Tamara Roberts Assistant Professor of Music at University of California, Berkeley, where she teaches courses on popular music and politics. Other publications include Yellow Power, Yellow Soul: The Radical Art of Fred Ho (co-edited with Roger Buckley) and articles and essays in multiple journals and anthologies.

• Introduction: Echoes of the Future Chapter 1: This Strange Amalgamation: Afro Asian RootsChapter 2: Becoming Afro Asian: Yoko Noge's Jazz Me Blues and JapanesqueChapter 3: Articulating Interracial Space: Funkadesi's "One Family"Chapter 4: Sonic Identity Politics: Fred Ho's Afro Asian Music EnsembleChapter 5: Toward An Afro Asian Theory of Critique: The "Addictive" Case Conclusion" Reverberations NotesReferencesIndex

For this book "Roberts' work offers vital insights into constructs and consequences of race and identity in music in the US and suggests more nuances articulations of the inherent complexities of this music. Readers unfamiliar with the US context still will find this work valuable as it provides a solid and accesible approach to ideas that, in some previous research, are oversimplified and lack Robert's rigour. Roberts also takes great care not to present false equivalences between the two minority groups, nor does she avoid diligent consideration of problematic definitions, tensions, exoticization, sensitivities, stereotypes, and more. In doing so, this work may carry broader implications as she presents a thorough and useful way to interrogate racial systems in their entirety, all while advancing discourses on hybridity, multiculturalism, and identity in an ever-shifting world.

Tamara Roberts Assistant Professor of Music at University of California, Berkeley, where she teaches courses on popular music and politics. Other publications include Yellow Power, Yellow Soul: The Radical Art of Fred Ho (co-edited with Roger Buckley) and articles and essays in multiple journals and anthologies.

• Introduction: Echoes of the Future Chapter 1: This Strange Amalgamation: Afro Asian RootsChapter 2: Becoming Afro Asian: Yoko Noge's Jazz Me Blues and JapanesqueChapter 3: Articulating Interracial Space: Funkadesi's "One Family"Chapter 4: Sonic Identity Politics: Fred Ho's Afro Asian Music EnsembleChapter 5: Toward An Afro Asian Theory of Critique: The "Addictive" Case Conclusion" Reverberations NotesReferencesIndex

For this book "Roberts' work offers vital insights into constructs and consequences of race and identity in music in the US and suggests more nuances articulations of the inherent complexities of this music. Readers unfamiliar with the US context still will find this work valuable as it provides a solid and accesible approach to ideas that, in some previous research, are oversimplified and lack Robert's rigour. Roberts also takes great care not to present false equivalences between the two minority groups, nor does she avoid diligent consideration of problematic definitions, tensions, exoticization, sensitivities, stereotypes, and more. In doing so, this work may carry broader implications as she presents a thorough and useful way to interrogate racial systems in their entirety, all while advancing discourses on hybridity, multiculturalism, and identity in an ever-shifting world.

Tamara Roberts Assistant Professor of Music at University of California, Berkeley, where she teaches courses on popular music and politics. Other publications include Yellow Power, Yellow Soul: The Radical Art of Fred Ho (co-edited with Roger Buckley) and articles and essays in multiple journals and anthologies.

• Introduction: Echoes of the Future Chapter 1: This Strange Amalgamation: Afro Asian RootsChapter 2: Becoming Afro Asian: Yoko Noge's Jazz Me Blues and JapanesqueChapter 3: Articulating Interracial Space: Funkadesi's "One Family"Chapter 4: Sonic Identity Politics: Fred Ho's Afro Asian Music EnsembleChapter 5: Toward An Afro Asian Theory of Critique: The "Addictive" Case Conclusion" Reverberations NotesReferencesIndex

For this book "Roberts' work offers vital insights into constructs and consequences of race and identity in music in the US and suggests more nuances articulations of the inherent complexities of this music. Readers unfamiliar with the US context still will find this work valuable as it provides a solid and accesible approach to ideas that, in some previous research, are oversimplified and lack Robert's rigour. Roberts also takes great care not to present false equivalences between the two minority groups, nor does she avoid diligent consideration of problematic definitions, tensions, exoticization, sensitivities, stereotypes, and more. In doing so, this work may carry broader implications as she presents a thorough and useful way to interrogate racial systems in their entirety, all while advancing discourses on hybridity, multiculturalism, and identity in an ever-shifting world.