Made in Thailand

Viriya Sawangchot is a cultural researcher based in Bangkok. Recently, he has been working as a senior researcher at the Center of Geosocial and Cultural Research for Sustainable Development (GSCR) at Walailak University, Thailand.

• CONTENTSPrefaceIntroductionVIRIYA SAWANGCHOTPART I : HISTORIES 1 The Amplification of Modern Music: How Did Radio Broadcasting during the 1930s–1950s Influence Thai Modern Music?FRANCIS NUNTASUKON 2 The 1950s–1970s Pleng Lukgrung and the Modern Gender in ThailandJIRAWATE RUGCHAT3 The Revolution of Pleng String and Politics of the 1980s GenerationVIRIYA SAWANGCHOTPART II : COMTEMPORARY ISSUES4 Reconstructing Thai Musical Identity: The Adaptation of Thai Classical Music to Popular Music in Recent DecadesGREAT LEKAKUL5 Notes on Gender and Aesthetic Expression in Thai Indie SceneWANATAYA MONGKON and SIRIPAT NAKNAM 6 Pleng Lakorn: Thai Drama Series Theme Song and Changes of Popular Music ProductionATCHAREEYA SAISIN7 Dancemocracy as Political Expression in the 2020 Thai Pro-democracy MovementANNA LAWATTANATRAKULPART III: POLITICS OF SOUND8 The Representations of Music Texts and the Female Voices in Haruethai Hirunya and Fon Tanasoontorn's "I Am Not Okay"KUNTHEE BANJUKEAW9 Noise: Relistening to Non-musical Sound in ThailandTHATCHATHAM SILSUPAN10 A Discussion on Rock Guitar Heroes in Thai Heavy Metal MusicPHAKPHOOM TIAVONGSUVAN11 Rod-Hae: Sound System Culture and Live Music Performance in Northeastern ThailandVIRIYA SAWANGCHOT and SIRASAR BOONMAPART IV: REGION AND CULTURAL POLITICS 12 Popular Music and the (Global) South of Thailand in the Place-MakingSIRIPORN SOMBOONBOORANA13 Song as a Resource for Cultural Translation: Tai Popular Music in the Borderlands of the Upper MekongWASAN PANYAGAEW14 Morlam as Method: Isan Music and Its Knowledge GRIDTHIYA GAWEEWONG and ARTHIT MULSARNCODA15 Thai Pop and Vidding of Thai Television Dramas by Transcultural Fans in ChinaBRENDA CHANAFTERWORD“Political Music Isn't Necessarily Boring": A Conversation with Pisitakun Kuantalaeng