The twelfth and final “bar” of Whose Blues? offers a handful of thematic and anecdotal explorations: a prismatic view of the blues in the second decade of the third millennium, as Black bluesist heritage claims wrestle with the music’s postmodern condition. What happens when we add Asia—a sampling of younger bluesmen from Japan, China, and India—to our reckoning? Is there a significant statistical disparity between African American and white blues performers in contemporary American blues festivals and awards ceremonies, and at what point does that disparity become objectionable? What might a white blues scholar have to learn by attending the all-Black Jus’ Blues Music Foundation’s annual awards ceremony in Tunica, Mississippi? What sort of blues is being played and sung by the best younger African American bluesmen when they get together in Cleveland, Mississippi—the town where W. C. Handy first had his revelation about the power of the blues more than a hundred years earlier? This chapter ends with a capsule portrait of Akarsha “Aki” Kumar, a Silicon Valley bluesman from Mumbai and former software engineer at Adobe who has reinvented himself in the age of Trump, blending jump blues grooves with Bollywood lyrics and costumes.