟ answer. However, this is an order to the contestant to sing another song because the previous one is bad. This type of question is the one that is being most-discussed in the theory of speech act. For example the interrogative sentence can you pass the sauce which is used to order the hearer to pass the sauce to the speaker. The indirectness of this sentence is achieved through the use of question which functions as directive.

The last directive sentence is (49) „Would it have been better for you and your voice to have chosen someone more within your range?‟ Simon gives this comment to Monique who sings two songs in the audition. This comment is literally meaning to say that Simon is curious why Monique did not choose songs of people with voice that are within Monique's voice range for the audition because it will be better for her. By saying this, Simon wants to say that

Monique‟s song choices are not good enough because they are not within her

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voice range and that factor affects her singing. The indirectness of this comment is achieved through the use of question which functions as directive to give advice.

To sum up, the uses of directive in the American Idol judges‟ comments are to give order and advice the contestants. The indirectness is achieved through the use of (i) hyperbole, (ii) the use of comparison, and (iii) the use question. It is also found that most directives are given by male judge, in this case by Simon.

4. Expressive

Expressive is a type of speech act which conveys a psychological attitude or state in the speaker, such as joy, sorrow, likes/dislikes, etc (Searle, 1975). By using expressive, the speaker attempts to express a psychological state, for instance by thanking, complaining, greeting, and apologizing. The point of an expressive is simply to express the speaker‟s inner psychological condition or to express certain attitude that is represented by the utterance (Holtgraves, 2008).

Following are 8 sentences which employ the expressive type of speech act.

Table 4.1.4 Expressive Speech Act No Data Judges Comments 1. 13 Kara Here's a positive. You're a pretty girl. You are not a good singer, sweetie. I am so sorry. 2. 14 Paula You are beautiful, and I'm sorry that you had to hear some stuff that was harsh, but it's the way these auditions go, and we have to pass. 3. 25 Simon You're a nice guy, but you're not gonna win this. 4. 31 Paula Sorry, George. You seem like a lovely person. 5. 32 Simon I think, Michael, you're quite interesting, but your voice isn‟t. 6. 35 Paula I'm glad you sang bubbly. 7. 36 Simon Yeah, hopefully soon. 8. 37 Kara We didn't mean to hurt your feelings, honey.

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The nine sentences above are included into the type of expressive speech act since those sentences conveys the feeling of the judges when commenting the performances of the contestants. Sentence (13) „Here‟s a positive. You're a pretty girl. You are not a good singer, sweetie. I am so sorry.‟ and (14) „You are beautiful, and I'm sorry that you had to hear some stuff that was harsh, but it's the way these auditions go, and we have to pass‟ are two comments given to one contestant, Chelsea Marquardt who sings so horribly in the audition; it is too horrible that Simon describe Chelsea‟s voice as the sound of a cat jumping off the

Empire State building (see datum 12). The former is given by Kara and the later is given by Paula. Basically the two comments are saying the same things that Kara and Paula feel sorry for the contestant since the judges have no choice other than rejecting the contestant. From the data it can be seen that the two judges employ the same sentence structure. Kara and Paula are first giving compliment to

Chelsea („pretty‟ and „beautiful‟), then saying the fact that Chelsea is not a good singer and finally saying sorry that they have to eliminate Chelsea from the show.

This kind of structure is one way through which indirectness is achieved. The use of compliment in front of the comment before telling the truth (which is usually bad) can mitigate the effect of the later statement of fact that might hurt the feeling of the hearer.

The next expressive sentence is (25) „You‟re a nice guy, but you're not gonna win this‟. This comment is given by Simon to Jesus Valenzuela, who according to the female judges, does not have a bad voice. The structure of this sentence is basically the same with the two comments above; start with

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compliment and ends with the fact which is usually not wanted by the hearer. The indirectness of this comment is therefore achieved through the use of such structure. By saying this comment, Simon indirectly says that Jesus audition is not going well and that is why he is not going to win in the competition if he is going to the next round. By giving compliment, Simon lessen the effect of his opinion about Jesus.

The expressive sentence (31) „Sorry, George. You seem like a lovely person‟ is Paula‟s comment to George Ramirez who sings softly and indistinctly in the audition. By making statement of regret („sorry‟), Paula is expressing her regret that she has to (or the judges have to) eliminate George. Her sorry is the indirection to say no to George. Paula is then mitigating her saying no to George by giving compliment to George.

The next expressive sentence is (32) I think, Michael, you're quite interesting, but your voice isn‟t. Through this sentence, Simon is expressing both his likes and dislikes; he likes the contestant but dislikes the contestant‟s voice.

Here, the structure as in (13), (14), and (25) is used again.

Through (35) „I'm glad you sang bubbly‟ Paula is expressing gladness or pleasure of the contestant, Anne Marie Boskovich‟s choice of song. The word

„glad‟ is the key in this sentence. The sentence is the expression of Paula‟s pleasure that the contestant chooses the right song that match with her voice. In contrast to the previous discussion on the declarative sentence (24), through this comment Paula is using indirectness to say yes for the contestant. As in (24), this time Paula also gives comment to the contestant‟s song choice rather than directly

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saying her vote. Comment (35) implies that the good and right song choice makes

Anne‟s audition as a terrific audition and because of that she is going through to the next round.

Sentence (36) „Yeah, hopefully soon‟ is Simon‟s comment to the performance of Tara Matthews who sings Someday I‟ll Fly Away. Since her performance is not good at all, right after she stops singing, Simon says the sentence „Yeah, hopefully soon‟ which, if it is put in conversation of A and B, A says „someday i‟ll fly away‟ and B answers „Yeah, hopefully soon‟. Through sentence (17) Simon is wishing that the contestant will fly away (or get out) soon from the audition room.

The last expressive sentence is (37) „We didn't mean to hurt your feelings, honey‟ which is given by Kara when commenting the performance of Tara

Matthews. Before Kara says her comment, Simon states that Tara‟s performance is so horrendous (from the voice, the song choice, and the outfit). Paula continues by saying sorry to Tara which then followed Kara saying (37). Rather than giving direct comment about Tara‟s performance (as what Simon does), Kara chooses to apologize to Tara that it is not the judges‟ attention to hurt Tara‟s feeling; it is the fact that they have to eliminate her.

To sum up, the use of expressives in the indirectness are mostly for expressing sorry especially when the judges have to reject the contestants. It is also use to express pleasure or happiness of the judges. It is also found that expressive is also used to express likes and dislikes.

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From the discussion, it can be inferred that there are several ways through which the indirectness is achieved, (i) by using the special structure of sentence or comment which consists of two parts, the compliment or good side and the fact side or the bad side and this pattern will be called as compliment-fact pattern hereafter; (ii) statement of regret such as by using „sorry‟ (usually to say a no), and (iii) statement of likes of pleasure.

B. Functions of Indirectness

Basically, in the show, the tasks of the judges are giving comments on the singing performance of the contestants and making decision whether a contestant is going to Hollywood or not. The judges have their individual rights to give any comments. Some are in the direct forms and some are in the indirect forms. In the indirect forms, one that is being analyzed here, there are different types of functions conveyed by the comments. In the theoretical review, it has been explained that there are different types of function of indirectness, such as being ironic, giving hints, sensing others‟ ideas, self-defense, and giving opinions

(Srinarawat, 2005: 184). In this part, it is the functions of indirectness in the

American Idol judges‟ comments that will be analyzed. There are 50 data used in the analysis to answer this problem. From the analysis of the data, there are 3 functions of the indirectness in the comments given by the American Idol judges, namely (i) being ironic; (ii) being polite; and (iii) giving hints (see Appendix 3).

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1. Being Ironic

According to Leech, irony is a second-order principle, building on the politeness principle, which allows the listener to understand the offensive intention of the speaker‟s remark (1983). It means that irony is basically used to convey politeness when speakers basically want to say something impolite or offensive. In other words, someone can be impolite while being seemingly polite.

Following are 5 comments that function at conveying the irony:

Table 4.2.1 Comments with Ironic Function No Data Judges Comments 1. 10 Simon Okay. All right, I just wondered if you turned up on the right show or not. 2. 26 Kara Have you ever sung? 3. 30 Simon George, have you ever done this before? Auditioned, or sang in public? 4. 36 Simon Yeah, hopefully soon. 5. 45 Simon So do we.

Sentence (10) „Okay. All right, I just wondered if you turned up on the right show or not‟ is a comment to the contestant, Elijah Scarlet who sings indistinctively with his deep voice. Simon, rather than commenting on the contestant‟s performance, asks the contestant a series of question (marked by ) on the contestant‟s understanding and awareness of the purpose of the show.

(c) Simon : Can I ask you a question? Elijah : Yes. Simon : Have you ever seen this show?* Elijah : Yes, I've seen it. Simon : You've heard it?* Elijah : Yeah. Simon : All right. And you are aware of what...what the purpose of the show is?* Elijah : Yeah, I'm aware. Simon : Okay. All right, I just wondered if you turned up on the right show or not.#

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After asking those questions, Simon ironically says (10) which seems to be the conclusion of his questions before. Used ironically, the questions are taken to mean the opposite of their meaning. Simon is basically not looking for information. Instead, he is willing to say that Elijah is someone who never saw or heard about the show and not aware of the purpose of the show. The interrogative form is used to lessen the effect of his opinion. In this way, Simon is being impolite by superficially polite; he asks question to actually express his negative ideas or criticisms about Elijah. The last declarative sentence is basically says the same idea. The word „wonder‟ implies Simon‟s doubt about Elijah. This „wonder‟ also mitigates the effect of Simon‟s opinion. Simon‟s comment could be more striking if stated like „I think you come to the wrong competition‟. By saying (10),

Simon indirectly says that it is not the right thing to do for the contestant to join such competition regarding his bad performance and his lack of ability in singing.

The use of question or interrogative form and the word „wonder‟ makes his comment look like a polite comment.

Sentence (26) „Have you ever sung?‟ is the comment given by Kara to the contestant, Dalton Powell, who sings indistinctively with his little voice. The question is actually used to convey irony of the condition at the time. Dalton comes to an audition for a singing competition with totally having no skill in singing. The judge, Kara, rather than directly saying the fact that Dalton cannot sing at all, asking the question „have you ever sung?‟ which literally means that

Kara wants Dalton to share his experience or to give information. This question

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however also implies something like „have you ever sung? Because the way you sing shows that you are someone with no experience in singing.‟ this comment is basically in the same form as the questions in the previous discussion above

(datum 10). The use of question seems to mitigate the force of the comment; make it as a more polite one since by asking the question the speaker is not in the position of someone who is making judgement and seems to be innocent.

However, considering the judges experience in the business, they can make a direct judgement for someone like Dalton who in fact cannot sing at all.

Sentence (30) George, have you ever done this before? Auditioned, or sang in public? is Simon‟s comment after watching the performance of George

Ramirez. Basically the audition does not go well because George sings so softly and quietly with poor quality of voice. This comment is similar to the question in previous discussion (data (10) and (26)) above. Again, the interrogative form is used to lessen the force of the comment. The irony is achieved through the use of question because in this case, the judge is seen as someone who is looking for information rather than making rude judgement of the contestant‟s lack of experience. By asking this question, Simon is ironically says that George is someone who has never been singing in front of people and it is not good if he wants to join American Idol because experience and skill are highly required.

As the three comments discussed before are in the form of question or interrogative, the last two comments are also having similar pattern to each other.

They are both given as the answer to the title of the song and they are both given by Simon. The first is (36) „Yeah, hopefully soon‟ which is given to Tara

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Matthews who sings Someday I‟ll Fly Away; the other is (45) „So do we‟ which is given to Jessika Byer who sings I Surrender.

Basically the performance of Tara Matthews is far from good considering her horrendous outfit and like-a-baby voice. Simon, who cannot stand watching

Tara‟s performance, says (36) right at the time Tara sings the part of „someday I‟ll fly away‟. The word „I‟ in the question of course refers to Tara and the phrase „fly away‟ could also mean „go away‟ or „disappear‟. Simon in this case is not just continuing the song for fun. He does it to express his hope that the contestant,

Tara Matthews, will go away soon from the audition room.

Just like Tara, the performance of Jessika Byer is also not outstanding although she confesses that she won many singing competitions. Right at the time

Jessika sings the part of „I surrender‟, Simon says (45). The „I‟ refers to Tara or the speaker of the song. The „we‟ in Simon‟s comment refers to the judges and

„do‟ refers to the word „surrender‟ (from the song). By saying (45) Simon wants to say that the judges also surrender hearing Jessika singing. By surrendering, the judges (or at least Simon) want Jessika to stop singing; the judges are giving up hearing Jessika sings awfully.

From the discussion on (36) and (45) above, it can be seen that the irony is conveyed through the use of sentences that (seems to) have (direct) relation with the song sung by the contestant. The sentences or comments are polite in the surface because they do not contain any rude or impolite words. However, if they are related to the contestants‟ performances, they do tell something about the judges‟ opinion concerning the audition. By saying (36) Simon indirectly wants to

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say that the performance of Tara the contestant is not good at all and therefore, it is better for the contestant to go away soon from the audition room. Similarly, since Jessika‟s performance is equally bad, the judges cannot stand hearing it and they surrender or give up. Simon in this case is being impolite while being superficially polite.

