This article departs from my anxiety over the previous analysis of the contestation between dangdut and rock music genres in the 1970s. The analysis that emerges from this phenomenon is that the contestation ended peacefully between the two genres. Instead of agreeing, I actually see a different thing: peace does not happen, but rather mutually tactics to perpetuate domination or erode power. I re-articulated the conflict between dangdut—represented by Rhoma Irama—and rock—from the contestation of these two genres- from Benny Soebardja to Ahmad Albar. To uncover this, I use literature data, textual analysis, and contextual elaboration. From what I found, the conflict between dangdut and rock never ends. They continue to compete in their way. For me, this contestation trajectory shows that the match is only a matter of fighting for power and domination.