the types of and the possible reasons · the types of and the possible reasons for a code...

THE TYPES OF AND THE POSSIBLE REASONS

FOR A CODE-SWITCHING PHENOMENON

IN INDONESIAN TEENAGE MAGAZINE ‘HAI’

A Thesis

Presented as Partial Fulfillment of the Requirementsto Obtain the Sarjana Pendidikan Degree

in English Language Education

By

Leonardus Dikka Maha Putra

Student number: 041214113

ENGLISH LANGUAGE EDUCATION STUDY PROGRAMDEPARTMENT OF LANGUAGE AND ARTS EDUCATIONFACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITYYOGYAKARTA

2008

i

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

A Thesis on




By


Student Number: 041214113

Approved by

Sponsor

Yohana Veniranda, S.Pd., M.Hum. November 15, 2008


A Thesis on




ByLeonardus Dikka Maha PutraStudent Number: 041214113

Defended before the Board Examinerson November 27, 2008

and Declared Acceptable

Board of Examiners

Chairperson : A. Hardi Prasetyo, S.Pd., M.A. ________________

Secretary : Made Frida Yulia, S.Pd., M.Pd. ________________

Member : Yohana Veniranda, S.Pd., M.Hum. ________________

Member : Made Frida Yulia, S.Pd., M.Pd. ________________

Member : G. Punto Aji, S.Pd., M.Hum. ________________

Yogyakarta, November 27, 2008Faculty of Teachers Training and EducationSanata Dharma UniversityDean,

Drs. Tarsisius Sarkim, M.Ed., Ph.D.


STATEMENT OF ORK’S ORIGINALITY

I honestly declare that this thesis, which I wrote, does not contain the work or

parts of the work of other people, except those cited in the quotations and the

bibliography, as a scientific paper should.

Yogyakarta, November 15, 2008

The Writer

Leonardus Dikka Maha Putra041214113


[ Today is a gift ]

Dedicated to:

My beloved parents ; Fortunatus Teguh Pudjiprawoto & Florentina YustianiMy lovely brothers ; Christophorus Rikko Agita & Eduardus Vikki Verdhian

Thank you for todayI’ll do my best for tomorrow

[ Tomorrow is a mystery ]

v


ACKNOWLEDGMENTS

I would like to praise Jesus Christ for giving me the belief that

encourages me to always keep doing the right things. I thank Him for the belief

that I have which whispers that there is something I can admire at the end of this

exhausting process so I have good reasons why I have to finish my study. I also

would like to express my gratitude to those who have supported me

First, I thank Yohana Veniranda, S.Pd., M.Hum., my sponsor, for her

guidance in the process of completing my thesis. I would like to give much

respect and appreciation of her kindness and patience in correcting simple-minor

errors in which I should have been able to produce everything correctly.

Second, I thank F.X. Ouda Teda Ena, S.Pd., M.Pd. for giving me a new

hope in the new topic for my thesis. I thank him for his trust that I can produce a

fruitful research on code-switching in ‘HAI’ teenage magazine. I hope that I have

given beneficial interpretations of the language phenomenon.

Third, I thank all lecturers and staff of the English Language Education

Study Program for their care and guidance. I thank them for the shared

knowledge and experience that would be very useful for me in the future.

Next, I also would like to give my never-ending thanks to my parents,

Fortunatus Teguh Pudjiprawoto & Florentina Yustiani, for all of the

opportunity that I have had. My warmest thanks are to my little brothers,

Christophorus Rikko Agita & Eduardus Vikki Verdhian, I thank them very

much for giving me another reason for finishing my study.

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Last, I also express my big thanks to all of my friends in PBI. They are

Santi ‘Bantul’, Vensi ‘Solo’, Sigit ‘Puncak Merapi’, Bekti ‘Bantul juga’, Lexi

‘Jepang’, Susan ‘Kalimantan’, Alit ‘??’, Ayoex ‘Gombong’, Bernard

‘Magelang’ Dita ‘Kaliurang’, and Berto ‘NTT’. I thank them for their willingness

to study together with me in our beloved, Sanata Dharma University.


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TABLE OF CONTENTS

Page

PAGE OF TITLE …………………………………………............................... i

PAGES OF APPROVAL ……………………………………………………… ii

STATEMENT OF WORK’S ORIGINALITY………………………………… iv

PAGE OF DEDICATION …………………………………………………….. v

ACKNOWLEDGEMENTS …………………………………………….……... vi

TABLE OF CONTENTS ………………………………………………..…..... viii

LIST OF TABLES …………………………………………………………….. xi

LIST OF FIGURE …………………………………………………………….. xii

ABSTRACT …………………………………………………………………... xiii

ABSTRAK ……………………………………………………………………... xv

CHAPTER I: INTRODUCTION ……………………………………………. 1

A. Background of the Study …………………………………………………… 1

B. Problem Identification ……………………………………………………… 3

C. Problem Limitation ………………………………………………………… 4

D. Problem Formulation ………………………………………………………. 4

E. Objectives of the Study ………………………………….…………………. 4

F. Benefits of the Study ……………………………………………………….. 5

G. Definition of Terms ……………………………………………………….... 5

CHAPTER II: THEORETICAL REVIEW …………………………………. 7

A. Theoretical Description …………………………………………………….. 7

1. The Nature of Code-Switching ……………………………………………... 7

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The Types of Code-Switching ……………………………………………… 9

3. The Reasons for Code-Switching …………………………………….......... 13

4. Code-Switching and Language Learning …………………………………... 15

B. Theoretical Framework ……………………………………………………. 16

CHAPTER III: METHODOLOGY ………………………………………... 18

A. Research Method ………………………………………………………….. 18

B. Source of Data …………………………………………………………….. 20

C. Research Instruments ……………………………………………………… 21

D. Data Gathering Techniques ……………………………………………….. 21

E. Data Analysis Techniques ………………………………………………… 22

F. Research Procedures ………………………………………………………. 24

CHAPTER IV: RESEARCH DISCUSSION AND OTHER FINDINGS .... 27

A. The Types of and the Possible Reasons for Code-Switching …………….. 27

1. Analysis of The Types of Code-Switching ……………….………………. 28

a. Organize the Data………………………………………………………….. 28

b. Peruse the Data…………………………………………………………….. 29

c. Identify General Categories and Classify Each Piece of Data…………….. 30

d. Integrate and Summarize the Data…………………………………. …….. 31

2. Identification of the Possible Reasons for Code-Switching………………. 36

B. Code-Switching in Teaching-Learning Process of English Language…….. 42

CHAPTER V: CONCLUSIONS AND SUGGESTIONS…………………. 45

A. Conclusions………………………………………………………………... 45

1. The Types of Code-Switching in ‘HAI’ Teenage Magazine…………....... 45

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2. The Possible Reasons for Code-Switching in ‘HAI’ Teenage Magazine….. 46

B. Suggestions………………………………………………………………… 46

BIBLIOGRAPHY…………………………………………………………… 48

APPENDICES

APPENDIX 1: The Observation Form of the List of Code-Switching………… 50

APPENDIX 2: The Observation Form of the Types Analysis ………………... 51

APPENDIX 3: Code-Switching Cases in Vol. 37 …………….......................... 52

APPENDIX 4: Code-Switching Cases in Vol. 13 …………………………….. 74

APPENDIX 5: E-mail Transcript……………………………………………… 94

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LIST OF TABLES

Page

Table 4.1: The Summary of the Types of Code-Switching in Vol. 37………… 33

Table 4.2: The Summary of the Types of Code-Switching in Vol. 13 ………... 34

xi


LIST OF FIGURE

Page

Figure 3.1: The Data Analysis Spiral ………………………………………… 24

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ABSTRACT

Putra, Leonardus Dikka Maha. (2008). The Types of and the Possible Reasons fora Code-Switching Phenomenon in Indonesian Teenage Magazine ‘HAI’.Yogyakarta: Sanata Dharma University.

This study aimed at giving interpretations of code-switching in ‘HAI’teenage magazine. There were some language elements of English language whichwere juxtaposed with Indonesian utterances in the magazine. Sosiolinguisticsdefined this kind of language switching as code-switching. The code-switchingwas employed prominently by the writers of the articles of the magazine so itbecame a language phenomenon.

There were two questions to be answered in this study. They were: 1) whatare the types of the code-switching in Indonesian teenage magazine ‘HAI’? 2)what are the possible reasons for code-switching in Indonesian teenage magazine‘HAI’? To answer the questions, I followed the steps in analyzing the data ofqualitative research constructed by Creswell (1998) as cited by Leedy and Ormrod(2005: 150-151). The steps were: 1) organize the data, 2) peruse the data, 3)identify the data, 4) integrate and summarize the data. The steps were conductedto answer the first research question. In order to reveal the answer to the secondresearch question, further interpretation of the data of code-switching and theanswer to the first research question was conducted.

In order to present a clear description of what code-switching actually was,I organized the sentences that contained code-switching on an observation form.Then I perused the entire data. This process spelt out that there were three types ofcode-switching that existed in ‘HAI’ teenage magazine; single-word code-switching, conversational code-switching and integrated loanwords. Afterwards,further analysis was conducted to find out each type of the code-switchingcollected before. The summary of this process came up with the findings thatsingle-word code-switching was the most frequent type in the occurrence, whereasconversational code-switching and integrated loanwords were consecutively in thesecond and third position of the percentage.

The identification of the possible reasons for code-switching in ‘HAI’teenage magazine involved two important aspects. They were theories of code-switching from some linguists and the purposes of employing code-switchingstated by the editorial staff of the magazine. I used them as the considerations tointerpret the meaning of the existence of the language phenomenon in themagazine. The result of the interpretation implied that there were four possiblereasons for code-switching in the magazine. First, code-switching was used tobuild intimate relationship with teenagers as the readers. Second, the writers facedsome difficulty to describe or express certain things in Indonesian language.Third, it was because of the special terms related to the topic under discussionwhich were difficult to be translated to another language. Last, some quotedstatements from the informants themselves contained code-switching.

Whatever the types or the possible reasons are, I suggest that code-switching utterances in ‘HAI’ teenage magazine provide good models for English

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language understanding. The appropriate form of the juxtaposed foreign languageelement related to its function on the text is of chief importance.

xiv


ABSTRAK

Putra, Leonardus Dikka Maha. (2008). The Types of and the Possible Reasons fora Code-Switching Phenomenon in Indonesian Teenage Magazine ‘HAI’.Yogyakarta: Universitas Sanata Dharma.

Penelitian ini bertujuan untuk memaparkan interpretasi mengenai code-switching di majalah remaja ‘HAI’. Terdapat beberapa elemen bahasa Inggrisyang penggunaannya diselipkan dalam ungkapan-ungkapan berbahasa Indonesiadalam majalah tersebut. Sosiolinguistik mendefinisikan alih bahasa semacam inidengan istilah code-switching. Code-switching digunakan secara sering oleh parapenulis artikel majalah tersebut sehingga ini menjadi sebuah fenomena.

Ada dua pertanyaan yang ingin dijawab dalam penelitian ini yaitu: 1) tipecode-switching apa saja yang terdapat di majalah remaja ‘HAI’? 2) apa saja yangmungkin menjadi alasan dari penggunaan code-switching di majalah remaja‘HAI’? Guna menemukan jawab dari pertanyaan-pertanyaan tersebut, sayamengikuti langkah-langkah penelitian untuk menganalisa data dalam penelitiankualitatif yang disusun oleh Creswell (1998) dan dikutip oleh Leedy dan Ormrod(2005: 150-151) sebagai berikut 1) mengorganisir data, 2) mengkaji data, 3)mengidentifikasi data, 4) mengkaitkan semua data dan merangkum kesimpulan.Langkah-langkah tersebut dilaksanakan guna menjawab pertanyaan yang pertama.Sedangkan untuk menguak jawaban dari pertanyaan yang kedua, dilaksanakanproses interpretasi lebih jauh dari data mengenai code-switching dan jawaban daripertanyaan penelitian yang pertama.

Dalam rangka memberikan gambaran yang jelas mengenai apa sebenarnyacode-switching di majalah remaja ‘HAI’, saya mendaftarkan semua ungkapanyang mengandung code-switching dalam suatu lembar observasi. Kemudian sayamenkaji data tersebut yang kemudian menguak fakta bahwa ada tiga tipe code-switching di majalah ‘HAI’ yaitu single-word code-switching, conversationalcode-switching, dan integrated loanwords. Proses selanjutnya adalah menganalisatipe setiap code-switching yang ada dalam lembar observasi. Proses tersebutmenghasilkan kesimpulan bahwa single-word code-switching adalah tipe yangpaling sering muncul. Sedangkan conversational code-switching dan integratedloanwords secara berurutan berada di posisi kedua dan ketiga menurut persentase.

Peoses identifikasi dari apa saja yang mungkin menjadi alasan ataspenggunaan code-switching di majalah remaja ‘HAI’ melibatkan dua aspekpenting yaitu teori-teori mengenai code-switching dari para ahli bahasa dan tujuandari penggunaan code-switching yang disampaikan oleh para editor majalahtersebut. Saya menggunakan dua aspek tersebut sebagai pertimbangan dalammenguak interpretasi dari maksud atau tujuan penggunaan code-switching dimajalah tersebut. Dari proses interpretasi, dapat kesimpulan bahwa ada empat halyang menjadi alasan dari penggunaan code-switching di majalah tersebut. Halyang pertama, code-switching digunakan dalam rangka membangun hubunganyang akrab dengan pembaca. Kedua, para penulis artikel di majalah ‘HAI’mengalami kendala dalam menyampaikan beberapa hal dalam bahasa Indonesia.

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Alasan ketiga yaitu karena istilah-istilah khusus dalam topik yang sedang dibahassulit untuk diterjemahkan ke dalam bahasa lain. Alasan yang terakhir yaitu karenabeberapa pernyataan yang dikutip dari para narasumber sendiri mengandung code-switching.

Apapun tipenya atau yang mungkin menjadi alasannya, saya menyarankanagar code-switching di majalah remaja ‘HAI’ memberi model yang baik bagiproses pemahaman bahasa Inggris. Bentuk yang tepat dari elemen-elemen bahasaasing yang digunakan sesuai dengan fungsinya masing-masing didalam teksmerupakan hal yang sangat penting.

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CHAPTER I

INTRODUCTION

A. Background of the Study

Nowadays, people can easily gain as much as possible information that

they need because there are a number of information resources such as

newspapers, magazines, TV stations, and internet websites. Everybody needs up

to date information to keep her or himself in touch with the world. In the middle

of the fast advances in technology of the electronic information media such as

television and internet, people are still interested in gaining much information that

they need from the printed mass media like newspapers and magazines.

Unlike the middle-aged people who really love to read newspapers to

support their social life, teenagers would rather read magazines than newspapers,

especially teenage magazines. They have certain reasons for this; it can be because

of some more interesting features of magazines such as colourful papers and

pictures or due to various topics of the magazines which are in line with the

interest among teenagers. In order to fulfill the needs of information among

teenagers, at present, so many teenage magazines are published and they compete

to be the best. ’HAI’ teenage magazine is one of the most popular teenage

magazines in Indonesia which still concerns in supplying teenagers with enough

information in line with entertainment. This commitment is being realized within

a lot of interesting features of the magazine that can increase teenagers’ interest in

reading the magazine.

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One interesting language feature that can be found in ‘HAI’ teenage

magazine is prominent borrowing of words, phrases, or even sentences from

English language juxtaposed with Indonesian words, phrases, or sentences to

create interesting language utterances. In addition, the writers of the articles are

aware of their process of adoption by italicizing those foreign language elements.

This becomes a phenomenon because the adoption is employed prominently.

Almost in every page of the magazine, there are so many words from English

language that exist within Indonesian utterances.

