A recent Washington Post article commented on the way this tabloid mentality is also contaminating reputable hard-news outlets, such as broadsheet newspapers. It pointed to the fact that headline "news" reports as of late have been giving priority to items such as the World Cup head-butting episode and items on the births of celebrity offspring like Nouvel Jolie-Pitt.

This syndrome is also apparent in Thailand. Over the past few years, tabloid-style magazines like Gossip Stars, TV Gossip, Oops and Dara Daily, have taken over magazine

stands. And this is not to mention daily newspapers in both Thai and English, which also feature gossip columns aimed to capitalise on the trend for these so-called "human interest" stories.

Last month's furore over the errors made during the now infamous on-stage "fight scene" between Sek Loso and Noi of the group Pru in New York on July 28 is a prime example of the damage that this kind of reporting can cause. The item was featured in numerous Thai media outlets. It has remained the primary topic of conversation for nearly a month since the incident took place at the world premiere of the rock-opera "Ramakien" at the Lincoln Arts Centre.

As there has been no press conference or official statements held since the project's completion, the actual facts regarding the event are still unclear and all reports come from "unnamed sources". In fact, high-profile rockers Sek and Noi might have expected this type of public scrutiny. They would both have been aware of the potential risks involved in taking part in the show, particularly since they were essentially untrained actors in a production that was such an important representation of the Kingdom on an international stage. But the real shame is that most media outlets here have missed the point entirely by failing to report on this incredibly courageous and ambitious "post-modern" production of the cultural classic.

The Nation found the news of this ground-breaking cultural performance important enough to address; the item made the cover on April 21 ("Cutting edge opera", News). One week later, the Bangkok Post also ran a feature story on the opera in its Outlook section.

Entitled "The Ramakien: A Rak Opera", the opera featured a combination of contemporary Thai tunes, rock, pop and electronica - and premiered at the Lincoln Centre's Summer Festival, with Thailand among over 50 countries participating in the 10th anniversary of the festival this year.

The Kingdom's most innovative artists - including visual artists, filmmakers, designers and rock and pop singers, as well as underground electronica DJs - took part in the project. Most notably, they turned a new chapter in today's contemporary art world with an avant-garde interpretation of the Ramakien opera at New York City's LaGuardia Concert Hall from July 28 to July 30.

The project was the brainchild of Tim Carr, the American producer who also launched rock star Sek Loso onto the international music scene, in collaboration with leading international Thai conceptual artist Rirkrit Tirajanija as the show's artistic director.

The presentation featured the "Nang Loy" or "Floating Princess" episode of the Ramakien, with extravagant visions of ferocious demons, prankster monkey gods, beautiful women and warrior kings coming to life as the tale unfolds. Directed by Rirkrit, choreographed by Pichet Klunchun, designed by Wit Pimkanchanapong and scored by Bruce Gaston, the production was a radical and lusty retelling of this timeless masterpiece, in a vibrant, fiery and often raucous style.

"As one of the most popular episodes 'Nang Loy' is an obvious selection and also recalls the performance of the episode for a foreign audience overseas during King Rama V and VI's rule. In addition, this episode is easy to understand for a non-Thai audience," Gaston, founder of the leading contemporary Thai orchestra Fongnam, said at a Bangkok press conference in April.

Forget about the delicate movements of khon dancers and dazzling skin-tight costumes with masks designed in a traditional Ramakien fashion. This production aimed to reinterpret the 2000-year-old epic the Ramayana - the most important literary and oral text of Sound Asia - in a contemporary fashion.

"We would like to present classical Thai arts, while presenting the talents of contemporary artists. Artists will interpret the core value of the epic and present it in a very modern way. I think Thai artists are very brave to create this innovation," said Gaston.

Rocker Sek Loso as King Rama literally "rocked" the audience while Noi of Pru as Hanuman wowed them with his signature expressive dance moves, his singing and his radical interpretation of the "king of the monkeys". Sexy pop singer Palmy as Sita, who was unable to join the artists overseas, ended up being represented digitally.

Other performers included indie darlings Modern Dog as Benjajaka, electronica band Photo Sticker Machine, who improvised with the Fongnam orchestra, and production designer Wit Pimkanchanapong, who added colour to the stage with multimedia effects and shadow-puppet silhouettes.

Rirkrit also commented that, unlike conventional productions, "each band will perform their own songs and act in their own styles, improvising with each other".

Unfortunately, the fight scene between Sek and Noi seemed to steal the show for the Thai media - who were not even there to witness the actual production in its entirety. A few tiny mistakes then became the focus of international media and our own reporters, who failed to note that they were witnessing a new frontier of Thai contemporary art blending the Western influences of rock and the Eastern influences of the Ramakien.

New York Times critic Jon Pareles's review was mixed and he seemed to be unfamiliar with our traditional epic. But fortunately contemporary art rarely relies on a single interpretation.

"Grandly ambitious and inconclusive, overstuffed and sketchy, 'Ramakien' imported a thriving arts scene from Bangkok to the Lincoln Centre Festival in a three-night stand that started on Friday at the La Guardia Performing Arts Centre. Billed as a 'rak opera' -  rak means love in Thai, but the rock pun was deliberate - 'Ramakien' was less a drama than a showcase for rock bands, dancers and designers from Thailand," Pareles wrote.

Although it's now relatively late in the day to stage a posthumous press conference, organisers led by music director Gaston and artistic director Rirkrit  plan to hold a press conference next week.

Although "idle gossip" obviously has its role as a part of today's pop culture, let's hope the Thai media stays aware of their responsibilities as a cultural cornerstone in society. There are plenty of readers who are interested in reading about items related to items that reflect a more intellectual culture, not just "human interest" gossip pieces.

Monday's edition of The Nation will feature a full review of the New York production of "The Ramakien: A Rak Opera".

 Phatarawadee Phataranawik