It can be concluded from the discussion that the indirect comments given by the judges can function as tool to convey irony about the audition of some contestant, especially those with bad performances. By using irony, the judges can indirectly give comment to the auditionees‟ bad performances. However, the irony itself only looks like a polite comment; the intentions that they carry are not polite at all. It then can be inferred that by using irony, the judges (mostly Simon) are insulting the contestant (deliberately or not) because the comments they give contain offensive intentions. The insult or rudeness sometimes becomes the cause of anger of the contestants who are being insulted by the judges. The insulted contestants sometimes express their anger through swear or curse, crying, or even doing anarchy actions. From the discussion, it is also found that there are two ways through which irony is achieved, (i) the use of questions; and (ii) the use of sentences that have relation to the title of the song.

2. Being Polite

Politeness can described as the attempt to save face of another (Brown and

Levinson, 1987). In order to save other‟s face, people usually use indirectness or indirect speech act in saying something even if it is something that the hearer does not like, such as criticizing the hearer or rejecting the hearer request, or in the case

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of American Idol, rejecting the contestants of getting on the next step of the competition process. Following are 10 indirect sentences which show the function.

Table 4.2.2 Comments with Polite Function No Data Judges Comments 1. 5 Paula You know what, I do appreciate your story, and I know that this is hard for you. 2. 13 Kara Here's a positive. You're a pretty girl. You are not a good singer, sweetie. I am so sorry. 3. 14 Paula You are beautiful, and I'm sorry that you had to hear some stuff that was harsh, but it's the way these auditions go, and we have to pass. 4. 18 Randy You're probably just like a cool bar singer, you know? You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me. 5. 20 Kara You're just honey, you're not gonna make it in this competition. 6. 22 Simon I think you would do a lot of things very well, but not singing. 7. 25 Simon You're a nice guy, but you're not gonna win this. 8. 31 Paula Sorry, George. You seem like a lovely person. 9. 32 Simon I think, Michael, you're quite interesting, but your voice isn‟t. 10. 37 Kara We didn't mean to hurt your feelings, honey.

Paula states (5) when commenting the contestant, Randy Madden, at the time of voting. Rather than saying „yes‟ or „no‟, Paula states „You know what, I do appreciate your story, and I know that this is hard for you‟ which then arises a question from Simon Cowell „yes or no?‟. Simon‟s question clearly shows that

Paula does not say what she wants to say directly, whether it is a yes or a no. At that time, Randy starts to cry and beg to the judges to let him go to Hollywood.

Paula basically has the same answer with other judges, that it is a no for Randy

Madden. However, Paula wants to be more polite because she considers the

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feeling of the contestant that might be hurt after finding out that he cannot make his dream comes true.

The expressive sentence (13) „Here's a positive. You're a pretty girl. You are not a good singer, sweetie. I am so sorry‟ and (14) „You are beautiful, and I'm sorry that you had to hear some stuff that was harsh, but it's the way these auditions go, and we have to pass‟ are given to the one auditionee, Chelsea

Marquardt who sings so horribly in the audition. Both comments are given by the female judges, Kara and Paula respectively, after the male judges insulting

Chelsea by giving rude comments that Chelsea‟s voice is like the voice of a cat which jumping off the Empire State building and the siren that comes after the cat hit the floor. Through their comments, Kara and Paula express their feeling of regretful that the contestant cannot go to Hollywood using more polite form than just simply saying „you‟re not good singer‟ or „we have to pass‟. It is clear that both Kara and Paula consider Chelsea‟s feeling after being insulted by Simon and

Randy and because of that, they try to give more polite and positive comments to

Chelsea. The comments are basically in the same pattern; both are started with encouraging and positive statement about the contestant („pretty‟ and „beautiful‟) and both are ended with the fact that the judges have to eliminate the contestant

(„you‟re not good singer‟ and „we have to pass‟). Kara‟s „positive‟ also implies that the „pretty‟ and „beautiful‟ are not merely compliments for Chelsea‟s physical appearance; rather, it implies that Chelsea has asset that she herself can use to do something positive for her life instead of being a singer because she does not have the skill at all. By firstly states the encouraging statement (complimenting), Kara

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and Paula lessen the effect of the FTA or face threatening acts in this case the rejection toward Chelsea.

Next is (18) „You‟re probably just like a cool bar singer, you know? You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me‟. Randy gives this comment to the contestant, Matt Bridesky who used to be a bar singer. Randy is being polite by using hedges „probably‟ and

„I‟m not sure‟ to mitigate the effect of his intention. A rather strong version of this sentence is, for example, „Your voice (or ability) is right only for you to be a club singer but not for this competition‟. In this case Randy is trying to lessen the possible threat that might attack the face of his listener.

In (20) „You‟re just honey, you're not gonna make it in this competition‟

Kara is being polite in the way that she does not say „no‟ directly to the contestant at the time of voting. Kara‟s statement implies that if the contestant, Andrew, go to Hollywood, he will not succeed there because of his lack of ability. Kara‟s

„honey‟ also affects her comment in the way that the use of kind words can make the listener (Andrew) feels that the speaker (Kara) does not dislike him. It then minimizes the effect or threat of Kara‟s judgment.

In (22), „I think you would do a lot of things very well, but not singing. I mean that in a compliment-- in a complimentary way‟ Simon is giving his ideas on Tatiana Del Toro‟s performance in a polite way. From the comment, it can be inferred that according to Simon, singing is not good or suitable for Tatiana.

However, Simon gives his comments indirectly by first give compliment to

Tatiana‟s talents. This is again will lessen the effect of face threatening act toward

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the hearer. The effect will be different if the comment is given in a direct way such as „You cannot sing, I think‟ or „You are a terrible singer‟; it will attack the face of the hearer.

Sentence (25) „You‟re a nice guy, but you're not gonna win this‟ is Simon‟s comment for Jesus Valenzuela who actually not a bad singer according to other judges. This comment is basically has the same pattern with the previous comment given by Simon to Tatiana Del Toro; both are started by statement of complimenting the contestant‟s good side, followed by the statement of facts that

American Idol is not the right place for the auditionees considering their skills.

Again, the use of compliments can moderate the effect of the facts. The result is that the listener might not get hurt as bad as if the comment is given directly.

Paula gives (31) „Sorry, George. You seem like a lovely person‟ to George

Ramirez who sings badly in the audition. By first saying sorry to George, Paula indirectly tells George that it is a no for him; the judges have to eliminate him based on his performance. Through this comment Paula also employs compliment to mitigate the effect of the judges‟ rejection of George. The phrase „lovely person‟ is the compliment of George‟s personality and it is used to hearten George feeling.

In (32) „I think, Michael, you're quite interesting, but your voice isn‟t‟

Simon is being polite in saying that the contestant‟s voice is not good or interesting. Simon‟s politeness is revealed through the use of the first clause „I think, Michael, you're quite interesting‟ which basically gives praises to the contestant. After giving praise, Simon then says the truth that Michael‟s voice is

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not as interesting as himself. The pattern of this comment is the same with the pattern of (25) and other previous comments. The judges usually give compliments or praises first before telling the fact of the contestants or their audition which are not done well.

The expressive sentence (37) „We didn't mean to hurt your feelings, honey‟ is Kara‟s statement when commenting the performance of Tara Matthews, who sings Someday I‟ll Fly Away. Before Kara gives the comment, the contestant is first being commented by Simon who hopes that the contestant will go away soon from the audition room since her performance (from the voice, outfit and the song choice) is horrendous or not good at all. Kara is basically agrees with Simon that

Tara does not deserve to be allowed to go to the next step. However Kara does not state it directly. Kara is being polite to reject the contestant in the way that rather than saying or giving comment on Tara‟s performance, Kara only says that sentence which indirectly means that the judges have to reject Tara and if the rejection hurts Tara, the judges basically did not mean it because they have to do it based on Tara‟s unqualified skill.

From the above discussion, it can be seen that indirect speech is used when the judge want to reject or eliminate the contestant but at the same time want to do it in a rather polite way so that they do not hurt the contestants‟ feelings or at least mitigate the effect of their comments that might hurt the contestants‟ feelings.

There are several ways through which politeness is achieved, (i) the use of hedges, (ii) statement of regret („sorry), (iii) giving compliments or praises, and

(iv) the use of statement with consideration of the contestants‟ feelings. It is also

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found that there is a mostly used pattern to convey politeness: there are two sides of the statement, the good sides are the compliments to the contestants, and the bad sides are the facts that the judges have to eliminate the contestants.

3. Giving Hints

According to Oxford Advance Learner‟s Dictionary, a hint is something that you say or do in an indirect way in order to show somebody what you are thinking. It is also defined as something that suggests what will happen in the future (2000: 614). Generally, people give hint by saying something indirectly to express their feeling. It is clear then that the use of indirectness is to give hint. In the case of American Idol, it is the judges who give hint to the contestants through their comments. The hints are given to indicate different things, i.e. rejection, acceptance, etc. There are 35 indirect sentences in the comments of the American

Idol judges which are used to give hints. Those comments will be discussed based on the type of speech acts that used in the comments.

The first is assertive speech act such as comments (2) „probably top five, honest to gosh‟ which is given by Paula when commenting the performance of

Emily Whynne Hughes who sings amazingly in the audition. Rather than giving comment to Emily's performance or voice, Paula asserts her opinion about

Emily‟s success in American Idol, considering her skills shown in the audition.

The word „probably‟ indicates that Paula is making prediction through her comment. The phrase „top five‟ indicates that Paula predicts that Emily will do well in the competition, and even can reach the top five position, based on her outstanding performance and skill shown in the audition. The last phrase „honest

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to gosh‟ which is derived from the phrase „honest to God‟, shows that Paula is telling the truth of her thinking or feeling about the contestant. By saying (2),

Paula is giving hint about Emily‟s performance and voice that her performance or voice is exceptional and because of that, she can do well in the competition and even reach the top five.

The next assertive sentence is (4) „And I don't think you've got star quality.

And I don't think you ever will‟ which is a comment from Simon to the contestant,

Randy Madden who wants to be a rock-star because he confidently thinks that he is a rock-star in a box that need to be opened. However, Simon thinks that

Randy‟s performance is very wimpy and Randy himself is like a drama queen because he suddenly burst into tears when Simon seems to dislike him or his performance. That is why Simon says that Randy does not have a star quality because of his wimpy and drama-queen characters. Simon gives hint to Randy that American Idol is not the right place for him because he will never be a star

(rock-star) since he does not have a star quality.

Table 4.2.3 Comments which Function to Give Hint No Data Judges Comments 1. 1 Kara I've never seen anything like that in a not-so-good way. 2. 2 Paula Probably top five, honest to gosh. 3. 3 Paula The competition would sorely miss you if you weren't in it. 4. 4 Simon And I don't think you've got star quality. And I don't think you ever will. 5. 6 Paula But it's...you know what, I think you should be in a band, I really do. 6. 7 Simon Michael, I genuinely couldn't understand a word of that. (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously. 7. 8 Simon Michael, five years wouldn't make any difference. 8. 9 Kara I...I...I was speechless. 9. 11 Paula You really gotta work on your voice.

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Table 4.2.3 Function: Giving Hint (Cont‟d) 10. 12 Simon I'll tell you what it sounded like. It sounded like a cat jumping off the Empire State building, and the noise it would make before it hit the floor. If that makes sense. 11. 15 Kara I want to see what you can bring to the show. 12. 16 Kara I see a package here. 13. 17 Paula Um, I would love to give you another chance. 14. 19 Simon Can I just say no to all three of you? 15. 21 Paula When people sing Michael, it usually is a disaster. And this was definitely not a disaster. 16. 23 Kara I...I don't think she has the...the vocals, but I like her vibe. 17. 24 Paula It just wasn't a good choice. 18. 27 Simon Aquila, we've done the entire album. 19. 28 Simon You can‟t sing those big songs 20. 29 Simon Good, that's the direction I want you to take. Right, then right. (to the door). 21. 33 Simon I think you would struggle within the parameters of this competition. 22. 34 Simon Okay, then you gotta get a job like anybody else has done, and in your spare time, you put a band together. 23. 35 Paula I'm glad you sang bubbly. 24. 38 Simon You're never ever, in a million billion years, gonna win a show like this. 25. 39 Simon Well, you managed the worst song so far. 26. 40 Kara There is…there's something very genuine about him. He's got a nice face. There is something I like about you. There's something there. 27. 41 Simon Um, did you actually deliver the resignation letter? (Yes, I did.) I think you may need to retract it, Adeola, based on that performance. 28. 42 Paula It's not your thing, honey. 29. 43 Randy Adeola, we've got mad love for you, man, but singing is not your skeeze, dude, I'm telling you. Trust us. 30. 44 Kara You have to keep your day job. I'm sorry to tell you that. I'm sorry, Adeola. 31. 46 Simon Well, that's the end of the relationship, isn't it? 32. 47 Simon Jessika, I can swim, but I'm not going to win ten Olympic medals at the Olympic games. 33. 48 Simon Okay. Can we have another song? 34. 49 Simon Would it have been better for you and your voice to have chosen someone more within your range? 35. 50 Simon But I'm gonna give you another shot.

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Comment (7) „Michael, I genuinely couldn't understand a word of that. (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously.‟ is also an assertive sentence which is used to give hint to the auditionee. Through this comment, Simon is giving hint to George Ramirez that George‟s audition is extremely bad; too bad that Simon cannot understand even any single word of the song which is in

English.