This phenomenon can be explained by linguists by the term code-

switching. Asher (1994: 581) explains “the term ‘code-switching’ refers to the

juxtaposition of elements from two (or more) languages or dialects.” So, someone

may switch the language that she or he uses from one language to another. She or

he can produce a language utterance which consists of language elements from

two or more different languages. It can be found in ‘HAI’ teenage magazine in

which the writers produce Indonesian utterances with the language elements of

Indonesian and English language.

There are a number of reasons for code-switching. One of them can be a

matter of necessity. Sometimes, people find some difficulty to explain something

in their native language expression since there is no obvious word or expression of

the language to be used. As the compensation they decide to find the more

obvious expression from other languages. They employ the more expressive or

representative word or phrase from foreign languages to explain what they want to

say, so they speak with two different languages. For example, Indonesians

frequently borrow ‘gender’ from English language. It can be seen in a popular

2


phrase of Indonesian language kesetaraan gender. Indonesians prefer borrowing

an English word ‘gender’ to using an Indonesian phrase jenis kelamin. It is not

strange at all to find an alteration between two different languages within a single

utterance, which is called code-switching, as far as the speaker has appropriate

reasons to apply it.

There is a great deal of implementation of code-switching dealing with the

foreign language elements which are borrowed. There is apparent distinction on

the length of these elements which vary from a single word up to a complete

sentence. Language theories are chief matters which should be obeyed as guidance

toward better understanding and implementation of various kinds of code-

switching.

Since ‘HAI’ teenage magazine is one of the Indonesian public media

which carries out education mission, it needs appropriate reasons for borrowing

language elements from foreign language, in this case English language, to be

juxtaposed with Indonesian utterances.

B. Problem Identification

Some examples of code-switching in ‘HAI’ teenage magazine assert

clearly the different length of the juxtaposed language elements which are

borrowed from English language. The foreign language elements are not only

single words, phrases or clauses but also complete English sentences. This

difference suggests various types of code-switching dealing with the length of the

juxtaposed elements exist in the magazine. The analysis of the types hopefully

may reveal the possible reasons for the existence of code-switching in ‘HAI’

3


teenage magazine, which are of chief importance for the process of language

learning and understanding. The magazine has to have appropriate reasons for

this.

C. Problem Limitation

I am going to gain further comprehension and gain interpretations of a

language phenomenon that exists in ‘HAI’ teenage magazine which is identified

as code-switching. The code-switching, which should involve at least two

languages, in this study involves the switching between Indonesian and English

language.

D. Problem Formulation

There are two problems formulated in this study in order to specify the

main goal of the study. The problems can be formulated as follows:

1. What are the types of code-switching in Indonesian teenage magazine ‘HAI’?

2. What are the possible reasons for code-switching in Indonesian teenage

magazine ‘HAI’?

E. Objectives of the Study

In this study, there are two objectives to elaborate as follows:

1. to analyze the types of code-switching in Indonesian teenage magazine ‘HAI’,

and

2. to identify the possible reasons for code-switching in Indonesian teenage

magazine ‘HAI’.

4


F. Benefits of the Study

There are a number of benefits of this study for other people. The benefits

are specified for two groups of people who are the learners and other researchers

of English language.

The benefits for English language learners can be formulated as follows:

1. English learners will have broader knowledge of code-switching, especially

about the types of code-switching that exist in society. The code-switching

with various types in ‘HAI’ teenage magazines can be models for English

language learners to be applied in their daily communication.

2. English learners will obtain some possible reasons for code-switching so they

can understand where and when to apply it appropriately.

The benefits for other researchers can be formulated as follows:

1. This study will hopefully encourage other researchers to conduct further study

of code-switching.

2. Other researchers will have a kind of enlightenment or inspiration to explore

other language phenomena which exist in society.

G. Definition of Terms

These are some terms which need to be defined:

1. Code-switching

Code-switching is one of the objects of sociolinguistics, the study which

accounts the relationship between language use and the condition of the

society. Chrystal (1987) as cited by Skiba in Code Switching as a

Countenance of Language Interference explains that code-switching happens

5


when a bilingual person employs more than one language in her or his speech.

This involves the alteration of the language expressions of languages used by

the speaker. The alternated language elements take a number of forms such as

sentences and phrases.

2. Teenage Magazines

Teenage magazines are magazines which assert teenagers as the target

readers. The topics of the articles vary in line with teenagers’ favorites. The

language which is conformed to the teenagers’ language style or dialect is

important to be considered in order to build teenagers’ interest in the

magazines. It can also be an identity of a teenage magazine which can be used

to differentiate this sort of magazine from the others.

3. ‘HAI’ Teenage Magazine

‘HAI’ teenage magazine is one of the local teenage magazines of

Indonesia which has been published since 1977. This weekly magazine

presents review of information for teenagers. It has various topics for the

articles in line with teenagers’ life style such as pop music, sports, teenage

idols, up-to-date events, horoscope, etc.

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CHAPTER II

REVIEW OF RELATED LITERATURE

This chapter is divided into two main parts namely theoretical description

and theoretical framework. The theoretical description presents general

understanding of code-switching which is explained through discussion of some

definitions from some linguist besides a number of type classifications and

reasons for it as the main points of this study. Meanwhile, the theoretical

framework explains procedures organized to accomplish this study.

A. Theoretical Description

In order to obtain good understanding of code-switching, this theoretical

description is presented. This section consists of some definitions of code-

switching from some linguists, where and when it may happen in a society, some

types classifications and reasons for it, and also the relation of it with teaching and

learning activities.

1. The Nature of Code-Switching

According to Wardhaugh (1992: 103) the term ‘code’ refers to any dialect

or language used by a speaker to build communication with others. He asserts that

a person may use more than one code in her or his speech instead of just

employing a single code. People may switch or mix the codes or languages that

they use. And a term ‘code-switching’ is used to name this conversational

strategy.

7


There are a number of definitions of code-switching according to some

linguists. They have various definitions of it and employ different ways to explain

it. In order to obtain in-depth comprehension of code-switching, this study

presents a number of definitions from a number of linguists.

Valdes-Fallis (1977) as cited by Duran in Toward a Better Understanding

of Code-Switching and Interlanguage in Bilinguality: Implications for Bilingual

Instruction explains that code-switching may happen if two languages used

simultaneously or interchangeable. In addition, Peter Stockwell (2002: 135) states

that “Code-switching is often the specific mechanism through which the

borrowing of words and constructions happens.” From these two arguments, it

can be understood that code-switching involves two languages used

simultaneously by a speaker. As a result, there is a kind of alteration in the

language utterances involving language elements of those two languages by the

process of borrowing and constructing or combining. A speaker may borrow

certain language elements from another language and combine them with the

language elements of her or his native language. The language elements here can

be a word, phrase, clause or even complete sentence. But of course code-switching

pursues a number of requirements such as the speaker’s language competence of

the two languages in order to construct together the language elements of both

languages appropriately. The construction needs match combination of the

grammatical rules of the languages involved in the code-switching. It is explained

by Chana (1984) as cited by Duran in Toward a Better Understanding of Code-

Switching and Interlanguage in Bilinguality: Implications for Bilingual

Instruction that code-switching is the juxtaposition within the passage of

8


someone’s speech which involves items of two different languages. The items are

tied together according to the rules of both languages so the speaker is obliged to

put much respect on both language rules.

Since code-switching belongs to sociolinguistics, social context is also

important to be put in the discussion. The setting that enables code-switching to

happen may be described. Wardhaugh (1992: 103-104) elaborates where code-

switching may happen.

First, code-switching may happen in a multilingual country. It is a country

which employs more than one language as media of communication among the

citizens. Singapore, for instance, has five languages which are English, the

Mandarin variety of Chinese, Tamil, Malay, and Hokkien, another variety of

Chinese. The educational activity in formal school is held in formal Singapore

English and Mandarin. Meanwhile, people tend to bargain something with either

Hokkien or informal Singapore English in a traditional market.

Second, code-switching may also occur where there are multilingual

people meet each other in a foreign setting. For example, Indonesian students who

live in the United State have a tendency to use not only English language all the

time but they may also speak in their native language or dialect in certain

occasions. When they discuss academic work they may use English language, but

when they want to share daily activities in their spare time, they may choose

Indonesian language.

2. The Types of Code-Switching

Every linguist has her or his own theory or point of view to classify the

types of code-switching. Code-switching is a broad and complex language

9


phenomenon since it involves two distinctive languages in a single context of

occurrence. There are so many factors that affect code-switching to happen. The

different classification of the types of code-switching is considered normal and

acceptable.

According to The Encyclopedia of Language and Linguistics, there are

seven types of code-switching. The classification among those seven types is

mainly according to the length of the juxtaposed elements which are borrowed

from foreign language.

The first one is called diglossia. There are two distinctive varieties of code

that exist in diglossic communities. They are high (H) and low (L) variety. The

first one is the prestige variety which is used in formal discourse, and the other,

which is lack of prestige, is used in less formal discourse. People may use L

variety when they speak to their family at home but choose H variety, the more

formal variety, when they do job presentation in the office. The switching in

diglossia occurs in discourse level and involves the switching from H to L variety

or just on the contrary. Discourse is a unit of language elements which is longer

than a sentence.

The second type is situational code-switching. The language change

depends on the occasion faced by a speaker since certain occasion may encourage

the speaker to exchange the language which is used. The change happens for the

whole part of one’s speech in one context. For example, an English teacher may

talk in English for the whole part of the explanatory speech of a past perfect tense

to the second-grade students of Junior High School. Unfortunately, the students

have not understood the teacher’s explanation of when to use this tense. It is

10


helpful and possible if the teacher re-explains her or his English explanatory

speech in Indonesian so the students can fairly comprehend it. Despite the

framework of the context of occurrence which should be within one context, this

example of situational code-switching also gives salient description that

situational code-switching happens without any change of the topic.

The third one is metaphoric code-switching. The role of relationship

between the speakers in a conversation may change. The change of the language

or dialect that they use may also change in line with it. Unlike the previous one,

this type of code-switching asserts a change of the topic under discussion. When

someone meets her or his neighbour doing a duty as a bank teller the person may

greet her or his neighbour with their daily language, the less formal one, such as a

local dialect. But the person, then, appropriately and politely chooses the more

formal language to assert her or his main purpose to come to the bank, that she or

he wants to draw some money. Here, the person changes the role of relationship

from personal to official. The different relationship between the speakers which is

built by changing the code that they use asserts the existence of metaphoric code-

switching.

The fourth type of code-switching is called conversational code-

switching. It can also be called style shifting or code mixing. It allows the speaker

to juxtapose various length of foreign language elements within her or his speech.

The juxtaposed foreign language element in this type can be a phrase, clause, or

full sentence.

When the juxtaposed element is a single word, the process involves single-

word code-switching. This fifth type can also be called borrowing. It welcomes

11


the speaker to borrow a single word from another language or dialect and place it

within her or his native language utterances. Here is one example of this type of

code-switching which involves Indonesian and English language:

‘Ceritanya dari film itu mengambil setting di Portugal.’

From the example, it can be seen that the speaker replaces an Indonesian

word lokasi with an English word ‘setting’.

The last type of code-switching introduced in The Encyclopedia of

Language and Linguistics is integrated loanwords. The juxtaposition in this type

happens in a morpheme level. Morpheme is a minimal functional element of a

word. Here, someone may integrate a word from a foreign language with affixes

of her or his native language to form a certain language expression. Here is an

example of this type of code-switching which involves English and Indonesia

language.

‘Ronald adalah pemain gitar yang ber-skill tinggi.’

From the sentence above, the speaker combines an Indonesian prefix ber-

with an English word ‘skill’.

The next classification of code-switching is presented by Ronald

Wardhaugh. He discusses three kinds of language switching that may exist in

society.

The first type of code-switching is situational code-switching.

Wardhaugh (1992: 106) explains that situational code-switching happens when

the language which is used by a speaker changes according to the situation which

is faced by the speaker. She or he may speak one language in one situation and

another language in the different one. It can be seen when a teacher starts a kind of

12


formal lecture in a standard variety and then tries to encourage the following

discussion in a local dialect so that the students will not get tired.

Second, there is metaphorical code-switching. One thing that enables

people to identify metaphorical code-switching is that it has an affective

dimension; formal to informal, official to personal, serious to humorous, etc. This

type of code-switching can be seen when two leaders of local companies transact

business together. Even though the standard language is generally used,

sometimes they also speak in a local dialect for special effect, e.g., to show that

they trust each other.

The last type is conversational code-mixing. The difference between

code-switching and code-mixing can be seen through the context of the

occurrence in which code-mixing occurs within a single utterance of someone’s

speech as what Wardhaugh (1992: 106) says that “Code-mixing occurs when

conversances use both languages together to the extent that they change from one

language to the other in the course of a single utterance.” Here are some examples

of conversational code-mixing that Wardhaugh gives between Spanish and

English language:

a. No van a bring it up in the meeting.

‘They are not going to bring it up in the meeting.’

b. Todos los Mexicanos were riled up.

‘All the Mexicans were riled up.’

3. The Reasons for Code-Switching

This study elaborates various reasons for code-switching from two

linguists; D. Crystal and Ronald Wardhaugh.

13


Crystal (1987) as cited by Skiba in Code Switching as a Countenance of

Language Interference identifies three reasons why people employ code-switching

in their communication.

First, there is a possibility that a speaker may not be able to express her or

himself in one language so she or he switches to another language to compensate

for the deficiency. Someone’s language competence, even in her or his native

language, may be limited. For a multilingual person who is able to speak more

than one language, switching the language that she or he uses may be the best

answer for the deficiency problem.

Second, code-switching is used because someone wants to express

solidarity with a particular social group of speakers. She or he may use a language

which is used to show her or his sympathy or express what they fell toward others.

Almost every ethnic group has a vernacular language or dialect, and switching the

language toward the language of a particular ethnic group can be one way to

express solidarity toward the group.

Third, someone applies code-switching as a sort of variation in the level of

formality of her or his speech. A speaker has to be able to decide the opportunity

when to use each of them appropriately. Someone may accidentally change the

degree of the formality of the language by code-switching. It is needed to give

special effect of the relationship such as to build intimate relationship.

Meanwhile, Wardhaugh (1992: 106) provides three reasons for code-

switching.

The first reason is to express solidarity with the listeners. Language can be

used as a bridge of solidarity. People may choose a language from a certain

14


country or ethnic group to show their solidarity toward the people from that

country or ethnic group besides to build the more intimate atmosphere or

relationship.

The second reason is because of the choice of topic. In a conversation,

people often switch the topic under discussion. A particular language might be

appropriate to discuss a certain topic. The change of the topic might be also

accompanied by language switching so the variety of the language can be

appropriate with the new topic.

The last reason for code-switching given by Wardhaugh is that someone

uses code-switching because she or he perceives social and cultural distance. It is

related to the level of formality of the language. Someone may choose an informal

variety if she or he talks to her or his friend, on the other hand, a formal-standard

variety will be the best choice if she or he talks to her or his teachers since there is

social distance.

4. Code-Switching and Language Learning

Cook (1991) as cited by Skiba in Code Switching as a Countenance of

Language Interference agrees that code-switching can be used to help the process

of language learning. He describes the Institute of Linguistics' examinations in

Languages for International Communication test as one which uses code

switching. At beginners’ level, students may use the second language to obtain

some information from materials such as a travel brochure or a phone message to

answer comprehension questions in the first language. At advanced stages, the

students may be required to research a topic and provide a report in the first

language.

15


B. Theoretical Framework

In order to conduct a systematic study, I organize this theoretical

framework to explain the procedures organized to accomplish this study. There

are five steps presented in this theoretical framework.

1. Conducting preliminary observation of code-switching in ‘HAI’ teenage

magazine

By conducting preliminary observation of the code-switching in ‘HAI’

teenage magazine, I can obtain an overview of the language phenomenon

being studied. The results of this process can be very useful for further

processes since the preliminary observation may give me basic description of

code-switching in the magazine. So, this step is also important in this study.

