What is Asian American popular music? How do we identify it, define it, and listen to it? What work is being done by naming a genre as such, and need it even be named? Asian Americanist scholars and music critics have grappled with these questions, articulating the political desires for Asian American representation, recognition, and inclusion, while at the same time remaining wary of how such desires reiterate liberal multiculturalist discourses of assimilation and inclusion. A growing body of interdisciplinary work in American studies, performance studies, critical race and ethnic studies, queer studies, and sound and popular music studies has addressed the historical emergence, visibility, and representation of Asian Americans in popular music. This work has become less concerned with finding out what “Asian American popular music” is and more interested in how Asian Americanist critique can be rooted in minoritarian listening practices so that one might consider the myriad ways Asian Americans—as professional and amateur performers, musicians, virtuosic singers, karaoke goers, YouTube users, listeners, critics, and fans—actively shape and negotiate the soundscapes of US popular music with its visual, sonic, and other sensorial markers of Asian racialization.