The next assertive sentence functions at giving hint is (21) „When people sing Michael, it usually is a disaster. And this was definitely not a disaster.‟ Paula gives this comment when commenting the performance of Asa Barnes who confidently sings in the audition. By stating (21), Paula is giving hint to Asa by comparing Asa‟s performance to other contestants‟ who sing the same song. Paula describes other contestants‟ performance as disaster while Asa‟s as not a disaster when singing the song of Michael Jackson. It means that Asa‟s performance is outstanding.

Comment (28) „You can't sing those big songs.‟ is Simon‟s comment to

Dana Murano who awfully sings the great song of Chaka Khan. Right after Dana finished singing the song, Simon says (28). Here, based on Dana‟s performance,

Simon is criticizing Dana‟s ideas of choosing Chaka‟s song for the audition that it is actually a bad idea. Dana has chosen song that she is not capable of singing in good way. If Dana wants to convince the judges, it is better for her to choose song that matches her voice or her ability. By criticizing Simon gives hint to Dana that her performance is basically not going very well regarding her song choice.

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Sentence (33) „I think you would struggle within the parameters of this competition‟ is Simon‟s comment to Michael Perelli who sings nervously since he is not allowed to sing by playing his guitar. Nervousness adds the weakness of

Michael‟s performance. Rather than give direct comment on Michael‟s audition,

Simon states (33) which basically gives hint to Michael. By saying that if Michael goes to the next round he will struggle within the parameter, it means that there is a lack of Michael‟s skill and performance shown at the audition; the audition might be not good or convincing enough to make him one of the contestants of the show for the next round.

When commenting the performance of Rich Kagel, Simon asserts (38)

„You‟re never ever, in a million billion years, gonna win a show like this‟, which literally means that Rich will never win any singing competition even in a million billion years. Indirectly, through the sentence, Simon wants to say that Rich‟s performance and voice are not good at all or even shockingly bad so that he will never win any singing competition in million billion years. By using hyperbole, or using language in an excessive way, Simon wants to give hints that Rich will not succeed in the audition, not only in 2009 but also in many years in the future based on his horrendous performance on the audition.

The last assertive sentence is (47) „Jessika, I can swim, but I'm not going to win ten Olympic medals at the Olympic Games‟. This sentence is stated by Simon when commenting the performance of Jessika Byer who is really confident of her experiences and winning on some singing competition out of 700. Based on

Jessika‟s performance, Simon questions how Jessika can win those competitions.

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By saying (47) Simon is giving hint to Jessika that she will be eliminated.

According to Simon, one may be able to swim but it is just not enough to win a swimming competition. It is also the case in singing competition. Jessika can sing, but it is not enough for her to win or even to be accepted in American Idol.

The second speech act is the declarative one. As discussed in the section of the type of speech act employed in the indirect comments given by American Idol

Judges, it is stated that this type of speech act is found in the indirect comments given at the time of voting. The judges many times do not give direct answer whether it is a yes or a no for a particular contestant; rather, they give another answer to give hint about their thought or decision, whether they say a yes or a no.

The first declarative sentence is (3) „The competition would sorely miss you if you weren't in it‟ Paula Abdul gives this comment at the time the judges have to vote for Emily Whynne-Hughes. Instead of saying „yes‟, as what Simon Cowell and Randy Jackson do, Paula says „The competition would sorely miss you if you weren't in it‟. In this way, Paula gives an indirect answer to the contestant‟s performance. Her answer functions at giving hint to the contestant that she is going through to Hollywood based on her good performance. American Idol would miss the contestant if she were not in it. Therefore she is accepted. Paula

Abdul gives her vote by using conditional sentence.

The second is (6) „But it's...you know what, I think you should be in a band,

I really do‟ which is also given by Paula at that time the judges have to vote whether Randy Madden will go through the next round or not. Rather than saying yes or no, Paula states (6) which indirectly means a no. By saying that it is better

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for Randy to be in a band, Paula gives hint that it is not good for Randy to be in

American Idol.

Kara gives comment (9) „I...I...I was speechless.‟ to Aundre Caraway who sings terribly in the audition. Kara is shocked watching Aundre‟s bad performance so she cannot say anything other than (9) to express her feeling. By saying (9),

Kara gives a hint that Aundre performance is too bad and because of that, Kara cannot even give a yes or a no to Aundre because she is speechless. Further it gives hint that it is a no for Aundre.

Through (17) „Um, I would love to give you another chance.‟ Paula gives hint to Casey Carlson that it is a yes for Casey to go to the next round. Although

Paula does not state directly that it is a yes for Casey, the meaning of her comment tells Paula‟s intention. The word „chance‟ is the key to the indirectness that Paula likes to give opportunity for Casey to prove herself as a singer and that opportunity refers to the next round after the audition.

Kara is also being indirect when she wants to give a yes for Tatiana Del

Toro. Rather than giving a yes or a no, Kara states (23) „I...I don't think she has the...the vocals, but I like her vibe.‟ The comment shows that there is a part of

Tatiana that Kara likes and she might love to see more of it. This comment gives hint that Kara is basically wants to say yes for Tatiana.

The next is (43) „Adeola, we've got mad love for you, man, but singing is not your skeeze, dude, I'm telling you. Trust us.‟ Randy gives this comment when voting for Adeola Adigulke who sings terribly at the audition. By telling that singing is not Adeola‟s ability and asks Adeola to believe the judges that Adeola

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is in fact cannot sing, Randy is giving hint that it is a no for Adeola; she is eliminated or will not go to the next round considering her skill and performance shown at the audition.

Another declarative sentence is (44) „You have to keep your day job. I'm sorry to tell you that. I'm sorry, Adeola.‟ which is given by Kara to the same person, Adeola Adigulke. Since Adeola‟ skill and performance shown in the audition is far from good, Kara gives advice of what Adeola should do other than in American Idol. Kara advises Adeola that it is better for her to go back to her job which was given up for American Idol one day before the audition. By giving advice, Kara gives hint to Adeola that it is a no for Adeola; she is not going to the next round.

The third types of speech act is directive speech act, through which people usually gives order, command, or advice to other people. By giving order, command, or advice, the judges give hint to the contestants whether their performances or voices are good or not, or whether they are able to go the next round or not. The first directive comment functions at giving hint is (8) „Michael, five years wouldn't make any difference.‟ Through this comment, Simon is giving hint to the contestant who asks for a second audition after 5 minutes. By saying this, Simon gives hints that the contestant‟s performance is not good at all and that he (Simon) does not want the contestant to have a double audition because not only in 5 minutes, but even in 5 years the contestant will not be able to sing any better. The comment indirectly says that the contestant fails in the audition.

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The second is (11) „You really gotta work on your voice.‟ Paula gives this comment when commenting the performance of Lea Marie Golde whose voice seems to be not fully developed yet. This sentence is a directive that Paula is giving her advice to Lea to have more singing practice to develop her voice.

However, by saying this sentence, Paula gives hint that Lea will not go through the next round because her voice has not fully developed yet. Paula is indirectly saying that Lea does not succeed in the audition.

The sentence (27) „(Aquila: Well, can I try it one more time, please?)

Aquila, we've done the entire album.‟ is a comment given by Simon Cowell to

Aquila Eskew-Gholston who sings her own songs. Aquila is a woman who thinks that to be a good singer, one should has good knowledge on the body system, especially on how to employ one‟s parts of body to produce good voice and to sing well. Her performance is not good and then she asks to sing another original song. However, Simon Cowell does not want Aquila does that. Simon, rather than saying “don‟t (do that)”, saying “we've done the entire album,” which actually give hint that Simon does not want to hear Aquila sing anymore because usually, if an entire album is done, it means that all the song have been sung and there is no need to hear anymore song. Cowell gives his opinion indirectly by giving hints.

Sentence (29) „Good, that's the direction I want you to take. Right, then right‟ is Simon‟s comment to the contestant, Dana Murano who does not sing very well in the audition. Simon thinks that Dana cannot sing the big song as the one form Chaka Khan. Then Dana says „Oh, I will take as much direction as you

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guys want‟. Simon, however, replies with an answer that seems to be not expected by Dana, rather than saying or giving advice of what Dana should do. By saying

(29) Simon is indirectly leads Dana to the door to get out of the room. This comment is also a hint that Dana fails in the audition.

The last directive sentence is (41) „Um, did you actually deliver the resignation letter? (Yes, I did.) I think you may need to retract it, Adeola, based on that performance‟ Through this comment, Simon is giving hint to the contestant Adeola that she will not go to the next round. Adeola is a girl, who on the day before the audition gave the resignation letter to the office where she used to work for to pursue her dream in American Idol. By saying that Adeola has to retract the resignation letter based on her performance, Simon gives hint that

Adeola is will not go to the next round and therefore, she needs her job back.

The last type of speech act to discuss is expressive act. There is only one expressive comment used to give hint to the contestant. The comment is (21) „I'm glad you sang bubbly‟ which is expressing Paula‟s pleasure of Anne Marie

Boskovich‟s singing the song which is matching her voice. By saying that sentence, Paula is not only expressing her pleasure but also hinting that the contestant‟s performance is good supported by her brilliant choice of song. The result in the end shows that Anne is accepted to go to Hollywood for the next round.

From the discussion on the third function of indirectness in the American

Idol judges‟ comments, there are some important points that can be concluded.

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Firstly, the judges use indirectness to give hint about the contestants‟ auditions

(either good or bad) as well as about their voting for the contestant (either accepted or eliminated).

Secondly, there are several ways through which this function (giving hint) is achieved, (i) giving advice or order, (ii) the use of conditional if, (iii) using words such as „chance‟ or „shot‟ which indicates opportunity in the next round

(especially to say yes), (iv) hyperbole, (v) the use of comparison, (vi) making prediction, (vii) criticizing, and (viii) compliment/likes – fact patter or vice versa.

C. Factors Affecting the Use of Indirectness

Based on the analysis of the data, it is found that there are three major factors that affect the use of indirectness in the American Idol judges‟ comments.

The factors are politeness, power relation, and gender. Each of these factors will be discussed below.

1. Politeness

As the result of most studies on the same topic, indirectness, shows that the use of indirectness is as a politeness strategy, this study also shows the same fact that the judges use indirectness to be polite toward the contestant. Politeness is basically cultural-based phenomenon in various cultures in the world and people are being polite because of this cultural reason. The American Idol judges, as well as other people in the world, are being polite because they want to save other‟s face or public image; they do not want to hurt other interactants‟ feeling of being imposed on or forced down. This is usually done when people want to do

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something that basically against the will or face want of the hearer, for example when a speaker wants to reject a request. In brief, politeness is one of the factors that affect the use of indirectness in the judges‟ comments especially when they have to reject the contestant or give bad comments about the performance.

Following are nineteen comments that reveal this factor.

Table 4.3.1 Comments with Politeness as the main Factor No Data Judges Comments 1. 1 Kara I've never seen anything like that in a not-so-good way. 2. 5 Paula You know what, I do appreciate your story, and I know that this is hard for you. 3. 6 Paula But it's...you know what, I think you should be in a band, I really do. 4. 9 Kara I...I...I was speechless. 5. 11 Paula You really gotta work on your voice. 6. 13 Kara Here's a positive. You're a pretty girl. You are not a good singer, sweetie. I am so sorry. 7. 14 Paula You are beautiful, and I'm sorry that you had to hear some stuff that was harsh, but it's the way these auditions go, and we have to pass. 8. 18 Randy You're probably just like a cool bar singer, you know? You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me. 9. 20 Kara You're just honey, you're not gonna make it in this competition. 10. 22 Simon I think you would do a lot of things very well, but not singing. 11. 24 Paula It just wasn't a good choice. 12. 25 Simon You're a nice guy, but you're not gonna win this. 13. 31 Paula Sorry, George. You seem like a lovely person. 14. 32 Simon I think, Michael, you're quite interesting, but your voice isn‟t. 15. 37 Kara We didn't mean to hurt your feelings, honey. 16. 42 Paula It's not your thing, honey. 17. 43 Randy Adeola, we've got mad love for you, man, but singing is not your skeeze, dude, I'm telling you. Trust us. 18. 44 Kara You have to keep your day job. I'm sorry to tell you that. I'm sorry, Adeola. 19. 49 Simon Would it have been better for you and your voice to have chosen someone more within your range?

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Politeness is basically related to „face‟, „face wants‟, and also FTA (face threatening act) and FSA (face saving act) (see chapter II). In this study, the term

„face‟ is related to the wants of the contestants of the audition to be accepted by the judges. The FTA will be done when the judges say something or give comments that might threat the contestant‟s wants, for example, eliminate the contestant directly. However, this study finds that in several circumstances, the judges do not do the FTA. Instead, they do the FSA by saying or giving comments that might lessen the possible threat. The most typical pattern of doing the FSA is by saying or stating something positive which then followed by something negative. Those sentences have the same pattern; the judges state something that can make the contestant happy and then state the fact. This method will lessen the possible threat, for example that the contestant might get hurt because they do not succeed in the audition.

For example sentence (13) „Here's a positive. You're a pretty girl. You are not a good singer, sweetie. I am so sorry.‟ which is given by Kara to the Chelsea

Marquardt. The pattern of this comment is, as stated above, giving compliments or praises, followed by the statement of facts that the judges have to eliminate the contestant. The comment is started with encouraging and positive statement about the contestant („pretty‟) and is ended with the fact that the judges have to eliminate the contestant („you‟re not good singer‟). The word „positive‟ also implies that the „pretty‟ is not simply compliments for Chelsea‟s physical look; rather, it implies that Chelsea has quality that she herself can use to do something positive for her life instead of being a singer because she does not have the skill at

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all. By firstly states the encouraging statement (complimenting), Kara lessen the degree of FTA or face threatening acts in this case the rejection toward Chelsea.