2. Conducting a confirmation of code-switching to the editorial staff of ‘HAI’

teenage magazine

Conducting a confirmation of the existence of code-switching in ‘HAI’

teenage magazine to the editorial staff of the magazine is also needed. The

information that I receive from them, as the informants of this study, hopefully

can give me salient comprehension of the existence of code-switching in the

magazine.

3. Collecting the code-switching cases which exist in ‘HAI’ teenage magazine

By listing the code-switching cases on an observation form, I may gain much

help in the process of analyzing the data. It can also give the readers a clear

description of code-switching cases in ‘HAI’ teenage magazine.

4. Analyzing the types of code-switching in ‘HAI’ teenage magazine

16


The analysis of the types of code-switching is conducted after all of the

utterances that contain code-switching in the magazine have been listed on the

observation form. I employ some categories of the type of code-switching

stated by linguists to classify the types of code-switching in ‘HAI’ teenage

magazine.

5. Identifying the possible reasons for code-switching in ‘HAI’ teenage magazine

The identification of the possible reasons involves three important aspects; a

number of reasons for code-switching stated by linguists, some information

collected from the informants of this study, and my interpretations of the

phenomenon. The first two aspects are used as the basis for my interpretations

in identifying the data. The result of this process may come up with some

possible reasons for code-switching in ‘HAI’ teenage magazine.

17


CHAPTER III

METHODOLOGY

I used a certain methodology to conduct this study, and this chapter aimed

at discussing the methodology systematically. The discussion included research

method, source of data, research instrument, data gathering techniques, data

analysis techniques, and research procedures.

A. Research Method

A certain methodology was needed as guidance to conduct and organize

steps or procedures of this study. Since this study was conducted to comprehend a

language phenomenon that existed in society, in this case code-switching,

qualitative research was considered as the most appropriate term to name the

method of this study because Leedy and Ormrod (2005: 133) argued that

qualitative research focuses on understanding social phenomena in their natural

setting. Code-switching in ‘HAI’ teenage magazine was considered as a social

phenomenon in language use because the writers of the articles employed code-

switching prominently. Through this study I was going to analyze and

comprehend this kind of social phenomenon that existed in ‘HAI’ teenage

magazine.

The objective of finding some possible reasons for code-switching in

‘HAI’ teenage magazine was to interpret the meaning of the existence of code-

switching in the magazine since it was essential, in qualitative research, to figure

18


out interpretations of the phenomenon which were constructed in the particular

setting. The identification of the possible reasons could represent my

interpretations of code-switching. Merriam (2002:3-4) discussed further about

this:

The key to understand qualitative research lies with the idea that meaning issocially constructed by individuals in interaction with their world. There aremultiple constructions and interpretations of reality that are flux and changeover time. And qualitative research tries to understand what thoseinterpretations are at a particular point in time and in a particular context.

Holliday (2002: 12) stated that qualitative research also tries to understand

the complexities of a culture of the social world where we live and how we can go

about thinking, acting and making meaning of it. He defined ‘culture’ according to

the belief of Beales, G. Spindler and L. Spindler (1967: 8) that “’Culture’

therefore refers to the cohesive behaviour within any social grouping from a

neightbourhood to a work group.” From this definition of culture, it could be

concluded that the process of employing code-switching done by the writers of the

articles in ‘HAI’ teenage magazine was a kind of culture since they employed

code-switching prominently almost in every page of the magazine. In addition, it

became cohesive behaviour which was implemented by most of the writers of the

articles of ‘HAI’ teenage magazine.

Since this research was an in-depth study of code-switching which

presented further analysis and an description of this existing phenomenon, it was

considered as descriptive research. Bungin (2007: 68-69) explained that

descriptive study involved an in-depth exploration of the object being studied.

That was why it was appropriate and necessary to not only identify the types of

code-switching but also analyze the possible reasons for code-switching in ‘HAI’

19


teenage magazine. The analysis of the types of code-switching might come to the

understanding of its complexities and through the identification of the possible

reasons I would like to interpret the meaning of applying code-switching in the

magazine.

The choice of using the first person point of view was appropriate in this

qualitative research to describe the inclusiveness of the researcher toward the

object of the study. It was also needed to enable the readers to see my

interpretations saliently. It was supported by Clark and Ivanič (1997: 169) who

said that the use of ‘I’ could create:

A different, more transparent relationship with her reader. […] She tried tomake it very clear what her own opinions are. In other words, she tries not todisguise ‘opinion’ as ‘fact’ by using impersonal so-called objective language.

B. Source of Data

‘HAI’ teenage magazine was considered as the main source of data since

this study concerned in code-switching that existed in ‘HAI’ teenage magazine

only. There was a sort of combination between Indonesian and English language

to produce certain utterances which was then considered as code-switching. I

employed two editions of ‘HAI’ teenage magazine to be analyzed and chose the

magazines randomly without paying much attention on the edition number or

publish due date. I decided to choose two editions of ‘HAI’ teenage magazine as

the objects of my research to answer the research questions since it had already

been able to describe the existence of code-switching in ‘HAI’ teenage magazine.

They were as follows:

a. 12-18 SEPTEMBER 2005/TH XXIX NO 37

20


b. 26 MARCH-1 APRIL 2007/TH XXXI NO 13

The editorial staff of ‘HAI’ teenage magazine played a significant role as

the informants of this study. Informants were needed to obtain a vivid description

of code-switching in the magazine.

C. Research Instrument

Kountur (2003: 151) explained that instruments of a research played an

important role in data collection and analysis. Since this study was qualitative

research, the researcher was considered as the research instrument of this study. It

was supported by Merriam (2002: 5) who explained that

A second characteristic of all forms of qualitative research is that theresearcher is the primary instrument for data collections and data analysis.Since understanding is the goal of this research, the human instrument,which is able to be immediately responsive and adaptive, would seem to bethe ideal means of collecting and analyzing data.

D. Data Gathering Techniques

In order to obtain qualified data to support my research, I employed two

methods offered by Bungis (2007: 115-124). They were participant observer and

online data search method.

Participant observer was a method used by researchers to obtain data of a

research by observation and sensory perception. It required the use of human

senses like eyes, ears, or skin to obtain data. I used this method to get the data of

code-switching cases in ‘HAI’ teenage magazine. The implementation of this

method was conducted in three steps.

First, the observation form was designed to list the code-switching cases

21


which were found in ‘HAI’ teenage magazine. They were accompanied by the

page numbers in the magazine. The data of code-switching presented on the

observation would be easier to be analyzed.

Second, the identification of the code-switching cases was conducted.

Since English language elements, as the juxtaposed elements of the code-

switching in ‘HAI’ teenage magazine, were italicized, I gained much help to

identify the code-switching cases in the target magazines. The process of the

identification of the code-switching cases was done by reading and analyzing

carefully the target magazine.

Finally, all of the code-switching cases found in ‘HAI’ teenage magazine

were listed on the observation form. They were accompanied by the page numbers

in the magazine.

Online data search was a method to get data from the internet. I conducted

this method to obtain information from the editorial staff of ‘HAI’ teenage

magazine as the informants of this study. I sent them an e-mail to clarify whether

or not they had any purpose of using code-switching in the magazine. The answer

from the informants might help me to identify possible reasons of code-switching

in the magazine.

E. Data Analysis Techniques

Data analysis was very important this qualitative study, so appropriate

method in analyzing the data was necessary. In order to gain qualified findings, I

followed the organized steps in organizing and analyzing the data of qualitative

research which were constructed by Creswell (1998) as cited by Leedy and

22


Ormrod (2005). He created a data analysis spiral which was implemented within

the following steps:

1. Organize the data

The large bodies of text should be broken down into the smaller one which

could be presented in the form of sentences or individual words. I conducted

scanning reading to identify language expressions in the target magazines that

contained code-switching. And then the code-switching cases were listed on

the observation forms.

2. Peruse the data

In this step, I might obtain an early overview of the data collected in the

previous step which could be very helpful for the later steps. The sense of

early interpretations toward the phenomenon being studied might arise here.

3. Identify general categories and classify each piece of data

This step might come up with specific patterns of data. The data presented on

the observation forms was the primary object of identification in this step.

Every code-switching case which was listed on the observation forms was

identified for its type.

4. Integrate and summarize the data

After the identification process of the types of the code-switching in ‘HAI’

teenage magazine had been finished, the findings could be summarized.

Creswell suggested that researchers presented the summary in an

organizational scheme such as a table, figure, or diagram. This step also

encompassed further interpretations of the data beyond certain types of code-

switching that existed in the magazine. The integration of every code-

23


switching case might spell out further interpretations of the language

phenomenon.

The data analysis spiral could be figured out as follows:

Figure 3.1: The Data Analysis Spiral

F. Research Procedures

This section described the procedures of this study which were organized and

done to obtain deep comprehension of the phenomenon being studied. There were

six steps conducted to accomplish the research as follows:

1. Selecting the target magazine

There were two editions of ‘HAI’ teenage magazine used as the target

magazines in this study since they had already been able to describe the

existing phenomenon in the Indonesian teenage magazine. I chose the

magazine randomly.

The Final Report

Synthesis

The Raw Data

Organization

Perusal

Classification

24


2. Designing the observation form

It was important to produce the observation form in the very beginning of the

process. Observation form was needed to accommodate the data of code-

switching cases from the target magazine. They were used to list all of the

code-switching cases found in the magazines so every code-switching case

could be clearly seen within its context of the occurrence.

3. Listing the code-switching cases on the observation form

After the observation form had been designed, code-switching identification

on the target magazines could be conducted. Since the borrowed language

elements were italicized, I gained much help in identifying the code-switching

cases in the magazine. Every code-switching case which was found in the

magazine then listed on the observation forms.

4. Analyzing the types of the list of code-switching

Code-switching cases which were listed on the observation form were directly

analyzed to find out the types according to the categories employed by this

study.

5. Identifying the possible reasons for code-switching

A number of linguists had asserted some reasons for code-switching

application. I used the reasons as the bases to figure out the possible reasons

for code-switching in ‘HAI’ teenage magazine. The process of identifying the

possible reasons also included the reasons for code-switching stated by the

editorial staff of ‘HAI ‘teenage magazine. My personal interpretations of the

language phenomenon were also very important here.

25


6. Making conclusions based on the findings

The results of the steps done previously were concluded in this step. They

were the answers to the research questions presented in the problem

formulation.

26


CHAPTER IV

RESEARCH DISCUSSION AND OTHER FINDINGS

As it had been stated in the problem formulation, this study had two

questions to be answered. They were 1) what are types of code-switching in

Indonesian teenage magazine ‘HAI’? 2) what are the possible reasons for code-

switching in Indonesian teenage magazine ‘HAI’? This chapter was presented to

discuss the implementation of the research procedures to answer the research

questions and gain in-depth interpretations of the language phenomenon.

A. The Types of and the Possible Reasons for Code-Switching

I conducted literature review to obtain enough data of the definition of

code-switching. The data was sufficient to conclude that the language

phenomenon which existed in ‘HAI’ teenage magazine was code-switching. I

identified that the writers of the articles juxtaposed some English language

elements with Indonesian utterances in their articles in the magazine. Based on a

number of definitions of code-switching from some linguists, I defined code-

switching in ‘HAI’ teenage magazine as the juxtaposition of language elements of

Indonesian and English language used simultaneously by the writers of the articles

to produce certain utterances. Asher (1994: 578) gave a little support for my

definition of code-switching in ‘HAI’ teenage magazine by stating that “Code-

switching then is the switching from one variety, either of the same language or of

different languages, in speech or writing.”

27


The complexity of code-switching arose on which one definition had been

implemented to form various types. And every people might have different

reasons for applying code-switching. Yet, this might be the starting point to gain

in-depth interpretations of the existence of code-switching in ‘HAI’ teenage

magazine. Moreover, the code-switching occurred prominently so it became a

language phenomenon which could be studied to obtain meaningful

interpretations.

1. Analysis of the Types of Code-Switching

In the process of analyzing the types of code-switching in ‘HAI’ teenage

magazine, I adopted the steps for analyzing data in qualitative research formulated

by Creswell (1998) as cited by Leedy and Ormrod (2005). There were four main

steps which were started by data collection or organization. Further explanation

and implementation of the process could be seen in the discussion of the following

steps.

a. Organize the Data

The data of this research were all of the code-switching cases in ‘HAI’

teenage magazines. There were two editions of ‘HAI’ teenage magazine which

were used as the target magazines. They were as follows:

1) 12-18 SEPTEMBER 2005/TH XXIX NO 37

2) 26 MARCH-1 APRIL 2007/TH XXXI NO 13

An observation form was used to collect data of code-switching cases

found in the teenage magazines. The observation form to collect the data of code-

switching in the contextual utterances could be seen in Appendix 1.

28


There were two observation forms used in this study. The code-switching

cases in one edition of the magazine were collected on one observation form.

I found so many utterances that contained code-switching cases almost in

every page in the magazines. It showed that the writers of the articles employed

code-switching prominently. All of the code-switching cases were listed on the

observation form by writing the code-switching cases in the contextual utterances

and not merely the switched or juxtaposed language elements. The code-switching

in the magazines were mostly occurred within a sentence and only few of them

occurred between sentences. The page number column accommodated the page

numbers of the magazines where the code-switching were found. It was important

to write also the page numbers so the existence of the code-switching cases in the

magazines could be proved effectively.

b. Peruse the Data

This section was done to obtain an overview of the data of code-switching

cases collected before. From the analysis of code-switching cases presented on the

observation forms, I found that three of the six types of code-switching from The

Encyclopedia of Language and Linguistics existed in the magazines. The

classification of the types was based on the length of the juxtaposed language

elements. The three types and the examples of code-switching from the magazines

were as follows:

1) Conversational code-switching; the juxtaposed element can be a sentence,

clause, or phrase. E.g.:

a) Sekardus cat semprot warna-warni plus masker jadi senjata andalan. It’s

show time! (p.5, vol. 37)

29


b) Nih mobil menjadi mobil yang paling sering memecahkan rekor fastest

lap. (p.21. vol. 37)

c) Siapa sangka kalo in the real life dia juga MisssRing-Ring? (p.2, vol.13)

2) Single-word code-switching; the juxtaposed element is a single word. E.g.:

a) Next, tentang belajar dari coba-coba. (p.27, vol.37)

b) Nggak nyangka kalo iklan itu bakal booming. (p.6, vol.13)

3) Integrated loanwords; the juxtaposed element consists of morphemes of

English and Indonesian language which are integrated to form a single

expression. E.g.:

a) Sound-nya bener-bener dikulik abis. (p.13, vol.37)

b) Yang udah pasti, ambience-nya jadi berubah. (p.13, vol.37)

c) Nanti penonton kasih komentar, terus kalo ada penonton yang suka sama

lagunya, mereka harus temenin nge-date. (p.10, vol.37)

d) Rio pun menyanyikan salah satu lagu legend-nya The Groove itu dengan

lancer. (p.12, vol.13)

From the finding of the types of code-switching that existed in ‘HAI’

teenage magazine above, it could be concluded that the length of the juxtaposed

language elements varied from a single word up to a complete sentence. And the

code-switching mostly happened within a sentence.

c. Identify General Categories and Classify Each Piece of Data

In this step, the list of code-switching cases presented on the observation

form was analyzed to find out each type of every code-switching case. Before the

code-switching types analysis, the observation form was updated by adding the

categories of the types of code-switching that existed in ‘HAI’ teenage magazine;

30


single-word code-switching, conversational code-switching, and integrated

loanwords. The three types had been proved to be the only types of code-

switching which existed in the magazine. For a more detailed description of the

observation form for analyzing the types of code-switching cases in the target

magazines, see Appendix 2.

d. Integrate and Summarize the Data

I accounted code-switching based on the existence of the foreign language

elements, in this case English language elements, which were combined with

Indonesian language elements. The data implied that within a single sentence,

there could be more than one unit of the juxtaposed element with various lengths.

In other words, there could be more than one type of code-switching as it could be

observed from the examples below.

