iieiiei1eWrkers - Leicester Research Archive - University of Leicester

In Azona for example, promotional staff produce a whole range of media output
from music videos and radio programming to live concerts and press releases.
Company DJs for example, produce approximately 200 hours of music
programming each week for Bangkok and the local radios. The company also
produces several weekly music programmes for television on Channel 7 and 5
plus a number of promotional music videos. Because they are circumscribed
by rigid organisation goals and work routine however, media producers are left
with few opportunities to exercise their creativity and professionalism.
Radio programmes pose a special problems because of their active youth
audience. DJs in both companies are involved in constant conflicts in their
attempts to negotiate between organisational goals, audience interests and their
own ideology of professionalism. On Azona weekend programme for example, the
audience want more time for chit-chat among themselves and with the DJs.
They also want to listen to artists from other publisher. However company
policy remains firm on these points. Media time is for music first and
foremost, and only Azona's own artists are allowed on the programmes.
Although the DJ, Kalayani, attempts to resolve these conflict by identifying
herself with the organisation's goals, pressures from the audience continues to
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build up.
"I have to explain to the audience that our programme is an ,lzona
prograinnie and we can 't play outside artists. But the y are no! very
satisfied wi/li the answer... They also waiit more time for their letters.
I don't know what to do with the big file / have at hand now... I am
an emplo yee of Azona. its public relations officer if you like., but I
also waiit to produce the program,ne according to my professional
training. .1 want to be a responsible Di as well as producing a
programme 1/ia! suits the audience's needs.
Graniniy's radio producer, Saithip, encounters similar conflicts particularly in
relation to the FM audience who reject the notion of the corporate DJ
altogether. They accuse the programme of being unfair to non-corporate artists.
Although the audience are fans of the DJ their musical tastes do not include
all Grammy's artists. When their requests are not honoured they feel that they
are being manipulated into listening to certain artists only. As a result, the
DJ has to segment the programme into various styles and play a wider range
of music in order to retain the fans' allegiance. This is only possible with
the consent of the administrator and the head of the promotion department.
As we have described it so far, media production in the promotion departments
of Azona and Grammy is generally technical rather than creative. However, in
14 . .
Interview with K. Promjairak, DJ of Azona Company, May, 1986.
105