Other comments of the same pattern are (14) „You are beautiful, and I'm sorry that you had to hear some stuff that was harsh, but it's the way these auditions go, and we have to pass.‟ (22) „I think you would do a lot of things very well, but not singing.‟ (25) „You're a nice guy, but you're not gonna win this.‟ and

(32) „I think, Michael, you're quite interesting, but your voice isn‟t.‟

Another method to lessen the degree of FTA for politeness reason is by giving statements with the consideration of the listeners‟ feelings. For example sentence (5) „You know what, I do appreciate your story, and I know that this is hard for you.‟ Paula gives this comment to Randy Madden at the time of voting.

Here, Paula does not say no directly to Randy, but gives statement which shows that Paula is commiserating Randy‟s condition, that Paula understands how it feels to be in Randy‟s position.

Sentence (20) „You‟re just honey, you're not gonna make it in this competition.‟ is Kara comments at time of voting in the audition of Andrew Lang.

Kara is being polite in the way that she does not directly say no to Andrew. The comment implies that Andrew will not succeed if he goes to Hollywood because of his lack of ability. The word „honey‟ also affects Kara‟s comment in the way that the use of kind and tender words can make the listener (Andrew) feels that the speaker (Kara) does not dislike him. It minimizes the effect or threat of Kara‟s judgment.

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Comment (31) „Sorry, George. You seem like a lovely person.‟ is also an indirect „no‟ for the contestant, George Ramirez. The phrase „sorry, George.‟ indicates Paula‟s indirection to say no for George because the judges have to eliminate him based on his terrible performance. The last sentence is a compliment for George personality. This compliment, as have been stated before, can mitigate the degree of FTA, which is the judges‟ rejection of George.

Sentence (37) „We didn't mean to hurt your feelings, honey.‟ is another way of apologizing or saying sorry to someone. This statement of regret implies that the judges have to reject Tara and if the rejection hurts Tara, the judges basically did not mean it because they have to do it based on Tara‟s incompetent skill.

Before Kara says (37), Simon has given a rather offensive comment about Tara‟s performance. Simon‟s comment clearly hurts Tara‟s feeling. By saying (37), Kara wants Tara understands that it is truly a matter of skill that the judges have to eliminate her.

The last method to that the judges employ is the use of hedges as in (18)

„You‟re probably just like a cool bar singer, you know? You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me.‟ where Randy‟s „probably‟ and „I‟m not sure‟ are used to lessen the effect to the intended meaning of the sentence. The sentence might be an FTA if it is said without hedging, such as „I think it is not right for this (American idol)‟. In this case Randy is trying to lessen the possible threat that might attack the face of his listener.

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Also for politeness reason, the judges give comment indirectly through the use of hinting, especially when they are commenting or voting for the contestants with bad audition. As have been explained in the previous part on the discussion of giving hint as one of the functions of indirectness in American Idol judges‟ comments, there are some strategies used to give hint. The first is by giving advice or order such as in (6) „But it's...you know what, I think you should be in a band, I really do.‟ (11) „You really gotta work on your voice.‟ (44) „You have to keep your day job. I'm sorry to tell you that. I'm sorry, Adeola.‟ and (49) „Would it have been better for you and your voice to have chosen someone more within your range?‟ In the case of (60), rather than saying no directly to Randy Madden, Paula give advice that it is better for Randy to be the lead singer of a rock band. By giving advice to Randy, Paula politely eliminates the contestants. Paula‟s answer also can be taken as a better answer than the direct refusal. Firstly, it mitigates the face loss (as the effect of FTA) on the listener; secondly, it can encourage Randy that being not accepted in American Idol is not the end of the pursuit of his dream; he can make his dream comes true through another way, being in a band.

Paula also gives polite comment to Lea Marie Golde through (11). This comment is not just a hint for Lea that her audition is not outstanding considering her voice, but it is also an advice for her to improve her skill. It is for politeness reason that Paula does not state directly, i.e. „your voice is not that good‟.

Through her advice in (11) Paula indirectly indicates the same thing.

Sentence (44) is Kara‟s comment to Adeola Adigulke which is given at the time of voting. Rather than give a direct no to Adeola, Kara gives advice of what

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Adeola should done other than in American Idol. By saying that Adeola should go back to her previous job, Kara indirectly says that Adeola is not accepted in the show. Kara‟s answer is a more polite answer than just a no because it lessen the degree of FTA on the hearer.

Comment (1) „I've never seen anything like that in a not-so-good way.‟ and

(9) „I...I...I was speechless.‟ are given by Kara to indirectly eliminate the contestants. Both are statements of Kara‟s condition; (1) Kara‟s experience that she have never seen anything like Tuan Nguyen‟s audition, and (9) Kara‟s inner condition that she is shocked watching Aundre Caraway‟s bad performance so that she cannot say anything at all. By expressing her condition, Kara politely eliminates the contestants. A more impolite one could be a direct no or other offensive comments about the auditions i.e. „it was shockingly bad‟.

There are also other strategies that the judges use when they have to eliminate the contestants indirectly, for example by giving comment to the audition, as in (24) „It just wasn't a good choice.‟ or by convincing the contestant as in (43) „Adeola, we've got mad love for you, man, but singing is not your skeeze, dude, I'm telling you. Trust us.‟

From the discussion above, it can be concluded that politeness factor plays important role in the use of indirectness in American Idol judges‟ comments. The judges use indirectness to save face or at least lessen the degree of FTA on the hearer (contestants) so as the contestants might not get hurt by the rejection for example. There are some strategies used to save face or to lessen the degree of

FTA in the case of American Idol, (i) the use the compliment - fact pattern; (ii) the

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use of kind words; (iii) giving advice; (iv) giving statement of the condition of the speaker; (v) criticizing the song choice; and (vi) convincing the listener. From the discussion, it is also can be assumed that most indirect comments given because of politeness reason are stated by the female judges (13 out of 19), Kara

Dioguardi and Paula Abdul. This finding can be a further discussion on gender as one of the factors that affects the use of indirectness.

2. Gender

As stated previously, it is found in this study that most indirect comments given because of politeness reason are stated by the female judges. This fact shows that gender does matter in the preference of indirectness in American Idol.

Gender is basically the socially constructed state of being male or female, man or woman. People are categorized first by their sex, the biologically state of every person. This sex categorization leads to the differentiation of treatment toward male and female and also determines what one should do as a male or as a female.

This differentiation is the one which then leads to the term gender. Gender is the social broadening of biological sex. Gender is built on biological sex, it broadens the biological difference and, indeed, it carries biological difference into the social domains. There is no biological reason, for example, why women should mince and men should swagger. It is because of gender that determines why people behave in that way. West and Zimmerman (1987) states that gender is not something we are born with, and not something we have, but something we do

(Eckert & McConnell-Ginet, 2003: 10). However, gendered performances are

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available to everyone (i.e. women can do swagger), but with them come restrictions or limitations on who can perform which role with impunity.

This discussion on gender is also related to the factor that affects the use of indirectness in American Idol judges‟ comments. There are four judges in the 8th season of American Idol; two male judges, Randy Jackson and Simon Cowell, and two female judges, Kara Dioguardi and Paula Abdul. As stated before, most comments that reveal politeness reason are stated by women or the female judges.

This fact shows that this study also finds similar result as the previous study on gender did. Women use indirection or indirectness to prevent hurt feelings on the hearer side because women pay attention more on caring about other‟s feelings and maintaining politeness norms. Based on the percentage, number of comments given by female judges for politeness reason is higher than those given by the male judges (see Table 4.3.1 Factors: Politeness). This fact is in line with Holmes‟ finding (1995) that women tend to be more (linguistically) polite than men (Eckert

& McConnell-Ginet, 2003: 136).

This finding does not suggest that the male judges do not use indirectness because of politeness factor; they in fact use indirectness for that reason but in a lower percentage than the female judges do. This study also finds that the percentage of using indirectness in giving comment is equal between the male and female judges. However, the difference lies on the fact that they use indirectness for a totally different reason. As for the female judges the politeness and gender factor (as a woman) affect their use of indirectness, for the male judges it is the gender (as a man) and power factor that matter. The latter factor will be analyzed

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on the following section as the third factor that affect the use of indirectness in

American Idol judges‟ comments.

3. Power Relation

Indirectness, in opposite to the previous discussion on politeness, is also used to convey meaning which are threatening or could threaten the addressee‟s face. Although the judges used indirect strategy, the comments still convey the non-polite meanings rather than the polite one. This can be seen in the discussion of the function of indirectness as to convey irony which further seen as the act of being rudeness. The factor that affects the judges in being rude toward the contestant is the same with the factor that affect impolite action employed or done by particular speaker.

As it is stated in the theoretical review, there is and can be no interaction without power; secondly, and more pertinently, impoliteness is an exercise of power as it has effect on hearer in that it alters the future action-environment of hearer (Loucher and Bousfield, 2008: 8). A speaker has power over another or the hearer if and only if the speaker strategically constrains or limits the hearer‟s action-environment.

The theory above shows one of the factors that could affect the use of indirectness is power relationship. The judges are those who have been working in the music business for years while the contestants on the contrary are those who have little or have no experience on the field. As it can be seen from the data, there are indirect speech acts which are used to convey non-polite sense or rudeness. The data that can be taken as examples are those discussed in the

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section of function of indirectness as to convey irony. The table is also presented in this part.

Table 4.2.1 Comments with Ironic Function No Data Judges Comments 1. 10 Simon Okay. All right, I just wondered if you turned up on the right show or not. 2. 26 Kara Have you ever sung? 3. 30 Simon George, have you ever done this before? Auditioned, or sang in public? 4. 36 Simon Yeah, hopefully soon. 5. 45 Simon So do we.

Most of the rude comments are given by Simon Cowell, who is well known of his critical and ironic comments and judgments. Although it is rather subjective judgment, but the fact that not only contestants but also viewers of the show became angry with him, prove that the judgment is not wrong. The possible explanation of why Cowell does it is that he might feel that he had the power over the contestants since he has countless experience on the show business. The same explanation could also explain other judges reason in doing that. Being in the superior position give chance to the judges or everyone else to be impolite, rude or giving non-polite judgment. This assumption has been proved through the study of power relation in master-servant relationship in which it is found that a master usually can use impolite or rude strategy while the servant should use the polite one when talk to the master.

There are also other comments which represent the idea of power as well as gender as the factors that affect of the use of indirectness, such as those which function to give hint to the contestants. Surprisingly or not, all the comments on are stated by Simon (not because Randy is not as offensive as Simon but because

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in this study, it is found that Randy does not use indirectness as much as other judges do). Men, as opposite to women, is said to be more direct than women and using more non polite or more offensive expressions toward others. In the case of

American Idol, the same fact also appears that men, in this case Simon, use indirectness to be offensive toward others, deliberately or not.

Table 4.3.2 Comment with Power as the main Factor No Data Judges Comments 1. 4 Simon And I don't think you've got star quality. And I don't think you ever will. 2. 7 Simon Michael, I genuinely couldn't understand a word of that. (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously. 3. 8 Simon Michael, five years wouldn't make any difference. 4. 12 Simon I'll tell you what it sounded like. It sounded like a cat jumping off the Empire State building, and the noise it would make before it hit the floor. If that makes sense. 5. 19 Simon Can I just say no to all three of you? 6. 27 Simon Aquila, we've done the entire album. 7. 28 Simon You can't sing those big songs. 8. 29 Simon Good, that's the direction I want you to take. Right, then right. (to the door). 9. 33 Simon I think you would struggle within the parameters of this competition. 10. 34 Simon Okay, then you gotta get a job like anybody else has done, and in your spare time, you put a band together. 11. 38 Simon You're never ever, in a million billion years, gonna win a show like this. 12. 39 Simon Well, you managed the worst song so far. 13. 41 Simon Um, did you actually deliver the resignation letter? (Yes, I did.) I think you may need to retract it, Adeola, based on that performance. 14. 46 Simon Well, that's the end of the relationship, isn't it? 15. 47 Simon Jessika, I can swim, but I'm not going to win ten Olympic medals at the Olympic games. 16. 48 Simon Okay. Can we have another song?

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The comments in the table above show that Simon‟s uses of indirectness can hurt the feeling of the contestants because it contains offensiveness or even rudeness. Take for example the comment (12) where Simon compares Chelsea‟s voice to that of a cat jumping off the Empire State building. This comment is not merely a hint for Chelsea that her voice is shockingly bad; it is an insult toward

Chelsea done by Simon. This offensive comment does hurt Chelsea‟s feeling that she cannot say anything at all after that. This example shows two important points; first, Simon does it because he is a man who does not really care about other‟s feeling; and second, Simon does it because he thinks he has power over the contestant who is absolutely inferior to him in the music business.

From the discussion on the factors that affect the use of indirectness in

American Idol judges‟ comments, it can be concluded that the three factors, politeness, gender, and power are related to each other. Politeness is related to gender in the way that the female judges give polite comments because they are women with the nature of being polite and caring about other‟s feeling. On the contrary, the male judges give less polite comments because they are the opposite of the female judges with different nature of behaviour. Gender and power are related to each other in the way that the non-polite comments stated by the male judges (Simon) are given because Simon is a man with the nature of giving less attention to other feelings and of saying less polite things to others and because

Simon is a person who has power over the contestants; he is superior in the way that he has much more experience in the business than the contestants.