1) Integrated loanwords and single-word code-switching

a) Kalo udah di-perform-in secara live, tapi mereka nggak bisa ngeliat

penontonnya. (p.5, vol.37)

b) Problem utama band ini terletak pada frontman-nya yang pecandu berat

drugs. (p.78, vol.37)

c) Sayang, di single terakhir, pronunciation-nya rada kacrut. (p.21, vol.13)

In the first example, an English-Indonesian expression ‘di-perform-in’

was the juxtaposed language element for the integrated loanwords code-

switching. Meanwhile, an English word ‘live’ was the juxtaposed language

element for the single-word code-switching. So, there were two types of code-

switching.

31


2) Conversational code-switching and integrated loanwords

a) Bams cs “memaksa” music maniacs Palembang ber-sing a long. (p.8, vol.

37)

b) Job desk-nya hampir sama dengan stage crew. (p.29, vol.13)

In the first example, conversational code-switching could be identified by

the existence of an English phrase ‘music maniacs’, and integrated loanwords

involved ‘ber-sing a long’.

3) Single-word code-switching and conversational code-switching

a) Kombinasi medium beat dan ballad yang emang jadi kelebihan cewek

berambut panjang itu. (p.19, vol.37)

b) Cuma mungkin lo belum sadar sepenuhnya akan gift itu, dan malah

kadang suka ngerasa ketakutan. Man, just don’t take it for granted and

use it in a good way. (p.46, vol.37)

c) So, ayo tunjukin kalo kalian bisa menjaga mereka! Lets dance together lah

…. (p.46, vol.13)

From the first example, single-word code-switching could be identified

by the existence of an English word ‘so’. And the English clause ‘there’s

something wrong with him’ revealed that there was also conversational code-

switching.

4) Single-word code-switching, conversational code-switching, and integrated

loanwords

a) Nggak cuma ngandelin lagu-lagu ballad, mantan lady rocker Indonesia ini

lebih mengeksplorasi kemampuan vokalnya untuk ngebawain single nge-

beat kayak yang termuat di single In Your Mind. (p.19, vol.37)

32


b) Misalnya, kaos biru elektrik dengan hooded sweater magenta. Soal waktu

pemakaian, warna “gonjreng” ini cocok banget buat dipake nonton konser,

nonton di bioskop, pergi ke pensi, party di disko, bahkan nge-date sekali

pun. (p.35, vol.13)

The first example above contained three types of code-switching. The

first one was single-word code-switching with ‘ballad’ as the borrowed word.

The second one was conversational code-switching which involved an English

phrase ‘lady rocker’. The last one was integrated loanwords which could be

identified by the existence of ‘nge-beat’.

The last step was summarizing the data. The summary of the number of

code-switching cases in both target magazines and the occurrence percentage of

every type of code-switching could be seen in the tables below:

No. The Types of Code-Switching

The Number of

Code-Switching

Cases

Percentage

1. Single-word code-switching 166 58%

2. Conversational code-switching 91 32%

3. Integrated loanwords 29 10%

The total number and percentage 286 100%

Table 4.1: The Summary of the Types of Code-Switching in Vol. 37

33


No. The Types of Code-Switching

The Number of

Code-Switching

Cases

Percentage

1. Single-word code-switching 143 55%

2. Conversational code-switching 94 36%

3. Integrated loanwords 24 9%

The total number and percentage 261 100%

Table 4.2: The Summary of the Types of Code-Switching in Vol. 13

Both summaries showed similar indications of code-switching

phenomenon in ‘HAI’ teenage magazine dealing with the frequency of occurrence

of each type. The results of the percentage did not show salient distinction of the

occurrence of the types of code-switching in the target magazines. From the data,

it could be concluded that single-word code-switching was the most frequent type

in the occurrence. Furthermore, the percentage in each target magazine was more

than 50% of the total occurrence. The absolute presence of this type indicated that

the writers of the articles in ‘HAI’ teenage magazine frequently juxtaposed a

single English word with Indonesian utterances in their articles.

The English words in the single-word code-switching were mostly content

words such as nouns, verbs, adjectives and adverbs. But I also found that the

writers also juxtaposed some English conjunctions.

1) Content words

a) A noun

Sebuah tagline yang menarik. (p.52, vol.13)

34


b) A verb

Mereka para finalis Moka 2005. Meet, Eline, Livia dan Nadia. (p.5,

vol.37)

c) An adjective

Setiap kali gue menonton film itu, gue selalu merasa amazed sama apa

yang terjadi dalam alur gambarnya. (p.74, vol.13)

d) An adverb

Yakin aja, semua usaha keras kamu someday pasti ada hasilnya. (p.56,

vol.37)

2) Conjunction

Gue suka baca buku or nonton film horror, nanya-nanya ke temen yang “orang

pinter”. (p.46, vol.37)

Integrated loanwords code-switching itself essentially involved a process of

borrowing single English words which were integrated with Indonesian affixes. It

could be seen in the following examples.

a) “Seger kalo diliat,” bilang Via sambil me-retouch graffiti karyanya. (p.7,

vol.37)

b) Kalo udah di-perform-in secara live, tapi mereka nggak bisa ngeliat

penontonnya. (p.10, vol.37)

c) Sound-nya bener-bener dikulik abis. (p.13, vol.37)

From those four examples of integrated loanwords, it could be seen that

the juxtaposed language elements consisted of English words and Indonesian

affixes which were integrated. Their integration could not distract my

understanding that the writers were absolutely eager to use foreign words rather

35


than words of their native language for certain expressions. It, once again, asserted

how frequent the writer borrowed a single English word.

2. Identification of the Possible Reasons for Code-Switching

Since this study was qualitative research, it was important to give

interpretations of the existing phenomenon as it had been suggested by Holliday

(2002: 5).

The qualitative belief that the realities of the research setting and the people init are mysterious and can only be superficially touched by research which triesto make sense is interpretive. It maintains that we can explore, catch glimpses,illuminate and then try to interpret bits of reality.

The main focus of the interpretive process in this study was to obtain in-

depth comprehension toward the phenomenon through the identification of its

possible reasons. The identification of the possible reasons involved two

important aspects. They were theories from some linguists and purposes of

employing code-switching stated by the editorial staff of ‘HAI’ teenage magazine.

I conducted a confirmation of code-switching in ‘HAI’ teenage magazine by

sending an e-mail to the editorial staff of the magazine. I asked them whether or

not they had any reasons for juxtaposing English language elements with

Indonesian utterances in the magazine. From the reply of my e-mail that I

received, it could be concluded that they had three reasons for it. First, they

wanted to be closer to the readers. Second, code-switching was used to explain

what they wanted to express concisely. Third, a direct quotation from the

informants might also contain foreign language elements. I used them as my

considerations to interpret the possible reasons for the existence of the language

phenomenon in the magazine.

36


In qualitative research, the writer’s personal interpretations of the language

phenomenon being studied were important. I also used my interpretation of the

types of code-switching that existed in the magazine to reveal the possible

reasons. The tendency of the writers in using certain types might spell out the

underlying reasons for employing code-switching. There were four possible

reasons that I could identify.

The first reason was to build intimate relationship with the readers. This

was appropriate with the reason stated by Crystal (1987) as cited by Skiba in Code

Switching as a Countenance of Language Interference that code-switching could

be used to express solidarity with others. The writers chose words or terms which

were very familiar with teenagers as the readers. Teenagers usually used the terms

in their social interaction. The existence of such terms as melting, worthed, nge-

date, and jealous might distract the boundaries between the writers and teenagers

so teenagers could feel that the writers became the members of their society. The

use of such terms also enabled the writers to build up and close communication

with teenagers as the readers and described that they really understand where

teenagers lived; in their own dynamic-global-independent environment. A single

mistake in the implementation of code-switching in ‘HAI’ teenage magazine

really distracted my understanding that a code-switching phenomenon in the

magazine had given good models to comprehend English language. But, the

understanding of the essence of sociolinguistics which also accounted the culture

and the structure of the setting of the society might give permission for it.

Teenagers who frequently used informal-ungrammatical dialect or language

variation in their communication encouraged the writers of the articles of ‘HAI’

37


teenage magazine to really enter their custom of communication to be closer to the

readers. The understandable message was, then, the most important point. It could

be understood by the existence of these two understandable examples, yet

grammatically ineffective.

a. Beda sama banci yang dari penampilan dan gesture tubuhnya aja udah

keliatan. (p.26, vol.37)

b. Peralatan yang ada tuh mulai dari tool kit yang kecil-kecil, sampai peralatan

besar kayak dongkrak hidrolik. (p.49, vol.37)

In the first example, the word ‘gesture’ actually had described the movement

of the part of the body. The Indonesian word of ‘body’, tubuh, which followed the

word ‘gesture’ asserted the ineffectiveness. It might also deviate the meaning of

‘gesture’ itself. But as what I had stated that the salient message was the most

important point for code-switching in ‘HAI’ teenage magazine. The repetition

could describe that the writer wanted to produce a clear message. For addition, the

trend among teenagers in using informal-ungrammatical dialect might also affect

the presence of ‘gesture’ in front of its Indonesian version ‘tubuh’.

The ungrammaticality in code-switching in ‘HAI’ teenage magazine could

be seen in the following example where the writer of the article produced ‘speak-

speak’ as the juxtaposed element.

a. Sadar kalo momennya tepat buat bikin cewek-cewek termehek-mehek, Ello

langsung nunjukin skill-nya speak-speak. Pokoknya setiap abis satu lagu doi

nggak pernah absen ngeluarin rayuan gombal. (p.75, vol.37)

b. Bareng Aghi, Everybody Loves Irene menghasilkan sound-sound aneh yang

berisik. (p.76, vol.13)

38


English language rules clearly did not allow the speaker to double the

same verbs simultaneously like ‘speak-speak’ in the example above. But the

ungrammaticality of code-switching in ‘HAI’ teenage magazine, once again, could

be tolerated since one of the reasons for code-switching in the magazine was to

build intimate relationship with the readers. And all of the juxtaposed elements

had been conformed to the language style or dialect which were used by teenagers

in their daily conversation. The ungrammatical part in code-switching came from

teenagers themselves as one of the criteria of their informal dialect. The writer did

not mean to plunge the readers into a mistake, yet it became a strategy to be closer

to the readers by imitating the way they treated a language.

The second possible reason came from the tendency that the writers

frequently employed a single-word code-switching by juxtaposing a single

English word with Indonesian utterances. It implied that the writers found some

difficulty in describing what they wanted to express in Indonesian language or

with Indonesian terms. It was supported by Crystal (1987) as cited by Skiba in

Code Switching as a Countenance of Language Interference that a speaker might

find difficulty to express her or himself in one language so she or he switched to

another language to compensate for the deficiency. It was not because of the

limited vocabulary of Indonesian language, I believed that there were some people

who assumed that some English words might imply broader meaning than the

Indonesian versions. It was supported by the editorial staff of ‘HAI’ teenage

magazine. They explained that they decided to use foreign language elements to

produce concise expressions without obscuring the fundamental meaning. They

explained that they faced some difficulty to find Indonesian words which had

39


equal meanings with the English words or terms in the following code-switching

cases.

a. Score itu kan song-writing reality-dating game show. Jadi pesertanya dikasih

waktu seharian buat bikin lagu. (p.10, vol.37)

b. Pada fase ini seseorang sedang belajar tentang identitas dan tanggung jawab

gender. (p.26, vol.37)

c. Ini lazim disebut sebagai guilty pleasure. (p.54, vol.37)

d. Buktinya lewat album repackage mereka yang sudah tidak menyertakan Dimi

dalam daftar personil. (p.68. vol.13)

The English words or terms in the examples above would be difficult to

be translated into Indonesian and the translations might also eliminate some

essential messages instead. Code-switching was very helpful to cover the

deficiency problem of vocabulary. A speaker may switch the language that she or

he uses to another if she or he has this kind of problem. The writers of the

magazine had given me a good example to comprehend it. But it was important to

make sure that teenagers absolutely understood the foreign words. Since the

foreign language elements had been compromised with the teenagers’ daily

dialect, as it had been stated in the previous paragraph, it could be guaranteed that

teenagers had already understood the meaning of those foreign expressions.

Actually, a strategy could be implemented to make sure that the readers really got

the meaning by explaining the message of the foreign words in Indonesian, for

certain English terms, after the presence of those terms. Even though the meaning

would not be exactly similar, at least the readers could get clear description of it. I

40


guarantied that some teenagers did not understand what actually guilty pleasure

means.

Third, code-switching was employed because of the special terms related

to the topic under discussion that should be used. Every topic might have some

specific terms which were sometimes very difficult to be translated to another

language. Like the term sticking in the following example of code-switching in

‘HAI’ teenage magazine.

Sementara Claudia sibuk fingering, Ajeng tetep duduk manis sambil sticking.

(p.66, vol.37)

Indonesian language did not have an exact term to describe the term

‘sticking’, as the compensation; the writer borrowed and then juxtaposed it with

Indonesian language elements. Other terms could be seen in the following code-

switching utterances.

a. Selain itu stage manager juga berhak untuk memutuskan durasi pertunjukan.

(p.28, vol.13)

b. Kalo ngeliat faktanya, banyak banget film jenis ini yang jadi box office. (p.51,

vol.13)

c. Gara-gara ada catwalk baru yang dipasang di kanan-kiri panggung, Eross,

Sakti dan Adam jadi rajin mejeng di areal itu. (p.31, vol.37)

For the fourth possible reason, I agreed with the editorial staff of ‘HAI’

teenage magazine who said that sometimes a direct quotation from the informants

was needed. It was also important to be informed that the informants themselves

41


might employ code-switching. The writers of the articles had to write exactly what

their informants said. Some examples in the magazine revealed this argument. The

foreign language elements in the following examples came from the informants

themselves. It also described that some English expressions came from teenagers

themselves

a. “We need to start the revolution of streetball in Indonesia! Kami ngeliat kalo

selama ini basket tuh nggak berkembang. … ,” beber Anwar a. k. a Hyper

Drive yang juga salah satu dedengkot tim ini. (p.40, vol.37)

b. “Ya udah langsung ketemuan di sana aja ya! Sekalian ada yang pengen aku

retouch,” sahut Nadia pas janjian di telepon. (p.5, vol.37)

It could be seen from the examples that sometimes the informants

themselves applied code-switching in their speech. To express natural message of

what the informants said or to be as informative as possible, the writers had to

employ a direct quotation in their articles.

B. Code-Switching in Teaching-Learning Process of English Language

Cook (1991) as cited by Skiba in Code Switching as a Countenance of

Language Interference had stated that code-switching could be integrated in the

process of language learning. He had given an example of how code-switching

was used in the test of the Institute of Linguistics' examinations. Through this

study I would like to provide an alternative material to teach English language

dealing with the code-switching in ‘HAI’ teenage magazine. ‘HAI’ teenage

magazine would be used as the teaching material.

42


The most important point for a public media like ‘HAI’ magazine was the

salient messages which should be received by the readers. One of the purposes of

employing code-switching was to build intimate relationship with the readers. The

code-switching which was used prominently in the magazine should have been

very helpful for the readers to gain effective process of understanding the articles

since all of the foreign language elements, as the juxtaposed elements, were

reader-familiar expressions. Teenagers were supposed to understand the messages

of the utterances that contained code-switching. But the understanding of the

teenagers toward utterances containing code-switching could be tested through the

process of translating the foreign language elements into Indonesian to produce

full Indonesian utterances. English teachers could use it as a teaching material for

their students. But it was important to consider that the age of teen was the most

appropriate period for the students since the expressions and also the topics of the

articles in the magazine had been compromised for teenagers. According to

Encarta Webster’s College Dictionary: 2nd Edition, a teenager could be defined as

a young person between the age of 13 and 19. If it was related to the educational

levels in Indonesia, the students in the second grade of Junior High School – the

third grade of Senior High School were at the appropriate period to learn English

through this alternative material.

