I think there's a difference in the way the listener is addressed, though - Alanis' songs are very directed at what we can imagine to be an actual person, whereas Bedingfield, really, it could be anyone at all. I've actually been thinking quite a bit about pronouns in pop music recently (and could write about this for longer, but work presses...) so the Tashbed example means I can add another one to the current list-
- listener is passive, directly addressed (cf Alanis' You Outta Know) - listener is active, directly addressed (cf pretty much anything off of Beck's Sexx Laws album -weak example but not noticed this one many other places) - third party known to listener and narrator address through listener (cf FOB's Sugar, We're Goin' Down) - narrator sings about narrator to generic or unspecified audience (cf Bedingfield's Babies)
![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png){kind=small}
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
timeasmymeasure
Re: NB vs. Alanis
Date: 2007-05-29 04:32 pm (UTC)- listener is passive, directly addressed (cf Alanis' You Outta Know)
- listener is active, directly addressed (cf pretty much anything off of Beck's Sexx Laws album -weak example but not noticed this one many other places)
- third party known to listener and narrator address through listener (cf FOB's Sugar, We're Goin' Down)
- narrator sings about narrator to generic or unspecified audience (cf Bedingfield's Babies)