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CHAPTER V

CONSLUSION

After having the analysis of the indirectness in the American Idol judges‟ comments, there are some conclusions that can be inferred. First, by applying the speech act theory, it is found that there are 4 types of speech act employed in the indirect comments. They are assertive, declarative, directive, and expressive. The use of speech act shows that when giving comments to the contestants, the judges are not only making statement and asking questions. Their comments cannot be simply categorized into the English sentence types, such as declarative, interrogative, and imperative. Through their comments, however, the judges are doing something, for example, giving their opinion through asserting, giving commands and advices, and also expressing their feelings.

There are several different strategies done to achieve the indirectness in the comments. For the assertive speech act, the strategies are (i) the use of questions which express the doubt of the judges; (ii) the use of certain important words related to the show, i.e. star or top five; (iii) the use of comparison; (iv) the use of hedging; and (v) the use of statement related to the contestants‟ condition or judges‟ condition.

For the declarative speech act, the indirectness is achieved through (i) expressing the judge likes or dislikes of the auditioner, (ii) giving advice, (iii) the use of conditional if, (iv) using words such as „chance‟ or „shot‟ which indicates opportunity in the next round (especially to say yes), (v) stating the judges opinion

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about what the auditioners have done, and (vi) expressing sorry (especially to say no).

The indirectness in the directive speech act is achieved through (i) the use of hyperbole or overstatement, (ii) the use of comparison, and (iii) the use question.

Finally, the strategies used to achieve indirectness in expressive speech act are (i) by using the special structure of sentence or comment which consists of two parts, the compliment or good side and the fact side or the bad side; (ii) by using words to express „sorry‟ (usually to say a no), etc.

Through this study, it is also found that there are 3 functions of the use of indirectness in the comments of the judges. The functions are (i) being ironic, (ii) politeness or being polite, and (iii) giving hints. The first function is done by stating something but meaning the opposite. As irony is the second principle in the Politeness Principle, the discussion about irony is also being related to politeness. By using irony, a speaker is basically using polite expression when he/she wants to say something impolite or offensive. The data shows that the judges use irony to convey, deliberately or not, an offensive attitude toward the contestants, i.e. to insult the contestants. There are two ways through which irony is achieved, (i) the use of questions; and (ii) the use of sentences that have relation to the title of the song.

The second function is done through the use of typical pattern found in this study, that is by stating positive followed by the truth which is usually negative

(compliments – facts pattern). The judges perform politeness through the use of indirectness especially when they have to eliminate the contestants. By doing it

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indirectly, it then lessens the possible risk, i.e. the contestant get angry of being eliminated. There are several ways through which politeness is achieved, (i) the use of hedges, (ii) statement of regret („sorry), (iii) giving compliments or praises,

(compliments – facts pattern) and (iv) the use of statement with consideration of the contestants‟ feelings.

The last function of indirectness is for giving hints. It is found that the judges use indirectness to give hint about the contestants‟ auditions (either good or bad) as well as about their voting for the contestant (either accepted or eliminated). There are several ways through which this function (giving hint) is achieved, (i) giving advice or order, (ii) the use of conditional if, (iii) using words such as „chance‟ or „shot‟ which indicates opportunity in the next round

(especially to say yes), (iv) hyperbole, (v) the use of comparison, (vi) making prediction, (vii) criticizing, etc.

This study also reveals that there are three factors that affect the use of indirectness on the comment of the judges. The factors are politeness, gender, and power relation. Basically the factors are closely related to the function of indirectness. For example, politeness factor are related to the function of being polite and giving hint. For the former, it has been clear that politeness factor affect the judges to say something in an indirect way, for example by stating the good things before eliminating the contestants. For the latter, politeness factor affect the judges to, i.e. say „no‟ in a different way. It is done to minimize the possibility that the contestants are being hurt by the judges‟ rejection.

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The power relation factor is closely related to the function of „being ironic‟.

Critical and ironic judgment, although given indirectly might still convey meaning which are threatening to the addressee‟s face. The judges then are being rude to the contestants since they do the FTA. Power, in this case, is seen as the strength of the judges in giving such bad or rude comments. The judges have the power over the contestant because they have more experiences in the show business than the contestants. Deliberately or not, the judges show their power or show that they have power through their comments.

This study also revealed that the three factors are interrelated. Politeness is related to gender in the way that the female judges give polite comments because they are women with the nature of being polite and caring about other‟s feeling.

Gender and power are related to each other in the way that the non-polite comments stated by the male judges (Simon) are given because it is the nature of a man that he gives less attention to other feelings and says less polite things to others and because Simon is a person who has power over the contestants; he is superior in the way that he has much more experience in the business than the contestants.

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NO CONTESTANT DATA JUDGE COMMENTS 1. Tuan Nguyen (singing: The Way You Make Me Feel by Michael

Jackson) Randy I must say it was definitely entertaining. And the afro picked out is crazy, dude. Wow! I mean, I wasn't like, you know... I don't know if there was...okay, whatever. Uh, yeah, yeah. Thank you. Uh, it was wild, dude. You're definitely wild. Simon Say yes or no. (Voting) Randy Oh, no, definitely no. Kara Honey, that...that was...that was... I've never seen anything like that in a not-so-good way. 1 Paula I'm gonna have to pass. Simon Are you disappointed? Okay.

No, are you disappointed? (I'm very disappointed.) Are you...are you surprised? (failed) 2. Emily Whynne Hughes (singing: Barracuda by Heart) Simon Very good. Very, very difficult song to sing, that. Really hard. I mean really, really, really hard. You're different; I like you. Paula Probably top five, honest to gosh. 2 I think you're gonna do well in this competition. Simon You certainly stand out, Emily. Kara You seem serious. You seem like someone who... Randy The band hate that you're here, though?

All right, let's take a vote. (Voting) Simon Uh, yes. Randy 100,000,000% yes. Paula The competition would sorely miss you if you weren't in 3 it. Kara Four yeses! (Emily succeed) 3. Randy Madden (singing: Livin' On A Prayer by Bon Jovi) Simon Um, I thought it was very wimpy. [Paula: Wimpy?] (Wimpy) I expected more than that. (Well, I mean, I can kinda go...singing)

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I...look, Randy, I ju...again, very clichéd everything, you know? ....you are coming over a Drama queen....I mean, really. And I don't think you've got star quality. And I don't 4 think you ever will. (I...my voice, and what I feel inside of my heart, is what I wanna project to the audience. And I want them - ) But randy, you wanna be a rock star, but you're not gonna be a rock star. You can't walk in here with the tattoos and the bandanna, And say that I am a rock star. Paula Well, not only that. What Simon‟s saying is that some of the greatest experiences come from the blood, sweat, and tears that you have with the camaraderie with your band. And, when you do get that band going, and you have those experiences... Simon How do you think straight up was written? Paula When you do have that band, and you are touring, that's

where you cultivate your raft as a lead singer. Simon Okay, enough with the lectures. Kara I wanna say one thing. [Randy: Go ahead, go ahead, go ahead.] Honestly, I understand your point that this is your last shot, but at the same time, to get to be big in this industry...it takes a lot of hard work. And you haven't put that hard work in to be here today. And that's what I think we're all trying to say. Simon All right, okay, we've made the point.

Randy, yes or no? (Voting) Randy No. Simon Kara? Kara I have to agree with randy, sweetie, no. Simon Paula? Don't need anything else, just a yes or a no. Paula Oh, shut up. You know what, I do appreciate your story, and I know 5 that this is hard for you. (Simon: Yes or no.) But it's--you know what, I think you should be in a band, 6 I really do. (Simon: Yes or no.) I'm sorry. Simon So that is a...What is that one thing to mean? Paula I don't know. Figure it out yourself. Simon It's a no. I'm sorry. Randy Thanks for turning out, though, dawg.

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(Randy failed). 4. Michael Gurr (singing: Starts With Good Bye by Carrie Underwood) Simon Michael, I genuinely couldn't understand a word of that. 7 (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously. Paula And what's weird is I'm agreeing with you.

I couldn't understand it either. Not a word. Simon It was like you're in pain or something. Kara He's (Randy) having a problem. (Randy is laughing) Simon (Can I come back in five minutes or some...) Michael, five years wouldn't make any difference. 8 You're a nice guy, Michael. Paula What's the other song you were gonna sing?

(It was by Kara Dioguardi.) singing Kara Please, Randy, this is my moment. – (Randy: It's

beautiful.) Simon This isn't working is it, Michael? (No, it's not. No.)

Shall we just leave it? (Yeah) Michael failed. 5. Aundre Caraway a.k.a X-Ray (singing Cactus Baby) Simon Thank you, cactus whatever your name is.

(Still singing) Okay, Randy, yes or no? (Voting) Randy Dawg, I don't even know what to say, man. But I'm definitely going to say no, but, man, that was wild. Man, that was wild, buck wild. Simon Okay, Kara? Kara I...I...I was speechless. 9 Simon Paula? Paula I'm gonna have to pass. Simon So, it's a no. (What?) What do you mean “what?” (Yeah. Come on, all right. singing)

Aundre, Aundre, Aundre, this is gonna become tiresome now. I mean, seriously tiresome.

Aundre failed and went out the room after the guard asked him to.

6. Elijah Scarlet (singing: My First, My Last, My Everything)

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Simon Can I ask you a question? (Yes.) Have you ever seen this show? (Yes, I've seen it.) You've heard it? (Yeah.) All right. And you are aware of what-- What the purpose of the show is? (Yeah, I'm aware.) Okay. All right, I just wondered if you turned up on the right 10 show or not. I mean, that was like something out of a horror movie, Elijah. I mean, seriously, I've never, ever, ever heard anything like that. Paula You just gave me an idea. You could do voiceover work. Yeah, yes, yes. Like, for, you know, movies that have

monsters in them. God, you guys... Simon Well, that's great news from Paula Elijah failed. 7. Lea Marie Golde (singing: Every Time We Touch by Cascada) Simon Okay. Paula. Paula I love the fact that you came in here with all of your songs and that you're a fan of Kara‟s and that you're a singer-songwriter. I do. I love that. Simon I know you love that. Randy Yes, she does. She loves that. Paula You wanna know something? 'Cause it's something great to aspire to be, okay? Here's the truth though. You really gotta work on your voice. 11 Randy I don't think you're quite ready for this yet. Simon I thought it was a terrible audition. I mean, really annoying.

Um... to the point I actually couldn't hear anymore. Um, so, for me, I didn't like it at all. Kara Thing is, honey, you sound almost like you're in a musical. [Randy: Yeah, high school musical.] And it was very baby up here. And I'm not even sure your voice is fully developed. But what I do like about you is anybody who sits and writes this amount of stuff is somebody who's committed to something. And you should go ahead. I don't know what you are as a writer, but I think that says a lot for someone at 16. Simon Well, I think you should listen to all hundred songs, Kara. Kara Well, Simon, I may just do that. (Can I just say

something? (and so on)) (Voting)

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Simon Okay, right. I'm gonna say no. Randy Okay. Paula? Paula I wanna say yes. I really do. But I think you really need to work. (Please? I'm shaking in my boots here.) Randy Okay, well, I guess your fate now rests with Kara, who you've admired for years and years and years. So, Kara, what did you say? Kara Sweetie, the reality is you're not at that level. I have to

say no. Lea failed. 8. Chelsea Marquardt (singing: ) Paula Got another song? Simon No Randy No, no, no. Simon I'll tell you what it sounded like. It sounded like a cat jumping off the Empire State 12 building, and the noise it would make before it hit the floor. If that makes sense. Randy And then... Kara You are so cruel. Randy And wait a minute. Then as it hit the floor, there's a

siren...(Randy made the sound of the siren). Paula All right, guys. Stop it now.... Kara You guys...are really, really being bad. Paula Chelsea, this is the... Simon Does that help? Paula No, it doesn't help. Kara That doesn't help anybody. Paula Chelsea, take something that's positive in that can help

you and do this to him and that to him. Okay? Simon So can I just play devil's advocate just for a second Randy Yeah, just a second. Simon All right, what positive things does she take out of this

audition? Paula Well, she hasn't been able to hear anything from Kara or

myself. Simon So, that's the positive? Kara Well, I wouldn't say that she was a cat coming...I mean... Randy Baby, singing's not your thing, no, no, no Kara Here's a positive. You're a pretty girl. 13 You are not a good singer, sweetie. I am so sorry. Paula You are beautiful, and I'm sorry that you had to hear 14 some stuff that was harsh, but it's the way these auditions

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go, and we have to pass.

Simon Okay, it's a no, but thank you. Chelsea failed. 9. Ashley Anderson (singing: Footsteps In The Sand by Leona Lewis

and co-written by Simon Cowell) Simon Probably the best song I've heard the entire audition

season. Randy It's a great song. It's an amazing song. Simon It's a difficult song to sing. (Voting) Randy Tough song. Beautiful song, though.

Uh, yes, yes, yes. I like this girl, yes, yes. (Thank you.) Kara Yeah, I think you have some chops. I want to see what you can bring to the show. 15 Paula Yes Simon Actually, you got four yeses.