Teachers could provide two magazines for one class with 30-40 students.

There were approximately 80 pages in one magazine, she or he could divide the

students into groups of 3 and 4 and provided 15-17 pages for each group. Almost

in every page of the magazine there were a number of utterances that contained

code-switching.

43


The teacher could also ask the students to provide their own magazines. I

believed that the students would be exited to bring their own magazines. It also

could be one strategy to build interest among the students in the teaching-learning

process.

44


CHAPTER V

CONCLUSIONS AND SUGGESTIONS

This chapter aimed at accommodating final results of this research and

some suggestions. The final results were the answers to the research questions of

this study. The research questions were 1) what are types of code-switching in

Indonesian teenage magazine ‘HAI’? 2) what are the possible reasons for code-

switching in Indonesian teenage magazine ‘HAI’? The suggestions were presented

for the importance of current practice of code-switching in ‘HAI’ teenage

magazine and future research of code-switching.

A. Conclusions

1. The Types of Code-Switching in ‘HAI’ Teenage Magazine

I identified that there were three types of code-switching that existed in

the magazine. The classification was based on the length of the switched language

elements. The three types and the examples of code-switching from the magazine

were as follows:

a. Conversational code-switching; the juxtaposed element can be a sentence,

clause, or phrase.

b. Single-word code-switching; the juxtaposed element is a single word.

c. Integrated loanwords; the juxtaposed element consists of morphemes of

English and Indonesian language which are integrated to form a single

expression.

45


2. The Possible Reasons for Code-Switching in ‘HAI’ Teenage Magazine

There were four possible reasons that I could identify. They were as

follows:

a. The writers of the articles employed code-switching to build intimate

relationship with teenagers as the readers. It was possible since the juxtaposed

language elements were the terms that teenagers usually used in their social

interaction.

b. The writers of the articles found some difficulty in describing what they

wanted to express in Indonesian language. And switching to another language,

in this case English language, was the answer for this deficiency problem.

c. Code-switching was used because of the special terms related to the topic

under discussion. Every topic might have specific terms which sometimes

were very difficult to be translated to another language.

d. Sometimes a direct quotation from the informants was needed. And the quoted

statements might contain code-switching. The writers of the articles had to

write exactly what their informants said.

B. Suggestions

There are two suggestions in this study; one is for the writers of the articles in

‘HAI teenage magazine and the other is for other researchers of English language

who are also interested in code-switching.

1. The writers of the articles should choose an appropriate form of the foreign

language element, which is borrowed from English language, related to its

function in the utterance. The inappropriateness of its form will deviate the

46


readers’ understanding of the standard rules of English language. The

following example contains an inappropriate choice of the foreign word

related to its function in the utterance:

Lagi nggak boring sama rutinitas. (p.70)

The word ‘boring’ in the example above functions as an adjective which

should describe the condition of the unspoken subject. But the essential

meaning of this form of English word does not, actually, accommodate that

function. The form ‘bored’ would be the appropriate form to be juxtaposed

within the utterance. According to Encarta Webster’s College Dictionary: 2nd

Edition, ‘bored’ means “feeling tired because one has nothing to do or has lost

interest in sb/sth”. Whereas ‘boring’ means not interesting or dull.

2. Other researchers may conduct a research on code-switching in a spoken

context. Code-switching may happen in either written or spoken context. It has

been explained by Asher (1994: 578) that “Code-switching then is the

switching from one variety, either of the same language or of different

languages, in speech or writing.” Since a study of code-switching needs

researchers’ acute understanding of the setting of the society, it is important

for them to decide the domain, such as family and official, at the very

beginning of the research.

48


BIBLIOGRAPHY

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Bloomsbury Dictionary Database Team. 2005. Encarta Webster’s CollegeDictionary. 2nd edition. New York: Bloomsbury.

Bungis, H. M. Burhan. 2007. Penelitian Kualitatif: Komunikasi, Ekonomi,Kebijakan Publik, dan Ilmu Sosial. Jakarta: Prenada Media Group.

Beales, A.R., Spindler, G. and Spindler, L. 1967. Culture in Process. New York:Holt, Rinehart and Winston.

Clark, R. and Ivanič, R. 1997. The Politics of Writing. London: Routledge.

Creswell, J. W. 1998. ‘Organizing and Analyzing the Data from QualitativeStudies.’ in Leedy, Paul D. and Ormrod, Jeanne Ellis. (ed), PracticalResearch: Planning and Design. 8th edition. New Jersey: Pearson PrenticeHall. pp. 150-151.

Crotty, M. 1998. The Foundations of Social Research: Meaning and Perspectivein the Research Process. Thousand Oaks, CA: Sage.

Flick, U. 1998. An Introduction to Qualitative Research. London: Sage.

Holliday, A. 2002. Doing and Writing Qualitative Research. London: SAGEPublications Ltd.

Holmes, J. 1992. An Introduction to Sociolinguistics. New York: Addison WesleyLongman Inc.

Indriani, M.I. 2003. English Pronunciation: the English Speech Sounds Theory &Practice. Jakarta: RT Gramedia Pustaka Utama.

Kountur, R. 2003. Metode Penelitian untuk Penulisan Skripsi dan Tesis. Jakarta:PPM

Leedy, P.D. and Ormrod, J.E. 2005. Practical Research: Planning and Design. 8th

edition. New Jersey: Pearson Prentice Hall.

Meriam, S.B. and Associates. 2002. Qualitative Research in Practice: Examplefor Discussion and Analysis. San Fransisco: Jossey-Bass.

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Spolsky, B. 1998. Sociolinguistics. Oxford: Oxford University Press.

Stockwell, P. 2002. Sociolinguistics: A Resource Book for Students. London:Routledge.

Poole, S.C. 1999. An Introduction to Linguistics. New York: St. Martin’s Press.

Pride, J. B. 1971. The Social Meaning of Language. London: Oxford UniversityPress.

Richards, C.J. and Schmidt, R.W. 1983. Language and Communication. NewYork: Longman Inc.

Wardaugh, R. 1992. An Introduction to Sociolinguistics. 2nd

edition. Oxford:Blackwell.

Auer, P.1998. Code-switching in Conversation: Language , Interaction, andIdentity, http://www.udc.es/dep/lx/cac/c-s/ (accessed on November 15,2007)

Chana, U. (1984). ‘Code-Switching Description.’ in Duran, L. Toward a BetterUnderstanding of Code-Switching and Interlanguage in Bilinguality:Implications for Bilingual Instruction.http://www.ncela.gwu.edu/pubs/jeilms/vol14/duran.htm (accessed onNovember 15, 2007)

Chrystal, D. 1987. ’The Reasons for Code-Switching.’ in Skiba, R. CodeSwitching as a Countenance of Language Interference.http://iteslj.org/Articles/Skiba-CodeSwitching.html (accessed on 15November, 2007)

Cook, V. 1991. ‘Code-Switching in Language Examination.’ in Skiba, R. CodeSwitching as a Countenance of Language Interference.http://iteslj.org/Articles/Skiba-CodeSwitching.html (accessed on 15November, 2007

Valdes-Fallis, G. (1977).’ Code-Switching among Bilingual People.’ in Duran, L.Toward a Better Understanding of Code-Switching and Interlanguage inBilinguality: Implications for Bilingual Instruction.http://www.ncela.gwu.edu/pubs/jeilms/vol14/duran.htm (accessed on 15November, 2007)

49


No. Page

Number

The Code-Switching in ‘HAI’ Teenage Magazine

Appendix 1 the Observation of the List of Code-Switching

50


The Types of

Code-SwitchingNo. Page

Number

The Code-Switching in ‘HAI’

Teenage Magazine CCS SW IL

Notes:

CCS: Conversational code-switching

SW: Single-word code-switching

IL: Integrated loanwords

Appendix 2 the Observation Form of the Types Analysis

51


Publishing date: September 12th – 18th, 2005

Edition number: TH XXIX NO. 37

The Types of the


Number



1. 2 Kok kayaknya enak ya punya sixth-

sence alias indera keenam? √

2. 2 Nggak nyangka, jack! √

3. 3 Negara kita selalu masuk dalam chart

5 besar negara terkorup di planet

Bumi.

√

4. 5 Sekardus cat semprot warna-warni

plus masker jadi senjata andalan. It’s

show time!

√

5. 5 Aksi nge-bomb malam itu dimulai

lewat tengah malam.√

6. 5 Di antara crew bomber yang dateng

malam itu ada tiga bomber cantik yang

ikutan. √

7. 5 Mereka para finaalis Moka 2005.

Meet, Eline, Livia dan Nadia. √

8. 5 “Ya udah langsung ketemuan di sana

aja ya! Sekalian ada yang pengen aku

retouch,” sahut Nadia pas janjian di

telepon.

√

Appendix 3 Code-Switching Cases in Vol. 37

52


9. 5 Selevel sama graffiti crew lain yang

udah senior. √

10. 6 Marceline Febriani Dalimatra ini juara

Moka 2005 kemarin. So, tampang

orientalnya langsung bisa diliat di

cover Kawanku sebulan lalu.

√

√

11. 6 Nggak cuma modelling aja. Cewek

yang doyan hang out di eX ini juga

gape nge-dance, balet sampe

menggambar.

√ √

12. 6 “Menurut aku street culture kayak

graffiti tuh keren banget! Bikin Jakarta

eye catching,” komentar pelahap

masakan italia ini.

√

√

13. 6 Soal style, cewek yang mengaku

jomblo ini suka gaya Jepang. √

14. 6 Terus warnanya tuh harus shocking

pink. √

15. 7 Abis nih cewek emang friendly banget.

√

16. 7 Asik diajak ngobrol dan gampang nge-

blend sama orang-orang baru. √

17. 7 By the way, seru nggak sih ikutan

Moka? √

18. 7 Sayang cuma tiga hari kurang puas.

Hehehe,“ sambung pelahap steak ini

sambil ketawa.

√

53


19. 7 Katanya kamu interest ya sama

graffiti? √

20. 7 “Seger kalo diliat,” bilang Via sambil

me-retouch graffiti karyanya. √

21. 8 So, biar umurnya baru 17 tahun Nadia

udah lulus SMA. √

22. 8 Dengan skill kayak gitu Nadia emang

nggak perlu diragukan, coy!

√

√

23. 8 See, liat sendiri dong kehebatan tiga

bidadari ini. √

24. 10 Well, kalo gitu bagi resep pedenya deh.

√

25. 10 Soalnya gue dari kecil ngerasa born to

be musician. √

26. 10 Score itu kan song-writing reality-

dating game show. Jadi pesertanya

dikasih waktu seharian buat bikin lagu.

√

27. 10 Kalo udah di-perform-in secara live,

tapi mereka nggak bisa ngeliat

penontonnya.

√

√

28. 10 Nanti penonton kasih komentar, terus

kalo ada penonton yang suka sama

lagunya, mereka harus temenin nge-

date.

√

29. 10 Ya udah, bagi resep bikin lagu yang

bisa bikin cewek melting aja. √

30. 11 Kita kan denger rekaman suara kamu

yang lagi di-mixing di studio. √

31. 11 Dia butuh orang nyanyi buat nyobain

alat recording yang dibelinya. √

54


32. 11 Yang bener? Yani ditinggalin Oka,

pacarnya yang rapper itu? √

33. 11 Rencananya kami mau married. √

34. 11 Kebetulan pas ngeliput launcing film

Catatan Akhir Sekolah ketemu

Thomas Nawilis.

√

35. 11 Kita kan udah tau kalo Gwen Stefani

baru aja ngebuka label fashion yang

dikasih nama Love Angel Music Baby

alias L.A.M.B akhir tahun 2004 lalu.

√

36. 11 Maklum, modelnya emang fashionable

dan nggak norak.

√

37. 13 Kebetulan, malam itu mereka sengaja

berkumpul buat proses mixing terakhir

album berjudul Retropolis itu. √

38. 13 Yang udah pasti, ambience-nya jadi

berubah. √

39. 13 Soalnya, nih lagu di-set buat dibawain

secara akustik. √

40. 13 Untuk sound, album ini bisa dikasih

acungan jempol. √

41. 13 Sound-nya bener-bener dikulik abis. √

42. 13 Saat finishing album Retropolis, Jarwo

bernasib naas. √

43. 13 Tanggal 28 Juli 2005 tengah malam,

kelar David take vocal, Jarwo

meninggalkan markas Naif menuju

rumah menunggangi skuter

55


kesayangannya. √

44. 14 Yang kami tau, saat ngebikin album

ini kami ngerasa fresh banget. √

45. 14 Man, meski materinya beda sama

album sebelumnya, kelihatan banget

David cs. dan perusahaan rekaman

optimis sama Retropolis.

√

46. 14 Awalnya, gue pengen bikin konsep

cover yang in-line sama klip. √ √

47. 14 Jadi deh, kami bikin hitung-hitungan

yang kira-kira worthed sama konsep

itu.

√

48. 14 Terserah, bagaimana imajinasi mereka

terhadap set Retropolis itu sendiri. √

49. 14 Soalnya, lagunya berubah last minute. √

50. 14 Kalo gitu, good luck aja, deh! √

51. 14 Yang versi kedua seru karena sesuai

dengan taste kami. √

52. 14 Mulai dari groupies sampe pesan

terakhir nyokapnya Emil.

√

53. 14 Sebenarnya, ini bukan lagu. Melainkan

intro buat single Gula-gula. Tapi,

karena panjang, sengaja track-nya

dipisahin.

√

√

54. 14 Sebetulnya dia nggak pengen lagu itu

jadi nge-slow. √

55. 14 Tercipta gara-gara doi pengen

ngebuktiin kalo computer juga bisa

dipake bikin lagu slow.

√

56. 14 Ibal mincing pake song, diterusin sama

David di bagian reff.

√

√

56


57. 14 Pas Pepeng bikin nih lagu, Naif lagi

dikejar-kejar deadline.√

58. 14 Nyokap gue tuh orangnya cool. √

59. 14 Sedangkan, buat song-nya yang

ngegambarin jawaban gue dari

pertanyaan, gue pake bahasa

Indonesia.

√

60. 16 Buat aku. Avril tuh sosok yang perfect. √

61. 16 Belakangan, pelahap fettuccini dan

french fries ini terobsesi buat bikin

konser tunggal.

√

62. 16 Terus aku jadi leader-nya sambil main

piano dan diiringi orkestra.√

63. 18 Dan mungkin hanya di Indonesia, gim

bola yang satu ini punya patch paling

banyak.

√

64. 18 Mulai dari outfit sampe cara

permainan.√

65. 18 Pencahayaan, make up, dan alur cerita

masih kental sinetronnya.√

66. 18 Kalo pun ada hal baru mungkin pada

setting cerita.√

67. 18 Anyway, kalo untuk sekadar

penyegaran nonton film ini boleh-

boleh aja tuh.

√

68. 18 Biarpun gaya penulisannya lumayan

asyik, tetep saja suspense khas novel-

novel konspirasi nggak ada sama

sekali.

√

69. 19 Sejak single Biar Cinta Menyatukan

Kita yang dipasang di track 1√

57


diperdengarkan, udah ada bakat kalo

album ini bisa dijual.

70. 19 At least, dari sisi musik. √

71. 19 Overall, album ini pantes didenger

buat yang suka rock n’ roll.√

72. 19 Toh, musiknya masih masuk dalam

areal easy listening.√

73. 19 Nggak Cuma ngandelin lagu-lagu

ballad, mantan lady rocker Indonesia

ini lebih mengeksplorasi kemampuan

vokalnya untuk ngebawain single nge-

beat kayak yang termuat di single In

Your Mind.

√ √ √

74. 19 Kombinasi medium beat dan ballad

yang emang jadi kelebihan cewek

berambut panjang itu.

√ √

75. 19 Emang sih, judulnya bonus track. √

76. 20 Empat kali naik podium dan cuma 3

kali gagal finish.√

77. 20 Dua posisi pertama dan runner up

diambilnya.√

78. 21 Ketenangan Alonso di belakang

kemudi yang bikin R25 bisa sering

memimpin pole position.

