This paper deals with perceptions about popularity, particularly about how dangdut performers seek to maintain their popularity. Since dangdut has been popularised at different times through different media, such as cassette, television, video compact disc, MP3 and YouTube video, in this paper, I examine how dangdut agents interpret and manage their popularity in different eras of media use. I examine three focus eras: the Rhoma Irama and PAMDI (Indonesian Dangdut Music Artists Association) era, the Dangdut Koplo era, and the Dangdut Ambyar era. I also relate these findings to the political constellations of their times. Rhoma Irama emerged in the era of the New Order, while Dangdut Koplo and Ambyar became known in the era of democratic reform or Reformasi. I use literature review, interviews, and ethnography to reveal how perceptions of popularity, technology use and contemporary politics have shaped the lyrics, music, and social relationships of each generation of dangdut performers in the Indonesian music industry.