Welcome to Hollywood! (Thank you so much!) 10. Casey Carlson (singing: A Thousand Miles by Vanessa Carlton) Simon I like you. Paula I do, too. I do, too I think you have a nice voice and, uh... Simon You've got a good vibe about you. Kara I see a package here. (Thanks) 16 Randy Paula Abdul? (Voting) Paula Um, I would love to give you another chance. 17 Randy That's a yes? Paula Yes. Simon Yeah, that was a good call. I like you.

I'm gonna say yes. Randy Kara? Kara I'm gonna say yes, too. I like you. Randy I say yes, too. Welcome to Hollywood, baby. 11. Von Smith (singing: Over The Rainbow) Kara Wow that was powerful. So randy, what do you think? Randy I thought the vocals were pretty good, man. I think you've definitely got a voice. You can definitely sing. Uh, I was impressed. (Thank you so much.) Kara Simon? Simon I like you, von. I bet your family love it when you do that. Love it.

Um, but I have to tell you, you've got a good voice, Von. (Thank you, Simon.) Very good. Kara Paula? (Voting)

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Paula I say absolutely yes. Kara Yeah, Von, I think you have a really big instrument. I really do.

And I think that you can take a lot of risks that other singers can't because you have those chops. Randy I‟m gonna say yes. This guy's definitely got a dope voice. Kara I'm gonna say yes. Simon Paula? Paula Von, you are a very interesting one.

I can't wait to see more of you. Yes. Simon Von, you've got four yeses. Randy Welcome to Hollywood, baby. 12. Matt Bridesky (singing: Ain't No Sunshine by Bill Wither) Simon All right. Thank you, matt. Randy? Randy Uh, mat Dude, I think you're probably like, a great father. You're probably just like a cool bar singer, you know? You're singing in bars and in the clubs and doing your 18 thing. I'm not sure it's right for this, man, for me. Simon Okay, Kara? Kara You know what? I don't agree with Randy on this one. I like you.

(Thank you.) Something about you I like. You know, you put a lot of heart into that. I think you have natural talent. Simon Okay, Paula? Paula Yes, you do have natural talent, and I like your v...I like the control of your vibrato. And...and it just...it's...it's a nice tone. It just is. Simon Okay, we're gonna vote. Randy, yes or no? (Voting) Randy No. Not for me. Simon Kara? Kara I'm gonna say yes. Simon Paula? Paula I say yes. Simon Matt, I have to agree... with the girls. Welcome to

Hollywood. 13. Anoup Desai (singing: Thank You by Boyz II Men) Paula Didn't expect that. Simon No, I didn't expect that. Paula I didn't expect the soulfulness to come out of you, Anoup.

(Thank you) Randy Dawg, you had some crazy vocals jumpin' off there. In

tune, had vibe. Paula Personality

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Randy Anoup-dawg is in the house. Kara I like kind of what you did with the song. You flipped it

up in your own way. It was pretty good. Simon It's all a bit geeky at the moment, though.

Huh? It's all a bit geeky. The look. Randy That's gonna change. Kara Well, we're just talking about the...vocal Randy We're talking about the vocals, man. Simon No, but it looks like you've just come out of a meeting

with, uh, Bill Gates or somebody. Randy Hey, that might be a good meeting to have, though, dawg. Simon But you know what I mean. It's all a bit, sort of, silicon,

high-tech. Girls Preppy. Yeah, he's preppy. Simon Okay, but good voice. (Voting) Randy I'm gonna say yeah, man.

Hook up the wardrobe, but yeah. Kara I'm gonna say yes, but work on the stage presence a little.

(All right.) Paula Forget the...forget the clothing thing. You're fine.

Voice was really good. I say yes. (Thank you very much) Simon So four yeses. Randy Welcome to Hollywood, dawg! 14. Andrew Lang (with two girls as cheerleaders; singing: My Girl by

The Temptations) Simon: Can I just say no to all three of you? (Girl A: No. That 19 wasn't fair.) No, Andrew, it was...Andrew, it was ok ummm, it wasn't as bad as I thought it was gonna be, but it wasn't fantastic. (Okay) Uh, didn't help, you know, having these two as your backup singers and dancers either, I don't think. Kara I really liked their little skit. Paula I liked their skit. (Girl A: You have to start at the bottom of the pyramid

and make your way to the top. There's always a way for him to go ahead and get to what you want.) Simon Have you been listening to Paula? (Girl A: No, I'm

talking about you) Paula Bring it on, girlfriend. Simon Okay, should we dispose of all this? (Voting) Randy I'm gonna say yes to Andrew.

I'm gonna give him another shot.

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Paula Ten seconds, sing something. (Okay.) (singing)

Here's the thing, Andrew. You are very theatrical. Randy Yeah, and I just changed my vote with that one. (Yeah.) The cheerleaders are crying for you? This is...this is wild. Oh, come on. Come on. Simon This is very uncomfortable now. Kara This is bad. We can't, we can‟t. Randy I'm saying no, but I appreciate you guys coming out. We

enjoyed it. Kara You're just honey, you're not gonna make it in this 20 competition. So sorry to tell you that and your friends. Simon Guys, sorry. Thanks for coming. Andrew failed. 15. Asa Barnes (singing: The Way You Make Me Feel by Michael

Jackson) Randy Simon, what do you think of Asa, man? Simon I like you, Asa. I'm gonna be honest with you. I don't really understand why you would do that...that

song like that. Um, so I'm slightly puzzled here. (I like it, and it's a great song.) Randy Hey, that's a good answer, dawg. That was crazy right

there...I like it. Simon That was the right answer. Kara That was good. Simon Okay, I don't think...I...I'm finished. Randy Got it. Paula Abdul? Paula You know what? When people sing Michael, it usually is 21 a disaster. And this was definitely not a disaster. (Thank you.) Randy Kara? Kara I-I like Asa. I do. I think he's got a whole vibe. Randy It was hot, baby. (Thank you, thank you.)- Simon, yes or

no? (Voting) Simon Uh, maybe because of your answer, I'm gonna say yes. Randy Paula? Paula Absolutely, yes. Randy Kara? Kara Yes. Randy I say yes. Welcome to Hollywood, baby! 16. Tatiana Del Toro (singing Never Loved A Man by Aretha) Simon Okay, Okay, okay. You shouldn't have done that song. I think you would do a lot of things very well, but not 22

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singing.

Kara What kind of things? Simon I mean that in a compliment-- in a complimentary way. Because you're....(singing)

Okay, okay, okay, okay. The problem we have here is that you...you are trying to... Randy Ooh, look at the attitude. I love it. (Tatiana put her hands

on her chest like someone who is praying) Kara She's not giving up. She's not giving up. Simon (This is my life. I've been preparing for...) Tatiana, are you going to... You can stand; you can keep doing this while I talk to you, cause I quite like it. The problem is...is that you are...keep doing it... The trouble is...is that you keep trying to copy these big. (singing) Paula Tatiana. Tatiana.

I say yes. I say yes. (Paula voted first) Kara You do? Paula I say yes. Kara Well, why do you say yes? Paula Because first of all, you can't deny that she doesn't have a

voice. Simon She's very dramatic Randy Very dramatic Paula She's a lot of fun. She's what we need, I think, to colour

things up. Randy No, no, no, what it is, it‟s... I know you want to be this big R&B singer with this big

voice. That ain't what you got, baby. Kara But you're a pretty girl. Simon Randy, yes or no? (Please, please, Randy. Listen to my album.) Randy, yes or no? (Please enjoy it.) Randy Listen to your album? Why didn‟t you bring an album? Simon Randy, yes or no? (Voting) Randy You know what? I'm gonna say yes, because you are

wild, and I like it. Simon Kara? Kara I...I don't think she has the...the vocals, but I like her vibe. 23 Simon Tatiana... (Yes. ...)

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You're going to Hollywood. 17. Dean Anthony Bradford (singing: Stars by Simply Red) Kara You need to take your coat off for that (it‟s so hot) Simon Okay, randy, yes or no? Randy Dude, uh, that was wild, man. I got to say no. That was wild.

It was kind of tortured. Over-the-top torture. (Okay, I can do subtle.) Simon No, you can‟t. The outfit is about as bad as I've seen. The

weird hair colour, the terrible singing. Randy The hair colour? His hair colour's okay. Kara Is that your, that's your natural hair colour. (Yeah.) Simon That's not your natural color.

(The carpet matches the drapes, I swear to you.) Randy Whoa, this is getting way too personal.

This is getting weird on this show. Good lord, man. Kara What do you have underneath the coat? (I have I have,

uh...) Randy Yeah, okay, listen. Simon I don't need to hear or now know what he's got

underneath. (Voting) Randy I say no. Kara? Kara I have to say no, no, no. Randy Paula Abdul? Paula It just wasn't a good choice. 24 Kara No. It's a no. Randy Thanks for coming out, dawg. Dean failed. 18. Jesus Valenzuela (singing: ) Simon Okay, Jesus. No, this is not...it's not gonna work. (Okay.) Honestly. You're a nice guy, but you're not gonna win this. 25 Kara He doesn't have a bad voice. Paula I don't think you have a bad voice at all, not at all. Simon Well, then you girls are in control. Randy Paula, Kara, what do you think?

Paula? (My kids are out there waiting for me.) (The judges asked the kids to come in and asked their

names) Simon Gabriel, Gabriel, just to let you know, Paula‟s just said no

to your dad. And it's up to us to save him. Randy She did not. Paula Gabriel, I did not say no to your dad. Randy So, listen, you got a song you can sing to your kids?

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Man, come on; sing one more, man, for the kids. Let them hear you, man. (singing) Simon What do you think, boys? (Hollywood.)

Honestly? (Yes, Hollywood.) Randy All right, let's take a-- let's take a vote here. Simon, yes or

no? (Voting) Simon I've already voted, so I'll keep to my vote. Randy Simon said no. Paula? Paula I say yes. What do you say? Kara You know what? I am not gonna make these kids sad, so

I'm gonna say yes. Randy Uh, I'm gonna say yes. Welcome to Hollywood! 19. Dalton Powell (singing: Ooh, Baby, Baby by Smokey Robinson) Randy What is going on, man? Kara Have you ever sung? (In front of people, no.) 26 Randy So you nervous, too, huh? (Yeah, I get stage fright.) Kara You're scared. (Yeah.) Paula Dalton, are you a fan of the show? (Simon keeps it

interesting.) Randy Well, you know what? You're a smart guy.

Yeah, Simon, so keep it interesting for him right now. Simon No, Dalton, I think we know what the answer's gonna be, right? It's a no, but you've shown great intelligence during this audition. Look at him. So everything's worked out fine. Randy Nice to meet you. Thanks for coming out, dawg. Dalton failed. 20. Aquila Eskew-Gholston (girl with the body diagram, singing her

own songs) Simon Aquila, the song, not you, is horrible. Randy What else you got, baby? (singing) Simon Please, no, I did not...Aquila, I don't think we can do any more songs. (Please just one more. Please, please! I want to sing the same song over. I come from the wrong rectum.) Kara Wrong rectum?! (Yes, because we have to sing) Randy What is this audition?! (If you look at my paper, sweetie, you will see that we have to sing from our lyginical quartilages.) Paula Okay, okay, okay. (Lyginical quart and all these other things) Stop, stop, stop, stop.

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Simon It's all...too many diagrams, too many parts of the body we don't want to know about. The problem was, it just...every song sounded the same. (Well, can I try it one more time, please?) (Kara: Oh, my god.) Aquila, we've done the entire album. 27 (Just clear your minds out of my voice. Just clear your minds out of my voice.) Kara No, no! Okay, okay, okay, stop. (Aquila talks about her enthusiasm in meeting the judges and about the judges‟ success). Kara Singing is not...it's not gonna happen. (It's not gonna

happen with you guys today?) Randy No, baby, it wasn't good enough for this. (Aquila kept trying) This ain't the right thing for you. (Paula went backstage; Aquila kept forcing the judges to give her one more chance) Kara I don't know what to say anymore (Aquila kept trying) Simon Darling, because every song sounds the same. Kara It's time to go, baby. It's time to go. Aquila failed. 21. Annie Murdoch (singing a song by Bonnie Raitt) Simon Oh, come on. Kara Honey, honey. That was, like, so overdone. (Really, you

think so?) Simon Annie, I'm gonna be honest with you, it was like you were

drunk. Kara Yeah. Yeah. (Really?) Yeah. Simon You know, like, I'm not talking one or two bottles. I'm talking-- I'm talking a crate. Yeah.

Um, seriously, I thought you were gonna fall off the thing you were standing on. Randy But you know, you obviously love jazz, and all the jazz

singers have all of these... Simon Well, you can be drunk. Kara It works for you Paula Simon? (Voting) Simon Yeah, I'm gonna say no, Annie. Paula Kara? Kara No. Sorry, sweetie. (All right, well, thank you very much

for your time.) Paula Thank you so much sweetie. Annie failed.

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22. Kai Kalama (singing Smoke Gets In Your Eyes by The Platters) Simon Thank you very much, Kai. I think you have a very, very good voice, but you have the personality of a ship singer when you perform. Paula I like you. I like you. I think you can work on showmanship and stage presence. And you got a nice timber to your voice. I...I like you. Kara You definitely got a good voice, but it is, it's... You know we're looking for that...you know, you're a cute guy, a little bit more sexy. You really gotta stand... Simon Yes or no? Kara Can I say something? Simon You just did. Kara No, I will say what I wanna say, and I will say it now. Paula You already have. Kara Yeah, I don't need him (Simon) over there telling me what to say. I'm speaking. What I'm saying is you need to really get your performance up. (Okay.) For the...if you're gonna make it pass Hollywood. Simon Yes or no? (Voting) Kara Yes, for right now. Randy Paula Abdul.? Paula I said yes, yes. Randy Simon Cowell? Simon You know what, Kai? I'm gonna give you another chance. Randy You're through to Hollywood.