√

79. 21 Cuma 4 kali pembalap Spanyol ini ada

di grid 1.√

80. 21 Punya skill tinggi dan didukung mobil

yang cepat.√

81. 21 Buktinya 5 kali Kimi memimpin

lomba sejak start.√

82. 21 Nih mobil menjadi mobil yang paling √

58


sering memecahkan rekor fastest lap.

83. 22 Selain punya beberapa ruang

pengendali, di dalam orbiter terdapat

living-room, dapur, ruang tidur, WC

dan ruang kedap udara.

√

84. 23 Berat tangki 1,67 juta pon (sekitar 760

ton) plus muatan penuh zat pembakar

cair dan pengoksidasi.

√

85. 24 Terus pesta perpisahan gimana? Prom

Night gimana? √

86. 24 Well, begitulah yang terjadi kalo

system SKS ini bener-bener

diberlakukan.

√

87. 25 Nggak ada kelas tetap. Yang ada pada

moving class kayak kuliahan. √

88. 26 So, katanya kalo begini kejadiannya

berarti there’s something wrong with

him!

√ √

89. 26 Soalnya denger-denger gosipnya, gay

itu bisa menular!√

90. 26 Udah gitu, physically gay nggak bisa

keliatan dari luar.√

91. 26 Beda sama banci yang dari penampilan

dan gesture tubuhnya aja udah

keliatan.

√

92. 26 Pada fase ini seseorang sedang belajar

tentang identitas dan tanggung jawab

gender.

√

93. 27 Bisa bikin dia selalu happy, bisa bikin

dia ngerasa nyaman….√

94. 27 Sehingga bisa jadi message yang √

59


keluar justru menguatkan kesan bahwa

jadi gay itu asyik.

95. 27 Next, tentang belajar dari coba-coba. √

96. 27 Man, namanya juga masih remaja,

hasrat kita buat yang namanya coba-

coba kan gede banget.

√

97. 27 Saya cuma mau ingatkan bahwa gay

itu bukan sebuah penyakit. Being a

gay is a choice!

√

98. 27 Semua orang punya hak untuk

memilih, jadi kita nggak boleh men-

judge kalo ada orang yang memilih

menjadi gay,” tambah bu Yati

mengakhiri pembicaraan.

√

99. 27 Setiap gue ngobrol ama cewek lain,

udahannya pasti aja kita ribut. Dia

jealous.

√

100. 28 Kalo kemaren-kemaren sempet

boming “tren” nenteng botol air

mineral ke mana-mana, sekarang beda

lagi.

√

101. 29 Yang namanya study tour itu emang

asoy.√

102. 31 Gara-gara ada catwalk baru yang

dipasang di kanan-kiri panggung,

Eross, Sakti dan Adam jadi rajin

mejeng di areal itu.

√

103. 31 Langsung deh adegan unbelivable

dimulai.√

104. 31 Rupanya, kegokilan personil Sheila On

7 memancing dua additional musician√

60


yang membantu mereka untuk ikut-

ikutan gokil.

105. 31 At least, di atas panggung. √

106. 38 Hari gini, make merchandise band

dalam negeri emang asik.√

107. 38 Abis, merchandise mereka-mereka ini

emang patut dikoleksi.√

108. 40 Mengaku sebagai penyebar virus

olahraga basket jalanan, Future makin

mantap berdiri mengusung

entertainment basketball.

√

109. 40 Mungkin kalo mau diurut, Future

tergolong klub basket pertama yang

mainin streetball di Indonesia.

√

110. 40 “We need to start the revolution of

streetball in Indonesia! Kami ngeliat

kalo selama ini basket tuh nggak

berkembang.

√

111. 40 Anwar cerita saat pertama kali tim ini

show-off kemampuan streetball

mereka pada sebuah turnamen basket

di Sukabumi, penonton di sana

awalnya pada nggak terima.

√ √

112. 40 Makanya, untuk ngelatih skill aja, gue

sehari latihan 200 kali push-up, 100

kali nembak, 10 kali lari lapangan bola

dan kudu nyiptain trik baru setiap

hari,” curhat Richard a.k.a Insane yang

kepilih jadi saah satu dari 10 best

streetballers dalam LA Light

Streetball Bandung kemaren.

√ √

√

61


113. 40 Walaupun dalam streetball yang bikin

fun buat penonton itu freestyle-nya,

para pemain juga kudu mikirin gimana

mencetak angka biar jadi pemenang.

√

√

√

114. 40 Makanya di tim Future ini tiap pemain

punya tipe dan desk-job-nya masing-

masing.

√

115. 40 “Ada yang gayanya new school, yaitu

menghadang lawan pake trik-trik

freestyle tadi.

√ √

116. 40 Terus ada yang gayanya old school,

menghadang lawan dengan

menggunakan otak (mirip-mirip trik

basket biasalah, RED.), yang terakhir

ada hard knock yaitu pemain yang

menggunakan power dan badannya

yang gede untuk menghadang lawan,”

beber Richard.

√

√

√

117. 40 Beli aja DVD Future Streetball Mix

Tape volume 1dan 2 yang beredar tiap

kali timini show.

√

118. 40 Kalo sempet, kamu juga bisa datengin

langsung bahkan maen streetball

bareng di basecamp mereka di Jalan

Ambon, Bandung.

√

√

119. 41 Apa tanggapan kita kalo ada temen

yang bilang dia baru saja melihat UFO

atau alien?√

120. 41 Pokoknya merasakan ada sesuatu yang

spooky deh.√

121. 41 Even bukti nyata soal ini pun nggak √

62


pernah ada juga.

122. 41 Salah satu contohnya mungkin kayak

temen kita tadi yang tiba-tiba aja

punya feeling aneh.

√

123. 41 Bahkan sejumlah sinetron remaja pun

nggak ketinggalan memakai fenomena

ini sebagai background ceritanya.

√

124. 41 Soalnya, konon, siapapun bisa dan

berbakat memiliki kamampuan ini.

Well, ready to gain a new experience?

√

125. 43 Awalnya aku sempet shock, yang

tadinya nggak pernah ngeliat mahluk

yang seperti itu tiba-tiba bisa ngeliat.

√

126. 44 Katanya sih bisa aja asal diasah

dengan bener. Hmm, worth to try nih!√

127. 44 Kalo nggak, bisa-bisa di tengah

meditasi kita diganggu sama debt

collector.

√

128. 45 Makanya ada kemungkinan kita yang

newcomer buat urusan ini bakal kaget

setengah mampus begitu mengalami

sendiri.

√

129. 46 a. Sering banget!

b. Sekali-sekali pernah.

c. Never!

√

130. 46 No! Kepikiran ke situ aja nggak

kaliiii…!!√

131. 46 a. Iya, itu sering banget terjadi.

b. Hmm, munglin! Tapi nggak

sering.

c. Nope, that has never happened.

√

63


132. 46 Gue suka baca buku or nonton film

horror, nanya-nanya ke temen yang

“orang pinter”.

√

133. 46 Gimana ya, tertarik sih…! Menurut

gue it’s kinda cool.√

134. 46 Gue nggak tertarik sama yang

begituan! Don’t hate it, cuma males

aja nyari tau soal begituan.

√

135. 46 Cuma mungkin lo belum sadar

sepenuhnya akan gift itu, dan malah

kadang suka ngerasa ketakutan. Man,

just don’t take it for granted and use it

in a good way.

√ √

136. 46 Tapi kalo lo mulai belajar untuk

percaya bahwa ada kehidupan lain di

luar kehidupan kita, terus lo mau open

mind, bisa aja suatu saat indra keenam

lo tiba-tiba terbuka. Anything could

happen bukan?

√

√

137. 49 Sebagai contohnya bengkel-bengkel

resmi dealer mobil bisa jadi

perbandingan.

√

138. 49 Peralatan yang ada tuh mulai dari tool

kit yang kecil-kecil, sampai peralatan

besar kayak dongkrak hidrolik.√

139. 50 Yang paling bikin bete adalah lantaran

tuh mobil udah full modifikasi.√

140. 50 Tapi berhubung belinya second,

kondisi tuh mobil masih standar abis.√

141. 50 Coba deh perhatiin posisi bannya.

Semuanya gue camber tuh!√

64


142. 50 Asal tau aja, ban belakang mobil sedan

Jepang tuh sebenarnya sama sekali

nggak bisa di-camber.

√

143. 50 Tapi overall nih mobil emang oke

banget.√

144. 51 Ada yang bilang tenaga mesin motor

bisa meningkat kalo memakai octane

booster, power booster, atau yang

sejenisnya.

√

√

145. 51 Guys, apa yang kebayang di benak kita

kala mendengar kata power booster? √ √

146. 52 Tentang seorang loser yang harus jadi

gigolo gara-gara kesialan menimpa

dirinya.

√

147. 52 Lagi-lagi bad luck menjerumuskan

Deuce ke persoalan pelik.√

148. 52 Nggak tahunya pihak berwajib

ngeluarin statement pencarian buronan

pengacau pantai lewat sebuah sketsa

wajah yang mirip dirinya.

√

149. 53 Tentunya buat masuk ke event ini,

Deuce kudu lebih serius menjalani

profesi gigolonya.

√

150. 53 Buat gue, film sekuel ini adalah

sebuah masterpiece,” kata Rob

Schneider yang juga bertindak sebagai

penulis cerita.

√

151. 54 Seluruh kawasan dipenuhi tempat

praktek prostitusi, sex shop, serta sex

theatre.

√

√

152. 53 Bisa dibilang film komedi yang √

65


memakai setting Eropa lebih seru

ditonton.

153. 54 Remote TV diambil, tombol on

dipencet.

√

√

154. 54 Lawakannya garing dan slapsticks. √

155. 54 Udah gitu face-nya juga cantik. √

156. 54 Ini lazim disebut sebagai guilty

pleasure.√

157. 54 Contoh gampangnya yaitu makan junk

food.√

158. 54 Terus terang, gue nyari horny-nya aja. √

159. 55 Yang kedua adalah jenis news feature

atau berita yang mendalam.√

160. 55 Kayak ngebahas fenomena tattoo,

pecun sekolah, penari striptease dan

sisi gelap profesi public relation (ada-

ada aja nih!).

√ √

161. 55 Tiga besar hasil polling Hai

menunjukkan, ketiga jenis tayangan

yang berlainan jenis nongkrong di

puncak perolehan suara.

√

162. 55 Ada yang niat mau cari informasi

“underground”, dan ada yang

mentingin bodi mulus doang.

√

163. 55 Kalo tayangan tengah malam tadi udah

mulai ngerasa nggak meaning alias

nggak penting, mendingan buru-buru

ambil remote dan matiin.

√

164. 55 So, it’s your call. Mau guilty pleasure

ini berlanjut atau nggak?

√

√

165. 56 Musik yang laku adalah musik yang √

66


easy listening.

166. 56 Tapi, kami berlima berusaha

menyampurkan semua influence itu

dalam satu warna musik yang enak

didenger,” timpal Rendra.

√

167. 56 Single Berpaling yang jadi andalan di

album perdana mereka yang selftitled,

dapet respon cukup bagus di radio.

√

168. 56 Yakin aja, semua usaha keras kamu

someday pasti ada hasilnya.√

169. 57 Kalo sempet nonton seri pertamanya

dan termasuk suka sama gaya action

yang ditawarkan nih film, kayaknya lo

akan suka nontonin sekuelnya.

√

170. 57 Tentunya sekalian jadi body guard

para langganannya.√

171. 57 Action-nya masih aja paten. √

172. 58 Sekarang semuanya udah cooling

down.√

173. 58 Makanya ketika beberapa jam setelah

sholat Ied tiba-tiba chaos terjadi,

semua orang kaget.

√

174. 58 Man, it’s not over yet! Setelah

ngerasain pegel yang luar biasa akibat

berjam-jam berada pada posisi yang

sama, Lukas dan keluarganya masih

harus ngerasain nyawanya di ujung

tombak.

√

175. 58 Syukurnya adegan itu berakhir dengan

happy ending.√

176. 59 Thanks god sekarang chaos itu udah √ √

67


berakhir (meski sempet terulang tahun

2004 lalu).

177. 59 Supaya traffic-nya enak, becak-becak

itu dibagi dua kubu, yang bercat merah

dan bercat kuning.

√

178. 60 Hei….What’s up? Hai yang makin

keren aja dengan logo barunya!√

179. 60 Jadi jangan di pulau Jawa and Bali

melulu….Itu aja usul gue…Thanks

ya…Be cool man!

√ √

180. 60 Di Hai yang cover-nya DEWA,’kan

ada artikel ama gambar CD

Kotak…Sumpah ma, doi keren banget!

Swear!

√

181. 60 Kalo ada emailnya dia, atau gimana

deh caranya biar gue bisa get

connected ama doi…Oke deh..gue

tunggu email balik dari Hai. Makasih

banget sebelumnya..KEEP ON

ROCKIN!!!ALWAYS!

√

√

182. 61 Seenggaknya, di art exhibition satu

malam yang diselenggarakan di

Museum Nasional 27 Agustus lalu.

√

183. 61 Pertama: ada sneakers exhibition.

Isinya sneakers alias sepatu olah raga.√ √

184. 62 Soalnya kalo bicara soal founding

father musik reggae, kita harus

kembali ke tahun 1963.

√

185. 63 “Omarian mengajarinya untuk

tidakmencuri, selalu berkata benar dan

patuh kepada orang tua, dia sangat

√

68


ketat dan strict,” kenang Cedella.

186. 63 Cuma, komunitas ghetto atau gembel

di Kingston malah ngeliat Bob sebagai

ancaman.

√

187. 63 Malah dia pernah gagal pacaran karena

masalah warna kulit. “No white man

screwing up our bloodlines!” begitu

kata mereka.

√

188. 63 Lagu-lagunya selalu diputar lewat

sound system di jalan. Nggak heran

kalo The Wailers dijuluki The Sound

System King. Guys, it was the birth of

a legend.

√

√

189. 65 Seru, deg-degan, nervous, panas tapi

tetep gokil.√

190. 65 Untung aja tim fashion stylish-nya

punya segudang baju buat Oky.√

191. 65 Terlebih di depan kamera, asli banci

foto semua. “Guys say cheese!”√

192. 66 Sandy “Pas” band tiba-tiba nyusup ke

back stage!√

193. 66 Sementara Claudia sibuk fingering,

Ajeng tetep duduk manis sambil

sticking.

√

√

194. 66 Ini dia ritual paling penting sebelum

naik panggung. Yap. Briefing! Semua

dibahas abis, mulai dari blocking

mereka sampe kapan mereka harus

bersiap-siap. Kelar itu? Show time.√

√

√

195. 68 Tanyain dulu background musik

mereka.√

69


196. 68 Kan nggak lucu kalo ada salah satu

personil masih basic banget skill-nya.√

√

197. 68 Maju dikit, kita bergerak ke style emo. √

198. 68 Ini penting karena sound yang keluar

dari alat-alat ini punya signature sound

yang cocok banget buat musik emo.

√ √

199. 69 Untuk gitar salah satu gaya yang selalu

muncul adalah octave chord.√

200. 69 Kord oktaf bakal bikin pitcht yang

tinggi saat sound gitarnya keluar serta

sangat kaya tekstur.

√

201. 69 Sedikit spike juga boleh tuh. Kalo

rambut keriting mending dibotakin aja.√

202. 69 Kalo pake kacamata pastiin frame-nya

dari berwarna hitam. Kako nggak

punya, cari aja frame hitam yang tebal.

√ √

203. 69 T-shirt warna gelap yang rada kecil. √

204. 69 Cardigan yang rada sempit atau V-

neck sweater.√ √

205. 70 Capricorn (22Desember-20 Januari)

Life: Semuanya datar!... apapun yang

lo kerjain nggaj sukses.

