Hua Hsu

  • Logo from the British Phonographic Institute’s antipiracy campaign, ca. 1980.


    THERE IS NOTHING MAGIC about a cassette, nothing bewitching about an object that can be taken apart and reassembled or fixed with a pencil. A small rectangular box of plastic in which magnetized tape moves back and forth between miniature spools, it is, from today’s vantage, a hopelessly antiquated format. At a time when most of us listen to music that exists only as data, on soundless players that cannot be pried open, the cassette displays its modest mechanics all too transparently. Peer inside the deck as you slide in a tape in, and you see a tiny, busy factory world of belts, wires, and

  • Dara Puspita, London, 1969. Photo: Handiyanto.

    Indonesian pop

    THE DESIRE TO HOLD ONE’S HEAD HIGH, to determine one’s own future: This is the reason so many regimes throughout the twentieth century rose and fell. But to hold one’s head high while crisply dressed all in white and wearing a black velveteen pillbox hat? This was Indonesia’s fate alone. When Kusno Sosrodihardjo, known simply as Sukarno, became the first president of Indonesia in 1945, he wanted all to see that the legacy of Dutch colonization and a brief spell under Japanese rule had done little to dampen his—and, by extension, his freshly christened nation’s—sartorial flair. “I say,