Four yeses, dude, you made it! 23. Dana Murano (Singing a song by Chaka Khan) Simon You can't sing those big songs. 28 (Oh, I will take as much direction as you guys want.) Good, that's the direction I want you to take. Right, then 29 right. (to the door) (All right, well, then I'll see you guys next year.) 24. Kaneswa Finnie (Singing: Caught Up In The Rapture Of Love by

Anita Baker) Simon I've never heard that song like that in my life. Kara No, neither have we. Simon I mean, it actually got progressively worse. I'm sorry to say this 'cause I like you. You got a great smile.

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But your voice is just terrible. Are you surprised? (From you? No.) Randy Whoa, honesty.

I like that. Simon But you don't agree with me? Kara Well, first of all, Randy, can you help me out? Simon You don't agree with me? (No.) You think I'm wrong? (Yeah.) Oh, come on. Kara Who tells you you have a good voice? Your mom? (My mom.) Get your mother in, please. (Go get my mom?) Simon Where is she?

I want to talk to your mom. Paula No, no, you can stay here, sweetheart.

She's gonna come in. (The mom comes in) Simon The audition was terrible. (Mom: Really?) (to I mean, seriously.

mom) She tried, and she's got a great, great smile, great attitude... Randy Beautiful girl. Simon But, mom, tell me, what do you think? Honestly. (She sings all around Jacksonville.) What, continually moving? Randy Oh, no Simon. Simon I'm gonna say no, darling. Randy Didn't work. Paula Thank you, Paula (the mother). Randy Appreciate you coming out, though.

Nice to meet you. Simon But I'm still wrong, right? (Yeah.) Randy You got a whole future ahead of you, girl. (Kaneswa failed) 25. Julissa Veloz (Singing a song by Whitney Houston) Simon It was better than I thought it was gonna be because, you know, it's tough to sing Whitney like that. Having said that, you didn't actually make the song sound nice. (other judges were surprised of the contradiction of Simon‟s comment) (Well, if you give me a chance, I'll sing it any which way you want it...on the show.) And it's that laugh that bothers me. (the judges talk about Julissa‟s smile) Kara Um, you know what, you have a voice, but it's just...

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I was kinda on the edge of my seat to see what she would do next. Randy Okay, let's vote here.

Simon, yes or no? Paula Well, I guess my opinions don't matter. Randy No, wait. Paula It's so funny 'cause now there are four judges, sometimes

we forget that there's... Randy Oh, Paula, speak. Kara Wait, Paula wants to speak. Randy Paula wants to speak to you, Julissa. Paula I'm gone. (Paula went out. The contestant, Julissa,

followed her outside and asked Paula went back inside.) Kara You know what, for that, we gotta give her a yes. Randy Totally yes. (Voting) Paula I like this girl Julissa.

I say yes. Randy I say yes to Julissa. Kara I have to say yes. You brought Paula back. Randy Three yeses. Simon Cowell, come on.

(Kooky, kooky, kooky.) Simon All right, yes. Randy Welcome to Hollywood, Julissa. 26. Darren Darnell (Singing: It's So Hard to Say Goodbye by Boyz II

Men) Darren cannot sing well because his too emotional when finding out

that his friend did not succeed in the audition. Darren sings badly. Simon Darren, Darren. I'm gonna stop this because this isn't working.

The voice just isn't there, Darren. (You don't think so?) No, honestly, honestly. Kara What are you upset about? (I don't know. It's just so much. Everything.) Okay, sweetie, let me tell you something. The music

business is not for you 'cause it is paid with heartache. And if you can't take it in this room, we did you a huge solid. Simon Okay, Darren, we're gonna say no, but thank you very

much. Randy Thanks, dude.

Thank you so much for coming out. Kara Bye-bye. Randy Appreciate it. (Darren failed)

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27. George Ramirez (singing: ) Kara That was... Simon George, have you ever done this before? Auditioned, or 30 sang in public? (Uh, public, no. With friends, yes.) And what do your friends do? (We have our varied interests. We rock climb, we just play guitar...) Kara Okay, okay, okay, okay. Stop it. Simon (We sing, we just...)

Outdoors? (Outdoors?) Randy That was...that was by far the quietest audition I have ever heard. (I just didn't know how loudly I should have done it.) Simon This isn't for you, is it? Well, okay, I'll tell you. It's not.

Sorry, George. Paula Sorry, George. You seem like a lovely person. 31 Kara Thank you. Randy Thank you, George. (George failed) 28. Michael Perelli (singing: Jumper by Third Eye Blind) (Very nervous because he was not allowed to sing with his guitar.) Randy Simon, what do you think of Michael here? Simon I think, Michael, you're quite interesting, but your voice 32 isn‟t. I think you would struggle within the parameters of this 33 competition. Kara I think he'd be better with his guitar. You're probably someone who shines more when you're playing. (I'm, to be completely honest, I'm extremely nervous right now. I can sing softer songs.) Simon Michael, we're not doing any more songs. Let's lose that.

(I don't sound unique enough?) Randy, yes or no? (Voting) Randy Uh, Michael...(break) Randy Paula? Paula It is nerve-racking, and I get that. Simon (I think if I just) Michael, Michael. (I understand.) Okay, advice. Don't start pleading like that because it's...it's not 34 necessary. It's tough for anyone in life, full stop.

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How old are you? (I'm 18, almost 19.) Okay, then you gotta get a job like anybody else has done, and in your spare time, you put a band together. (I just figured if I just started and you guys got me while I'm young...) Michael, you are beginning to get on my nerves now because I don't accept this. Randy Don't complain. No excuses. Simon All right, Michael, I've heard enough. Thank you. (Michael failed) 29. Anne Marie Boskovich (Singing: Bubbly by Colbie Caillat) Simon Okay. Randy? Randy Uh, I think that you have a really great voice. (Thank you.) I love the whole vibe, the way you twist the notes.

I mean, I think the whole thing is just you trying to get that star persona out, as we were saying. But based on the voice, yes. (Oh, thank you.) Paula I'm glad you sang bubbly. 35 (Voting) Kara I'm gonna say yes.

We can give her another chance. Paula I think you came back with that star persona. I say yes. Simon Okay, you're through to the next round. 30. Tara Mathews (singing: the soundtrack of Mulan One Day I'll Fly

Away) Simon Yeah, hopefully soon. Yeah. Tara. 36 I mean, Tara, to be honest with you, the whole thing was just horrendous. I mean, from the outfit, um, to the song choice. And what was even more frightening is that you sounded like…like a baby. You know, put the two together, it just didn't work. (All right. I'll just leave now since you obviously didn't like it.) Paula I'm sorry, sweetie. Kara We didn't mean to hurt your feelings, honey. 37 (Tara failed) 31. Rich Kagel (singing: ) Simon You're never ever, in a million billion years, gonna win a 38 show like this. (Really?) No. (Can I sing something else?) That's it. Randy Next! (Rich failed)

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32. Austin Sisneros (Singing: When I Look to the Sky by Train) Randy I thought it was okay. Very weird, strange song choice. It was not the greatest song for you.

(I feel like…I feel like you guys are…you just don't want me to fail. You want me to do good, right?) Kara Yeah, we do. Randy Well, that is an interesting question. Kara Some of us. Randy That's an interesting question. Simon Austin, we haven't quite joined the fan club yet Randy Yes. Paula (I have another one.)What was your other one?

(It's kind of an old, soul song.) Simon What is it? (It's called, um, It Takes A Village. It's by Raffi. Singing) Okay. Well, you managed the worst song so far. 39 Randy? (Voting) Randy Uh, listen, you definitely got a voice. Weird song choices. But something I like about this kid. He's got some perseverance jumping off right there. I'm gonna say yes, man. I'll give you another shot, man. Kara There is…there's something very genuine about him. He's got a nice face. There is something I like about you. 40 There's something there. (Thank you so much.) Paula I believe in you. I think that you can…you got something going on there.

And you're charming as anything. I mean, really, seriously. Yes. Simon Uh, Austin, look, it's very simple. You just gotta become young. But for your age, you could be great. You're likable. Four yeses. Off you go. (Thank you so much.) 33. Taylor Vaifanua (Singing: Joyful Joyful) Simon Okay. Kara Kara You know, I was impressed by her Because I saw her in the bathroom a few times practicing.

I know she really wants this, right? (Yes.) You really worked hard, huh? Randy I think that you got a really good, natural potential. Paula,

what did you think? Paula Honestly, you do have a good tone to your voice. Randy I think it's one of the best vocals I've heard since we've

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been doing this, this season eight, because the release…the way you release the notes and the tone…you actually listen to what you're singing and it was on pitch. All right, let's take a vote. Let's see. Simon? (Voting) Simon I'm gonna…I'm gonna say yes. Randy Kara? Kara Definitely. Simon Paula? Paula Yes. Randy Willing to say yes. Welcome to Hollywood, dawg. 34. Rose Flack (Singing: I Feel The Earth Move by Carole King) Simon Thank you very much. (You're very welcome.)

Paula? Paula You've got such a beautiful face, such a beautiful aura about you.

You're just really cool. (Thanks.)

Gotta work on the vocals, though. Gotta work on 'em. (Yeah.) Simon Rose, I didn't think it was the best song choice. But there's something about you which I absolutely love. And you've got something special about you.

And I don't know what it is. Um, but you're one of the few I'm gonna remember. Randy, yes or no? (Voting) Randy You know, at 17, very good audition, cool, you got a cool

vibe jumping off right there. But I'm gonna say yes. Simon Kara? Kara Definitely yes. Simon Paula? Paula Yes. Simon Rose, you got four yeses.

You're going to Hollywood. 35. Adeola Adigulke (singing: And I am Tellin' You by Jennifer Hudson) Kara Okay, okay. Thank you so much. Simon Um, did you actually deliver the resignation letter? (Yes, I did.) I think you may need to retract it, Adeola, based on that 41 performance. Um, it was shockingly bad. (Can you give me one more chance, please?) Adeola, you are a very nice girl, and I would presume sensible because you... (Please, just give me one more chance. Honestly this is

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my passion) Adeola, I'm trying to help you here, and get your job back. I will even phone your boss back on your behalf. (singing) Randy Still terrible, Still bad. Simon Adeola, It's getting worse, darling. Paula Let's take a vote. (Voting) Simon Absolutely no. Paula It's not your thing, honey. 42 Randy Adeola, we've got mad love for you, man, but singing is 43 not your skeeze, dude, I'm telling you. Trust us. Kara You have to keep your day job. I'm sorry to tell you that. 44 I'm sorry, Adeola. Paula Thank you for coming down. (Adeola failed) 36. Jessika Byer (singing: I surrender by Celine Dion) Simon So do we. 45 I mean, honestly, come on. (You don't like it?) No. (Can I sing something else?) No. (Please, please, please. Let hear) No, it is absolutely awful... I mean, not only that, I just can't believe that you've won all these shows. (I swear. Please, let me sing something else. You don't know how nervous I am.) Kara Let her sing something else. Just one more song. Simon This is ridiculous. (You guys, I'm...listen, look at me. I...this is my dream. People...... that...I have done this my whole life. I'm so nervous and this is all I want. Just tell me what you want me to sing, and I will nail it. I promise.) I would never ask you to sing anything, Jessika. The singing, the jumping up and down, it's...none of it's...none of it's working. (Please.- Simon Cowell, you...my...lis) Randy Baby, the sound of the voice is not on point. It's not good. (I know that...but you don't know how

many...I am nervous to be in front of you because I watch you on TV every week.) Simon Well, that's the end of the relationship, isn't it? 46 (No, it's not. I will prove to you I can sing.) Jessika, I can swim, but I'm not going to win ten Olympic 47

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medals at the Olympic games. (No, you don't understand.) Paula Lemme say something to you. 'Cause I know that this means a lot to. (It really does.) I'm not sure it does. And it pains- And I'm like Listen, it bordered on really shrilling almost the entire audition. Paula, this isn't gonna help. Kara What you have to learn to do, sweetie... Simon Two things. Just go a yes or a no. (Voting) Randy No, sweetie. Not ready, baby.

Bad audition. That's it. Kara So sorry to tell you this, but no. (Jessika left the room) Paula Take the constructive criticism. Simon She won‟t. (Jessika failed) 37. Jackie Tone (singing: I'm yours by Jason Mraz.) Simon: Okay, yeah. I need a second... (I was getting to the best part, Simon.) No, I need a second song.

(I got my own originals, and I got...) I just wanna hear what your normal singing voice is like, Jackie. (I'll sing, um...singing) Paula Thank you, Jackie. Thank you. Jackie, you are, um, unpredictable and surprising, and it's all good with me. Randy I like the tone. (Thanks.)

Yeah, that husky...yeah. Paula So, what do you think, randy? (Voting) Randy Yes. (Thank you.) Kara I like you too. I wanna see kinda what you do next time. (What direction do you think I should go in, 'cause I heed your advice?) Simon Jackie, can I say something? (Yes, please.) The worst thing you can ask...is...(disturbed by the falling window for a moment) Anyway, the worst thing you can ask is "who should I be? A good artist knows who they are, Jackie. Simon You got four yeses. Out you go. Welcome to Hollywood, Jackie!