Love: Rasanya kok mulai ilfil sama

dia?!

Single:’Duh, lagi males nyari gebetan

nih.

Money: Wah, bonus dari ortu lumayan

lho!

Health: Gendut…gendut! Olahraga

don?!

Tanggal penting: 12 September.

√

√

√

√

√

70


206. 70 So far so good….Semoga jadi deh. √

207. 70 Ada yang ngajakin kenalan, who?? √

208. 70 Waaa, nemu soulmate nih! √

209. 70 Lagi nggak boring sama rutinitas. √

210. 70 Makin cinta. Support-nya penuh..! √

211. 70 Orang Pisces suka terlalu idealis dan

cenderung selfish.√

212. 72 Lantaran Bali itu identik dengan

pantai, venue yang dipilih di pinggir

pantai.

√

213. 72 Dihibur lebih dari 30 artis di tiga

panggung, bli-bli dan mbok-mbok dari

seluruh penjuru Bali pol-polan

mengalami adrenalin rush.

√

214. 73 Something interesting in A Mild Live

Soundrenalin 2005 adalah: ada

helicopter yang sering banget keliatan

berkeliling di area konser.

√

215. 73 Caranya, tinggal ikut games yang ada

di areal A Mild Zone.√

216. 73 Manusia-manusia ini paling eye

catching di antara crowd. √ √

217. 73 Mereka adalah volunteer. Mereka

ditransfer dari booth informasi untuk

melayani para penonton langsung di

lapangan.

√

√

218. 73 Penonton yang dateng bisa request

lagu dan titip pesen sama orang yang

mau dititipin pesen.

√

219. 73 Udah gitu kalo untung bisa sekalian

diwawancara buat live report.√

71


220. 74 Gimana nggak, cuma mereka satu-

satunya band yang perform pake

kontrabas dan tampil dengan kostum

rapih kayak orang mau pergi

kondangan.

√

221. 74 “Sejak pertama terbentuk kami banyak

ter-influence musik 90-an macam

Sound Garden dan Pearl Jam.

√

222. 74 Tapi buat perform aksi panggung tetep

nge-rock, Cuma dengan kostum

hippies!” cerocos Robbie sang front

man.√

√

√

223. 74 Ngebeset enam lagu: Impresi, Bocah,

Anak Bali, Bayangan, Kesepian Kita,

dan Jengah, sejak lagu pertama mereka

udah tampil full power.

√

224. 75 Pasalnya biar performance-nya kalem,

aransemen lagu-lagu dibawain beda

banget.

√

225. 75 Tapi bukan rock star namanya

kalonggak bisa cepet mengatasi

situasi.

√

226. 75 Nggak diragukan lagi, cowok satu ini

emang jago banget urusan bikin

melting cewek-cewek.

√

227. 75 Sadar kalo momennya tepat buat bikin

cewek-cewek termehek-mehek,

Ellolangsung nunjukin skill-nya speak-

speak. Pokoknya setiap abis satu lagu

doi nggak pernah absen ngeluarin

rayuan gombal.

√

72


228. 76 But, sampe sekarang, dia masih seru

aja dibilang popstar.√

229. 76 By the way, gue tertarik banget sama

lagu-lagu di album lo.√

230. 76 Since judul single lo Bad Day, pernah

nggak sih ngerasain hari yang beber-

bener jelek?

√

231. 76 Kalo nggak salah pas gue masih di

high school.√

232. 76 Kalo jadi berangkat, gue langsung

samperin lo, deh! It’s a promise! √

233. 77 Buktinya, soundtrack film animasi

Saint Seiya yang jadi lagu pembuka

bisa dibawain dengan selamat.√

234. 77 Nih band terpilih jadi headliner di

Jersey Live Festival awal September

lalu.√

235. 78 Problem utama band ini terletak pada

frontman-nya yang pecandu berat

drugs.√ √

236. 79 Tapi, sebelumnya, mereka sempet

ikutan proyek album From Us to You

yang bentuknya tribute untuk Titik

Puspa.

√

73


Publishing date: March 26th – April 1st, 2007

Edition number: TH XXXI NO. 13

The Types of


Number



1. 2 Siapa sangka kalo in the real life dia

juga MisssRing-Ring? √

2. 4 Cewek satu ini …, ibarat drugs. Bikin

addict!

√

√

3. 4 Waktu itu sulung dari dua bersaudara

ini berdandan ala cheerleaders di film

Bring It On. √

4. 4 (dari kru sampe stylist dan fotografer

kompak melotot, jack!).

√

√

5. 4 Iklan sebuah operator telepon seluler

yang hampir tiap sepuluh menit sekali

nongol di channel mana pun.

√

6. 6 Nggak nyangka kalo iklan itu bakal

booming. √

7. 7 Well, terlepas dari side effect tadi,

fakta ngobrol sama Ryan emang asyik. √

√

8. 7 Maklum, alumni SMA 8 Jakarta ini

tergolong cewek smart. √

9. 7 Daripada ngirim-ngirim SMS atau

nelpon sana-sini, aku dengerin iPod aja

Appendix 4 Code-Switching Cases in Vol. 13

74


sampe puas, “bilang pelahap tiramisu

dan milk shake coklat ini.

√

10. 8 A Milt Live Rising Stars menyajikan

konser yang seru. Naff, Samsons dan

Ungu, semua tampil all out.

√

11. 8 The Next Rising Stars nggak mau! √

12. 8 Belasan ribu music maniacs yang

memadati stadion Kamboja,

Palembang (4/3) lalu adalah saksi

betapa memukaunya konser A mild

Love Rising Stars ini. √

13. 8 Coin kelihatan enjoy dan main tanpa

beban. √

14. 8 Lima lagu yang dibawain dapat

applause dari music maniacs

Palembang. √ √

15. 8 Permainan bassis gimbal itu membuat

banyak music maniacs terpana. √ √

16. 8 Bams cs “memaksa” music maniacs

Palembang ber-sing a long. √ √

17. 9 So, emeng nggak salah memasang

Ungu sebagai penutup A Mild Live

Rising Stars.

√

18. 9 Publik Palembang emang menunggu

aksi mereka. Konser makin panas,

jack!

√

19. 9 Aksi Ungu sempet break sebentar

karena juri mengumumkan pemenang

A Mild Live Wanted regional Sumatra

√

75


Bagian Selatan.

√

20. 9 Hasilnya, Coin yang menjadi

pemenang A mild Live Wanted

regional Sumatra bagian Tengah. √

21. 9 Andai Ku Tahu dan Bayang Semu

yang menjadi barisan the best single

Ungu dibawain. √

22. 9 Music maniacs makin menggila. √

23. 9 Entah ada berapa belas ribu orang

yang menjadi backing vocal Pasha

malam itu.

√

24. 9 Cukup asyik didengerin, jack! √

25. 9 Band asal Lampung ini tetep tampil all

out.

√

26. 9 Hapus Aku-nya Nidji bikin ribuan

penonton yang memadati lapangan

parkir Bumi Sriwijaya ber-sing a long. √

27. 9 Dua lagu tadi jadi poin penting untuk

menyakinkan juri bahwa mereka

pantas sepanggung bareng the next

rising star. √

28. 9 Plus menemani Rising Star tur di

Lampung. √

√

29. 9 “Surprise banget! Kami sama sekali

nggak nyangka. √

30. 9 Kami janji akan tampil sebaik

mungkin,“bilang Dheru vokalis Coin

76


mantap. Keep rockin bro! √ √

31. 9 Sama seperti Kimzy, LVT punya basic

fans yang lumayan banyak.

√

32. 9 Mereka kelihatan kurang pede, jack! √

33. 9 Next time better ya! √

34. 10 Doi males bawa tas, jack! √

35. 10 “Ada satu yang udah pasti gue bawa.

charger ponsel.

√

36. 10 Takut kehilangan job, atau diputusin

pacar, ya?

√

37. 10 Buktinya, si cantik ini sempet nervous

berat pas disuruh berakting.

√

38. 10 “Iya nih, gue nervous karena disuruh

berakting. √

39. 10 Gimana nggak nervous?,” bilang

cewek kelahiran 30 Maret ini. √

40. 11 Eh, drummer Peterpan ini punya side

job baru! √

√

41. 11 Katanya, lo sibuk ngurusin launching

segala. √

42. 11 Kemarin, gue sempet bantuin temen

gue buat launching albumnya.

√

43. 11 Bunga bergaya ala Michael Jackson,

jack!

√

77


44. 11 “Gue udah tau kalo Gavin adalah chick

magnet. √

45. 11 In case kalo-kalo ada cewek yang

nekat ngegodain cowok gue,” repet

Gwen, lempeng. √

46. 12 Singgle mereka yang easy listening

kenceng diputer di radio. √

47. 12 Nggak heran kalo lagu mereka masuk

ke jajaran chart teratas. √

48. 12 Single Cinta Pertama (Sunny) banyak

di-request.

√

49. 12 Rio pun menyanyikan salah satu lagu

legend-nya The Groove itu dengan

lancer.

√

50. 13 Cewek-cewek kelihatan melting

ngeliat Rio yang juga makin menggila. √

51. 13 Diset sebagai closing Bunga tampil

pukul 1 dini hari dan membawakan 8

lagu.

√

52. 13 Tampil keren dengan membawakan

cover version Leaving on a Jet Plane

dan tiga kali berkolaborasi.

√

53. 13 Kolaborasi Bunga masih berlanjut,

giliran seorang cewek bernama Santi

yang diajak nyanyi bareng di lagu Saat

Kau Pergi yang jadi soundtrack film

Dealova.

78


√

54. 13 Semuanya kompak bernyanyi… So

sweet!

√

55. 13 Termasuk ngasih pengumuman kalo

backing vocal-nya bentar lagi mau

menikah.

√

56. 13 Lewat Palsu, Ku Ada Disini, Alasan

Untuk Hidup bikin semua berebutan

menjadi backing vocal dadakan. √

57. 18 Kalo lagi jenuh bermusik, Eet biasanya

main games.√

58. 19 Biasanya gue main games yang di

computer buat iseng-iseng aja.√

59. 19 Keseringan yang sedikit old fashion

gitu. Kayak Flash Simulator.√

60. 19 Sekarang lagi tahap finishing. √

61. 20 So, untuk menghindari keributan, Tony

Wong yang juga penasehat film itu

sengaja merilis empat seri komik yang

ceritanya berdasarkan cerita film

Dragon Tiger Gate.

√

62. 21 Mencoba bermain di jalur pop yang

dipadu dengan sentuhan R&B dan

dance bikin album ini lebih berwarna.

√

63. 21 Sayang, di single terakhir,

pronunciation-nya rada kacrut.√

√

64. 21 Baik visual maupun attitude-nya

memang rada mirip sama band asal

Yogja itu.

√

65. 21 Yang memang punya tingkat

pergaulan yang standard dan nggak√ √

79


high class.

66. 21 Malah, sound-nya rada-rada cupu dan

ketinggalan jaman.√

67. 22 Maka, kali ini band pengundang masa

kayak The Upstairs dan Clubeighties

nggak termasuk sebagai headliners.

√

68. 22 Dengan tema Summer yang

merupakan singkatan dari Saturday

Under Musik Melody and Rhymes,

pengisi acara Klassix kali ini dibilang

full band pensi yang lagi naik daun.

√

69. 23 Seperti misalnya menggubah setting-

an pintu masuk menjadi di depan.√

70. 23 Mereka tetep mencoba menjebol pagar

itu sambil melempari batu ke dalam

venue.

√

71. 23 Mereka tetep fun dan menikmati

suguhan panggung.√

72. 23 Sejumlah head unit, subwoofer dan

barang-barang berharga yang ada di

daldm mobil pun harus mereka

relakan.

√ √

73. 23 Akhirnya setelah DJ Marquee perform

dengan berat hati acara Klassix ini

dihentikan.

√

74. 24 Sekarang kami tinggal nunggu aja

keputusan apa yang bakal keluar,”

tambah Cesar, koordinator

merchandise yang ikutan repot

ngejagain keamanan.

√

75. 24 Geng Petra anak-anak 82 is back! √

80


76. 24 So, ternyata seni juga bisa dipakai

sebagai sarana ekspresi cinta, selain

coklat!

√

77. 24 Sedangkan, prediksi best sciences

diraih oleh Aji Nugraha Santosa

Kasmaji, Nadia Amelia Prasetyo, dan

Mega Christivana.

√

78. 28 Mulai dari mengatur kabel yang

berserakan di bawah rig panggung,

mengatur sound sampe lighting.

√

√

√

79. 28 Bahkan, barisan orang ini juga yang

bertanggung jawab atas jadwal

soundcheck sampe mengatur flow

acara.

√ √

80. 28 Man behind the scene show! Tugas

mereka jelas nggak kalah disbanding

tugas si artis.

√

81. 28 Dari belakang panggung, mereka

(ikut) tampil all out demi memuaskan

penonton.

√

82. 28 Sebelum berkenalan, mari beri

applause pada mereka.√

83. 28 Tugas stage manager adalah mengatur

jalannya konser secara menyeluruh.√

84. 28 Mulai dari memantau jalannya

rundown acara, sampe memantau

sound output dari panggung.

√ √

85. 28 Selain itu stage manager juga berhak

untuk memutuskan durasi pertunjukan.√

86. 28 Nggak heran, saban kali konser √

81


digelar, stage manager selalu kelihatan

jadi sosok yang paling pusing.

87. 28 Stage manager, gampang dikenali. √

88. 28 Membawa handy talkie dan rundown

sambil sesekali berteriak.√ √

89. 28 Traffiker bertanggung jawab membuat

konser berjalan tepat waktu.√

90. 28 Biasanya, band punya sound engineer

sendiri.√

91. 28 Semata-mata untuk memudahkan

mereka mendapatkan setting sound

yang pas.

√

92. 29 Karena mengurusi tata cahaya

panggung seorang lighting man juga

ngendon di FOH.

√

93. 29 Banyak band yang menginginkan

setting lampu berbeda di tiap lagu.√

94. 29 Diantara tim produksi yang lain

rombongan stage crew adalah yang

paling banyak.

√

95. 29 Mulai dari gulung-gulung kabel,

sampe masang pernik dan backdrop.√

96. 29 Tapi, begitu panggung kehujanan atau

ada miss di panggung, stage crew

harus sigap bertugas.

√

97. 29 Job desk-nya hampir sama dengan

stage crew.√ √

98. 29 Musician crew bekerja berdasarkan

keahliannya.√

99. 32 (terutama tentang agama yang

dianutnya & about her hobbies).√

82


100. 32 Mulai dari isinya sampai harga

original-nya.√

101. 32 Oh ya, sisi lain tentang Tom DeLonge

ditunggu lho … Thanks before.√

102. 35 Sekarang udah nggak jamannya lagi

milih warna soft.√

103. 35 Beranikan diri untuk goes shocking. √

104. 35 Shocking colors cocok banget buat

semua warna kulit.√

105. 35 Serunya, warna ini bias ditabrakin

dengan warna shocking lainnya.√

106. 35 Misalnya, kaos biru elektrik dengan

hooded sweater magenta. Soal waktu

pemakaian, warna “gonjreng” ini

cocok banget buat dipake nonton

konser, nonton di bioskop, pergi ke

pensi, party di disko, bahkan nge-date

sekali pun.

√

√ √

107. 35 Nggak pake ngomong, penampilan lo

udah berteriak, “HEY LOOK AT ME!”√

108. 38 Bosen bikin acara intern, ngebuat

anak-anak OSIS Bopkri 1 memutuskan

untuk ngebuat event gede.

√

109. 38 Suasana acarapun memanas oleh para

performance yang tampil.√

110. 39 Mereka ngadain polling tentang perlu

atau nggaknya acara ini

diselenggarakan.

