iieiiei1eWrkers - Leicester Research Archive - University of Leicester

When the balance is struck the song becomes a hit. More importantly, catch
phrases from songs such as 'pai don kao bk ik laew' (you are fooled again)
or 'rak sib law raw sib tnong' (wait for the lorryman at ten) are incorporated
into the oppositional discourse of journalists and the Left, who use them to
criticise the government for failing to fulfil their political mandate.
Luktoong's second central feature, the expression of sexual desire, is
diametrically opposed to the notion of romantic love presented in the niusic of
Lukkroong or String. Male singers are especially forthright since the main
thrust is in 'talking sex'. Sexual puns' and metaphors for sexual intercourse
are abundant. But as noted above, songwriters are cautious of censorship.
For the state, 'obscenity' is defined first and foremost by the language and the
sexual imagery created by the words. Chudtien (Light the Candle), Ham Tiem
(False Organ), Parinya Ki Kwai (Graduate on Buffalo Back) and Law Ai Kae
(Seduction) for example, are banned from being broadcast because of their
'obscene' lyrics. 3 In practice however, sexual explicitness is not contained purely
in the lyric. It can also be presented in the music and the 'vocal' of the
singer as well as the words or in a combination of these elements. Together
with the visual imagery and the 'physical' impact of the music they generate
blissful sensual pleasure.
The niche secured by Pleng Luktoong not only compromises the state, but
'talking sex' becomes part of everyday politics. As with the tragic love songs,
catch phrases from erotic lyrics and poems are widely adopted and used in a
variety of contexts. At the same time, this enables the sexual passivity of
women generally presented by male songwriters and vocalists to be challenged.
Diew Kaw Mum Sa Rok (Want to Have You) written by Lop Burirat and
originally sung by the songwriter himself for example, was later recorded by a
female singer, Chantara Tirawan and expressed in reverse. A variety of lyrics,
sexual and non-sexual, are re-written to the melody of Jud Tien for example
whilst textile workers sing and dance to the protest lyric they write to the same
tune. These 'decodings' demonstrate the range of divergences from the
'encoded imagery of the songs and suggest that a range of potential meanings
can be created. We shall discuss this point in more detail in the next chapter
on audience media activities.
The National Broadcasting Authority (1985) proscribed the following;
obscenity leading to pornography; opposition to government policies;
insinuation of class differences that will lead to national disunity; and the
degradation of the ethnic minorities. So far, no song has been banned
because of its 'obscene music'. But in the past, some international- rock
stars and groups such as, Elvis Presley and the Beatles were banned.
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