38. Joel Contreras (singing: To Be With You by Mr. Big)

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Simon (after Joel sang two lines of the song) Okay, can we have another song? (singing) 48 Oh. I can't listen to this. I can't listen to this. I really, really can‟t. It's...it's just awful. It's everything I hate. I hate everything. I mean, the whole act is excruciatingly bad. (Excruciatingly bad?) Honestly. It's just terrible. (Well, look at this, I have, like--like, my friend here.) Randy Oh, of course, your little friend. Simon What relevance is you standing there with a lion on your hand to a singing competition? (singing)

I've got it, I've got it. Randy, yes or no? (Voting) Randy No Simon Kara? Kara No, sweetie. Simon Paula? Paula No. Simon Joel, it's four no‟s. Thank you. (That was a no, really?)

It was a no. Really no. (Joel Failed) 39. Nick Mitchell a.k.a. Norman Gentle (singing: And I'm telling you

by Dreamgirls) Simon (Before the audition started) Right, okay, I hate comedy, Norman. (I know.) I don't want you to be funny, I just want you to be serious, Norman.

(All right, then, you know what, it's done. It's done. No more comedy.) No more comedy. Good. 'Cause that wasn't funny. (Okay. Right. Singing) Norman, you told me you weren't gonna make this funny. (You hurt me where you get kicked sometimes. Whoa. That was very hard.) I would've thought you'd have quite liked that.

(You mean the way you like it when Seacrest does it? What you say now, Simon?) That was funny. That was funny. That was actually funny. Randy That was funny. Simon Norman, you know what, you're sort of becoming more

likable now. Randy Give us your best joke.

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Simon No, Norman, we're not looking for, like, some ghastly cabaret comedy singer. (Do you think maybe amazing grace will change your mind?) Let's find out. (Do I need a chair, maybe?) Norman, do what you love. Whatever you like. Kara A chair? Randy For amazing grace. Simon But Norman, please don't be funny. Randy Oh, that's it. Simon Yeah, Norman, this is going down the wrong route. Don't pull faces. (singing) You're pulling faces. (singing) Norman. Norman! (All right, it's addictive!) You can't help but pull those stupid faces. Paula I love you. Kara You know what, I am...I am so entertained. This is the

first time today I've been entertained. Simon Oh, no, you two would love him.

(I'm not gonna beg, though. Please!) (Voting) Paula I'm, like, thoroughly entertained. I say yes. (Oh, wowzers) Kara You don't have a shot in hell, but, like thank you. I'm

energized, yes. Simon Norman, I am going to say a categorical no. Kara Randy, please say yes. We have to see him again. Randy Uh, you know what, man; this is crazy, dude, this crazy, right? Dude. I was entertained, though, I will tell you that. Kara And? Randy Okay, yes. Whatever! Whatever, yes! Yes! (Norman succeed) 40. Monique (With her brother kid, Chris; singing You Can't Hurry Love

recorded by The Supremes) Simon Okay. Christopher, what‟s her second song? (Monique: it‟s I Turn to You by Christina Aguilera; singing) I mean, look, honey. How old are you, 16? Would it have been better for you and your voice to have chosen someone more within your range? 49 Kara Mm-hmm, I have to agree with Simon. You know, at your age, I'm not sure the voice is fully developed yet. And, you know, he's (Chris) got so much confidence for a

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little guy, right? I wish you would have a little bit more of that. Simon Okay, randy, yes or no? (Voting) Randy No, not quite ready, babe. Kara Honey, I don't think you're ready, I'm sorry. (Okay.) Paula I like you. I said yes. Kara Wow, this is a tough one. Simon These two auditions as they stand were very old- fashioned, very cabaret.

You get that, Chris, right? But I'm gonna give you 50 another shot. Congratulations. Welcome to Hollywood! Notes: the underlined sentences are the indirect comments of the Americal Idol judges and the number in the following column of each indirect comment are the data numbers that are also used in the analysis.

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Sentence Speech

Judges Comments No

Data Types Acts 1. 1 Kara I've never seen anything like that in Declarative Declarative a not-so-good way. Assertive 2. 2 Paula Probably top five, honest to gosh. Declarative Assertive 3. 3 Paula The competition would sorely miss Declarative Declarative you if you weren't in it. Assertive 4. 4 Simon And I don't think you've got star Declarative Assertive quality. And I don't think you ever will. 5. 5 Paula You know what, I do appreciate Declarative Declarative your story, and I know that this is Expressive hard for you. 6. 6 Paula But it's--you know what, I think Imperative Declarative you should be in a band, I really do. Directive

7. 7 Simon Michael, I genuinely couldn't Declarative Assertive understand a word of that. (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously. 8. 8 Simon Michael, five years wouldn't make Declarative Directive any difference. 9. 9 Kara I...I...I was speechless. Declarative Declarative Expressive

10. 10 Simon Okay. All right, I just wondered if Interrogative Assertive you turned up on the right show or + Declarative not. 11. 11 Paula You really gotta work on your Imperative Directive voice. 12. 12 Simon I'll tell you what it sounded like. It Declarative Assertive sounded like a cat jumping off the Empire State building, and the noise it would make before it hit the floor. If that makes sense. 13. 13 Kara Here's a positive. You're a pretty Declarative Expressive girl. You are not a good singer, sweetie. I am so sorry. 14. 14 Paula You are beautiful, and I'm sorry Declarative Expressive that you had to hear some stuff that

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was harsh, but it's the way these auditions go, and we have to pass. 15. 15 Kara I want to see what you can bring to Declarative Declarative the show. 16. 16 Kara I see a package here. Declarative Assertive 17. 17 Paula Um, I would love to give you Declarative Declarative another chance. 18. 18 Randy You're probably just like a cool bar Declarative Assertive singer, you know? You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me. 19. 19 Simon Can I just say no to all three of Interrogative Assertive you? 20. 20 Kara You're just honey, you're not gonna Declarative Declarative make it in this competition. 21. 21 Paula When people sing Michael, it Declarative Assertive usually is a disaster. And this was definitely not a disaster. 22. 22 Simon I think you would do a lot of things Declarative Directive very well, but not singing. I mean that in a compliment-- in a complimentary way. 23. 23 Kara I...I don't think she has the...the Declarative Declarative vocals, but I like her vibe. Expressive 24. 24 Paula It just wasn't a good choice. Declarative Declarative 25. 25 Simon You're a nice guy, but you're not Declarative Expressive gonna win this. 26. 26 Paula Have you ever sung? Interrogative Assertive 27. 27 Simon (Aquila: Well, can I try it one more Declarative Directive time, please?) Aquila, we've done the entire album. 28. 28 Simon You can't sing those big songs. Declarative Expressive 29. 29 Simon (Oh, I will take as much direction Imperative Directive as you guys want.) Good, that's the direction I want you to take. Right, then right. (to the door). 30. 30 Simon George, have you ever done this Interrogative Assertive before? Auditioned, or sang in public? 31. 31 Paula Sorry, George. You seem like a Declarative Expressive lovely person. 32. 32 Simon I think, Michael, you're quite Declarative Expressive interesting, but your voice isn‟t. 33. 33 Simon I think you would struggle within Declarative Assertive

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the parameters of this competition. 34. 34 Simon Okay, then you gotta get a job like Imperative Declarative anybody else has done, and in your Directive spare time, you put a band together. 35. 35 Paula I'm glad you sang bubbly. Declarative Expressive 36. 36 Simon Yeah, hopefully soon. Declarative Expressive 37. 37 Kara We didn't mean to hurt your Declarative Expressive feelings, honey. 38. 38 Simon You're never ever, in a million Declarative Assertive billion years, gonna win a show like this. 39. 39 Simon Well, you managed the worst song Declarative Assertive so far. 40. 40 Kara There is…there's something very Declarative Declarative genuine about him. He's got a nice Expressive face. There is something I like about you. There's something there. 41. 41 Simon Um, did you actually deliver the Interrogative Directive resignation letter? (Yes, I did.) + Declarative I think you may need to retract it, Adeola, based on that performance. 42. 42 Paula It's not your thing, honey. Declarative Declarative 43. 43 Randy Adeola, we've got mad love for Declarative Declarative you, man, but singing is not your skeeze, dude, I'm telling you. Trust us. 44. 44 Kara You have to keep your day job. I'm Imperative Declarative sorry to tell you that. I'm sorry, Directive Adeola. 45. 45 Simon So do we. Declarative Directive 46. 46 Simon Well, that's the end of the Interrogative Assertive relationship, isn't it? 47. 47 Simon Jessika, I can swim, but I'm not Declarative Assertive going to win ten Olympic medals at the Olympic games. 48. 48 Simon Okay. Can we have another song? Interrogative Directive 49. 49 Simon Would it have been better for you Interrogative Directive and your voice to have chosen someone more within your range? 50. 50 Simon But I'm gonna give you another Declarative Declarative shot.

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No Data Judges Comments Functions 1. 1 Kara I've never seen anything like that in a Giving hint not-so-good way. 2. 2 Paula Probably top five, honest to gosh. Giving hint 3. 3 Paula The competition would sorely miss Giving hint you if you weren't in it. 4. 4 Simon And I don't think you've got star Giving hint quality. And I don't think you ever will. 5. 5 Paula You know what, I do appreciate your Being polite story, and I know that this is hard for you. 6. 6 Paula But it's...you know what, I think you Giving hint should be in a band, I really do. 7. 7 Simon Michael, I genuinely couldn't Giving hint understand a word of that. (I'm sorry, I'm just...) I mean literally you could have been singing in Bulgarian. I couldn't understand a word. (I'm sorry.) Seriously. 8. 8 Simon Michael, five years wouldn't make Giving hint any difference. 9. 9 Kara I...I...I was speechless. Giving hint 10. 10 Simon Okay. All right, I just wondered if you Being ironic turned up on the right show or not. 11. 11 Paula You really gotta work on your voice. Giving hint 12. 12 Simon I'll tell you what it sounded like. It Giving hint sounded like a cat jumping off the Empire State building, and the noise it would make before it hit the floor. If that makes sense. 13. 13 Kara Here's a positive. You're a pretty girl. Being polite You are not a good singer, sweetie. I am so sorry. 14. 14 Paula You are beautiful, and I'm sorry that Being polite you had to hear some stuff that was harsh, but it's the way these auditions go, and we have to pass. 15. 15 Kara I want to see what you can bring to Giving hint the show. 16. 16 Kara I see a package here. Giving hint 17. 17 Paula Um, I would love to give you another Giving hint chance.

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18. 18 Randy You're probably just like a cool bar Being polite singer, you know? You're singing in bars and in the clubs and doing your thing. I'm not sure it's right for this, man, for me. 19. 19 Simon Can I just say no to all three of you? Giving hint 20. 20 Kara You're just honey, you're not gonna Being polite make it in this competition. 21. 21 Paula When people sing Michael, it usually Giving hint is a disaster. And this was definitely not a disaster. 22. 22 Simon I think you would do a lot of things Being polite very well, but not singing. 23. 23 Kara I...I don't think she has the...the Giving hint vocals, but I like her vibe. 24. 24 Paula It just wasn't a good choice. Giving hint 25. 25 Simon You're a nice guy, but you're not Being polite gonna win this. 26. 26 Kara Have you ever sung? Being ironic 27. 27 Simon Aquila, we've done the entire album. Giving hint 28. 28 Simon You can't sing those big songs. Giving hint 29. 29 Simon Good, that's the direction I want you Giving hint to take. Right, then right. (to the door). 30. 30 Simon George, have you ever done this Being ironic before? Auditioned, or sang in public? 31. 31 Paula Sorry, George. You seem like a lovely Being polite person. 32. 32 Simon I think, Michael, you're quite Being polite interesting, but your voice isn‟t. 33. 33 Simon I think you would struggle within the Giving hint parameters of this competition. 34. 34 Simon Okay, then you gotta get a job like Giving hint anybody else has done, and in your spare time, you put a band together. 35. 35 Paula I'm glad you sang bubbly. Giving hint 36. 36 Simon Yeah, hopefully soon. Being ironic 37. 37 Kara We didn't mean to hurt your feelings, Being polite honey. 38. 38 Simon You're never ever, in a million billion Giving hint years, gonna win a show like this. 39. 39 Simon Well, you managed the worst song so Giving hint far. 40. 40 Kara There is…there's something very Giving hint genuine about him. He's got a nice

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face. There is something I like about you. There's something there. 41. 41 Simon Um, did you actually deliver the Giving hint resignation letter? (Yes, I did.) I think you may need to retract it, Adeola, based on that performance. 42. 42 Paula It's not your thing, honey. Giving hint 43. 43 Randy Adeola, we've got mad love for you, Giving hint man, but singing is not your skeeze, dude, I'm telling you. Trust us. 44. 44 Kara You have to keep your day job. I'm Giving hint sorry to tell you that. I'm sorry, Adeola. 45. 45 Simon So do we. Being ironic 46. 46 Simon Well, that's the end of the relationship, Giving hint isn't it? 47. 47 Simon Jessika, I can swim, but I'm not going Giving hint to win ten Olympic medals at the Olympic games. 48. 48 Simon Okay. Can we have another song? Giving hint 49. 49 Simon Would it have been better for you and Giving hint your voice to have chosen someone more within your range? 50. 50 Simon But I'm gonna give you another shot. Giving hint

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