√

111. 39 Dan headliner yang tampil juga

banyak dan gokil-gokil! √

112. 40 Baca terus majalah Hai dan Kawanku

83


terbaru! Oke, lets prove your creativity

and your power!!! √

113. 41 Apalagi kalo terus diajak ngobrol dan

hang out. √

114. 41 Nggak perlu yang ganteng, yang

penting eye catching.√

115. 41 Mengorek informasi sedetail mungkin

tentang sosok cowok idaman mereka,

diliat dari aspek fisik, kepribadian,

juga lifestyle-nya. √

116. 41 Paling gampang kelihatan or dikenali! √

117. 42 Karena itu, para cewek ingin soulmate-

nya berkulit putih.√

118. 42 Tapi, kalo emang dasarnya rambut lo

nggak lurus, nggak usah maksain diri

nge-rebonding segala ya? Coz’ the

girls hate that! √ √

119. 43 Man, semua itu nggak penting! √

120. 44 Cewek-cewek merasa kalo cowok

smart alias pinter, pasti punya

wawasan yang luas.

√

121. 44 Buat mereka, cowok model gini cool

abis.√

122. 44 Yaaah, kalo nggak sukses bikin dia

penasaran, paling sial doi nggak notice

kehadiran kita aja kok.

√

123. 45 Yoi, mostly cewek nggak suka dengan

cowok yang sulit mengambil

keputusan dan susah untuk

menentukan sikap, brur.

√

124. 46 Soalnya, cowok-cowok model gini ada

84


di list teratas poling cowok idaman

Hai!

√

√

125. 46 See? Makanya, mulai sekarang di

depan cewek-cewek, kita pura-pura

rajin olahraga aja.

√

126. 46 Paling nggak, bisa jadi guide mereka

saban berpetualang di dunia gim dan

computer.

√

127. 46 Para clubhoppers nggak perlu miris. √

128. 46 So, ayo tunjukin kalo kalian bisa

menjaga mereka! Lets dance together

lah ….

√ √

129. 47 By the way, nggak usah panic dulu sih. √

130. 47 Sssst…, menurut Bu Wina, rata-rata

cewek-cewek masih memilih cowok

idamannya base on hal-hal yang

bersifat fisik aja.

√

131. 48 Liburannya menjelma jadi disaster. √

132. 49 Selanjutnya, ngakak all the way! √

133. 49 Meski banyak juga yang slapstick, tapi

tetep bisa ngilangin stres.√

134. 49 Dan, bukan Mr. Bean namanya kalo

akhirnya nggak happy ending.√

135. 50 Genre film ini bisa dibagi dalam dua

kelompok besar: based on true story

atau terjemahan bebasnya, diangkat

dari kisah nyata (yang ini bukan Cuma

soal tokoh, lho!), dan historic film alias

yang mengangkat kisah hidup

seseorang – atau paling nggak

sebagian kecil dari kisah hidupnya –

√

√

85


ke layer lebar.

136. 51 Kalo ngeliat faktanya, banyak banget

film jenis ini yang jadi box office.√

137. 52 Sebuah tagline yang menarik. √

138. 52 Dalam salah satu scene, Frankie the

Frog dan bandnya memainkan lagu I

Heard It Through the Grapevine.

√

139. 52 Dalam soundtrack film ini, juga

terdapat lagu klasik Disney yang

berasal dari decade ’60-an.

√

140. 54 Pada kompetisi tahun 1996 mereka

berhasil mencapai babak final four.√

141. 54 Kami terdiri dari pemain-pemain muda

dan punya skill yang cukup baik.√

142. 54 Pemain-pemain muda yang punya jiwa

satria,”cetus Wahyu Hidayat Jati,

pemain center senior SM Britama.√

143. 55 Selain treatment yang tepat, kondisi

dalam tim secara keseluruhan pun

emang mendukung solidnya

permainan.

√

144. 55 Nggak heran dengan modal sebanyak

itu, masih banyak lagi prestasi-prestasi

yan bisa diharapkan dari SM Britama.

Keep up the good work, guys! √

145. 58 Gagap sama transmisi matic bisa jadi

lantaran fitur ini kurang begitu

familiar di kalangan pengendara mobil

lokal.

√

146. 58 Lantas selain posisi-posisi basic tadi,

ada posisi lain yang bisa dipilih lewat√

86


tuas persneling matic.

147. 59 Ini adalah satu dari 2 posisi di mana

mobil bisa di-starter.√

148. 59 Misalnya saat terhenti di traffic light,

atau sekadar berhenti sebentar di

pinggir jalan.

√

149. 60 Maklum, selain ngerasa paling

penting, dia juga ngerasa nggak ada

orang yang bisa menyaingi power-nya. √

150. 60 Nah, karena sekarang kita yang paling

deket sama dia, dia jadi berusaha dapet

perhatian full dari kita.

151. 60 Lebih sensitif, moody, plus ekspresif

dibandingkan dengan cowok.

√

√

152. 60 Jika lo udah hands up, cari timing yang

tepat buat mutusin hubungan.√ √

153. 60 Cewek model cewek si Lobo ini nih

dijuluki drama queen. √

154. 62 “Gue lagi fall in love sama adik kelas. √

155. 62 “Gimana cara untuk ngedeketin dia

dan tau all about her?”√

156. 62 Yang paling ngetop sih multiple

choice.√

157. 62 Kompetisi yang fair biasanya berkisar

dalam adu program pembangunan aja.√

158. 62 Kata bijak bilang: love many, trust few. √

159. 63 Gue nervous nih kalo deket dia. √

160. 63 Ada yang bilang, harus merhatiin 5

“S”: Shave. Shower. Stylish. Smell.

Shoes.

√

161. 63 Plis kasih pick up line bikin cewek √

87


terkesan di segala kondisi saat kenalan.

162. 63 Cewek lebih nginget soal personality

atau kepribadian.√

163. 63 Maka jadilah orang yang fun, smart,

dan apa adanya.

√

√

164. 63 Guys, ayo kita Bantu temen kita yang

lagi punya masalah dengan

relationship mereka.

√

√

165. 63 Atau lo harus kreatif nyiapin suasana

pacaran yang baru. Misal, pacaran di

pom bensin. Good luck ya.

√

166. 63 Atau lo bisa kasih doi surprise yang

bisa bikin lo enjoy lagi!

√

√

167. 63 Vacum dulu aja. Lamanya lo atur. √

168. 64 Ada kata-kata bijak dalam bahasa

Inggris yang berbunyi: People

Change. Atau, jika diterjemahkan

secara mabok, artinya adalah:”Orang

Kembalian.”

√

169. 64 “Menurut gua, buat presentasi besok,

gua yang dapet bagian jadi pembicara,

dan elu yang bagian ngebuat slide,”

Endro berseru penuh semangat dengan

volume suara setara petugas ronda.

√

170. 64 Rako kembali manggut-

manggut,”Oke…berarti…gua at least

bisa kebagian jado moderator yah…”

√

171. 66 Dengan berbekal skill acting

tengkurep, cowok kriwil berbodi kremi

itu pun berusaha mengelak.

√

172. 67 Health: Stamina agak nge-drop nih. √ √

88


Why?

173. 67 Single: Baru mulai pedekate? Good

luck!√

174. 67 Life: sibuk…sibuk…sibuk. Banyak

banget yang mau lo kerjain …,

beresin. Pahahal, kadang itu bukan

bagian lo. Perfectionost sih!

√

√

175. 67 Love: Sepertinya break lebih bagus

deh.

√

√

176. 67 Love: Mood-nya lagi nggak stabil. √ √

177. 67 Tinggal bikin list acara plus tempat

kencan yang seru, pasti lo bisa tambah

lengket sama dia.

√

√

178. 67 Mending lo support dia dengan pujian. √

179. 68 Sempet stuck karena album barunya

sukses, Maliq & Dessentials

memutuskan untuk berhenti berpikir.

√

180. 68 Buktinya lewat album repackage

mereka yang sudah tidak menyertakan

Dimi dalam daftar personil.

√

181. 69 Kalo ditambah proses mixing dan

mastering, bisa habis waktu enam

bulan.

√

√

182. 69 Whatta nice story! Lantas, soal

penggarapannya, gimana?√

183. 69 Soalnya, kami dibantu sama Simon

Cosworth, engineer-nya Incognito.√

184. 69 Cuma, kebanyakan stock lama. √

185. 69 Karena sifatnya yang lebih upbeat,

band ini oke aja kerjasama dengan DJ.√

186. 69 Salah satu penampilan weird adalah √

89


saat tampil di acara yang digelar

sebuah bank.

187. 69 Abis itu, sound-nya jebol. √

188. 70 Dia ikut training di klub lain: klub

QPR.√

189. 70 Dia memanggil Rio dengan

sebutan’black bastard’. √

190. 70 Next, klub Millwall jadi persinggahan

Rio√

191. 70 Karena si Frank Lampard Sr ini mulai

annoying, akhirnya on Dave meminta

Rio untuk West Ham.

√

192. 71 From nothing to be something. Setiap

pertandingan fansnya berjubel di

pinggir lapangan!

√

193. 71 “Hehehe… Gue Emang shopaholic,

brur.

√

194. 71 Abis itu, dia beli Mercedes 500SL

limited edition beratap kaca milik

Jamie Rednapp.

√

195. 71 Bukan apa-apa, mobil sama flat

mahalan mobilnya!√

196. 71 “Cuma kalo ke nyokap gue lebih

seneng ngasih nyokap voucher.√

197. 72 Penonton langsung dihibur oleh

happening art persembahan tiga cewek

dari SMA Tarakanita.

√

198. 72 Nggak hanya itu, selama acara

berlangsung vocal grup SMA 70

menghiasi setiap jeda dengan lagu-

lagu bumper.

√

90


199. 72 Udah kayak nonton talkshow di TV

aja!√

200. 72 Shannon Quinn dari Kedubes Amrik

sampe ngerasa surprised dengan

sambutan remaja Jakarta hari itu.

√

201. 72 Mereka berhak mendapat merchandise

dari Hai dan Kedubes US Embassy,

serta makan siang bersama di Kedubes

bareng Sang Duta Besar himself.

√

√

202. 73 Selang enam hari selepas acara

launching buku Berani Bermimpi di

Jakarta, acara serupa digelar juga di

Surabaya.

√

203. 73 Kali ini Ryo dari Hai, Shannon Quinn,

public affair kedubes Amerika Serikat

dan ibu Anita Lie, psikolog asal

Surabaya, bergantian memberikan

pendapat soal isi buku.

√

204. 74 Setiap kali gue menonton film itu, gue

selalu merasa amazed sama apa yang

terjadi dalam alur gambarnya.

√

205. 74 Sampai akhirnya, sebuah quote di atas-

yang gue dapat dari sebuah majalah-

bikin gue manggut-manggut sendiri.

√

206. 74 Di balik sebuah cerita yang hebat,

pasti ada seorang mastermind cerita

itu.

√

207. 74 Untuk jadi penulis, butuh waktu yang

panjang, dan mungkin tidak cukup

hanya dengan rajin menulis diary tiap

harinya.

√

91


208. 75 Akhir kelas satu, di sekolah gue

diadakan pelatihan jurnalistik di situ

diajarin deh how to be a good

journalist, dan di akhir pelatihan kita

diajak melihat percetakan KOMPAS.

√

209. 75 Kelas dua SMA, gue dan temen-temen

gue ikutan wall magazine competition

dan menang juara tiga!

√

210. 75 Karena di situ gue harus bikin artikel,

wawancara narasumber, sampai nulis

report.

√

211. 75 Semua akan berhasil dengan baik. Try

and try because we never know about

next time.

√

212. 76 Dengan set remang-remang dengan

banyak lilin di sekitar para personil

band, membuat kita serasa memasuki

dunia lain.

√

213. 76 Bareng Aghi, Everybody Loves Irene

menghasilkan sound-sound aneh yang

berisik.

√

214. 77 Senin (12/3) kemarin, band yang

dimotori Kele Okereke ini menggelar

showcase di Paramount Theater,

Seattle, Amrik.

√

215. 77 So, mitos yang disebut tadi, ternyata

udah nggak ampuh lagi. Good job,

guys!

√ √

216. 77 The Killers, Babyshambles, Klaxons,

dan Tori Amos juga menjadi line up di

festival ini.

√

92


217. 77 3 Diva kebanggaan Indonesia,

Krisdayanti, Titi DJ, dan Ruth

Shanaya, baru aja menggelar konser

kolaborasi dengan tiga penyanyi

Malaysia pada show-nya di Kuala

Lumpur tanggal 25 Maret lalu.

√

218. 78 Memuat 14 lagu, album yang cover-

nya bergambar kucing di papan putar

ini sempat meraih peringkat 1 di

Billboard 200 tahun 1997.

√

219. 80 Isinya? Anything that will make you

smile.√

220. 80 Mulai dari bloopers ajaib di musik dan

film, barang baru yang biarpun aneh,

toh tetep diproduksi, begitu pun

dengan parade mobil yang modelnya

nyeleneh.

√

221. 80 Ada juga tren t-shirt seru dan kocak. √

222. 80 Berasa butuh senyum dan refreshing? √

93


Halo Dikka!

Terimakasih masih suka ngintip2! Langsung aja ya.

Tujuan kami sering nyomot kata Bahasa Inggris, terutama adalah mendekatkan diri ke

pembaca. Mengingat kata-kata itu cukup hidup (artinya, sering dipakai) dalam bahasa

obrolan sehari-hari. Ini sesuai dengan visi misi Hai yang salah satunya menjadi teman

bagi pembacanya. Maka kalau diperhatikan, pemakaiannya juga dipilih sesuai dengan

kata-kata apa yang sedang sering dipakai oleh pembaca.

Maksud berikutnya adalah, meringkas penulisan tanpa mengaburkan pemaknaan.

Terminologi seperti "guilty pleasure", misalnya, akan lebih rumit untuk diterjemahkan,

dan belum tentu maknanya sepadan. Seringkali, kata-kata dalam Bahasa Inggris

juga nggak bisa dihindari dalam kutipan dari narasumber.

Begitu?

Semoga membantu.

Cheers!

Appendix 5 E-mail Transcript

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-----Original Message-----

From: dikka putra <[email protected]>

To: [email protected]

Date: Thu, 17 Apr 2008 18:23:19 -0700 (PDT)

Subject: tanya-tanya

Hi HAI, kenalan dulu ah..., aku Leonardus Dikka Maha Putra (23) dari Jogja. Aku salah

satu penggemar berat HAI sejak kelas 1 SMP. Emang sich aku sekarang udah nggak

remaja lagi tapi kegemaranku ama HAI masih mbandel 'n nggak mau ilang, ampe

sekarang aku masih suka ngintip artikel-artikel keren di majalah HAI. Sekarang aku kuliah

di program study Pendidikan Bahasa Inggris, Universitas Sanata Dharma, Jogjakarta di

semester 8.

Oh iya...! Ngomong-ngomong soal kuliah, aku sebenernya lagi nyelese'in skripsi. Aku lagi

butuh bantuan HAI nich, soalnya aku pilih majalah HAI sebagai bahan penelitian skripsi

aku (secara penggemar berat gitu kale'!). So, aku mau tanya-tanya ama redaktur

HAI satu pertanyaan berikut, mohon dijawab yaa.

Kenapa HAI sering nyomot kata-kata dari bahasa Inggris t'rus digabung ama kalimat-

kalimat berbahasa Indonesia? Apa kata-kata itu lagi ngetren, lebih ke'ci di

telinga,ato....gimana? Nih contohnya nih...,aku ambil dari artikel-artikel di majalah HAI:

1. Salah satu guilty pleasure gue belakangan ini adalah American Idol.

2. Jack juga ngasih tau kalo debut album The Ranconteurs, Broken Boy Soldiers, udah

siap di-launcing tanggal 15 Mei nanti.

3. So, here we are! Sampe di Bandung sekitar pukul 8 malam dan dusambut oleh enem

orang penting sekaligus.Finally, album ini dirilis juga di Indonesia.

4. Finally, album ini dirilis juga di Indonesia.

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