Index
Aaliyah, 111
“Acknowledgement” (Coltrane), 27–34, 38; and “Allah Supreme,” 30–31
activism: anti-anti-pornography, 114; and James Baldwin, 20–21; and James Brown, 47; and John Coltrane, 20, 37; and Miles Davis, 43, 60; HIV/AIDS, 82–84; South Asian, 43
“Addictive” (Truth Hurts), 8, 10–11, 16, 105–9, 111–24, 132–33; deception in, 116–17; inspired by, 142, 172n4; lawsuit against, 105–6, 121, 133, 175n3; video for, 10, 107, 112–13, 176n31
aesthetics: Afro–South Asian, 7, 9, 28, 63, 69–70, 99; and André 3000, 70, 85, 90–91, 93–94, 99; and Beyoncé, 142, 145; Black, 5, 69, 74, 85, 170n28; Black queer, 5, 170n28; and John Coltrane, 24–26, 28; and Miles Davis, 46, 48, 50–51, 54; and Rick James, 66, 68–70, 74–75, 80–81, 85; South Asian, 68–69, 99; Timbaland, 125
Africa, 6, 69, 91, 99–100; East, 73; North, 68; pan-Africanism, 43, 58, 66, 78, 81; postcolonial, 68, 83–84; sub-Saharan, 29–30, 38; West, 49, 51–52, 61, 73. See also African diaspora
African American studies, 13
African diaspora, 6–7; Afro-Cuban sound, 28, 32; Beyoncé, 132, 146; and John Coltrane, 29; and Rick James, 72–73, 78, 83–84; and OutKast, 89, 94; and Rajé Shwari, 138; and Truth Hurts, 107. See also Afro-diasporic music
African Methodist Episcopal Church, 33
Afro-Asian critique, 107
Afro-Asian performance, 3
Afro-Asian studies, 6–7, 11–12, 138
Afro-diasporic music: and “Addictive,” 106, 111–12; and John Coltrane, 13, 21–22, 28–29, 31–32, 38; and Miles Davis, 48, 50–52, 54, 61; and “Get Ur Freak On,” 101; and Rick James, 81; and OutKast, 68
Afro–South Asian musical relationships, 2–17; alliances, 54, 83, 96, 98, 107, 136; and Beyoncé, 143–45; collaborative sounds, 4, 7–8, 13, 100–101, 124, 126, 145; and John Coltrane, 21, 23, 25–26, 31–32, 38–39; critique, 107; and Miles Davis, 43, 45, 54, 60, 63; and genealogy of sound, 4, 6, 10, 12–13, 70, 132, 145; and “Get Ur Freak On,” 100–101; and Rick James, 70, 73, 78, 81, 84; and OutKast, 70, 96, 98–99; performance, 3; and Rajé Shwari, 124, 126, 134, 136, 138–40; studies, 6–7, 11–12, 138; and Truth Hurts, 107–8, 111–12, 116, 119–21
AIDS, 9, 69–70, 81–84, 88, 145; and activism, 82–83
“Alabama” (Coltrane), 33–34, 37
aliens, 68–70, 88–89, 93–97, 100
alliances, 7–9, 17, 69; Afro–South Asian, 54, 83, 96, 98, 107, 136
Amar, 140
America. See United States
André 3000, 15, 65–70, 86–99, 145, 168n5, 171n40; as Bin Hamin, 68, 93–94, 96, 98–99; and Jamaica, 67–68
anti-Blackness, 3, 6, 34, 42, 87, 92
anti-imperial politics, 6–7, 15–16, 23
anti-racist activism, 6–7, 15, 21, 23, 79
appropriation: and Beyoncé/Coldplay song, 143; and Black musicians, 10–12, 106–7, 133; and white musicians, 3, 73
Asia, 6, 31, 91, 99–100; South Asia, 16, 91, 106–7, 109, 112, 134. See also Asian Americans; Asian diaspora
Asian Americans, 6, 43, 96–98; and “model minority” trope, 9, 53, 98. See also South Asian Americans
Atlanta, Georgia, 15, 85–90, 170n23
ATLiens (OutKast), 15, 67–70, 86, 88–90, 92–99; liner notes for, 68, 89, 94
“Baby Boy” (Beyoncé), 142–43, 145
Bailey, Marlon, 45
Bailey, Ruben “Big Rube,” 86
Balakrishna, Khalil, 43, 55, 164n3
Baldwin, James, 14, 20–27, 35, 38–39, 60, 85–86
Bayoumi, Moustafa, 30–31
Beaster-Jones, Jayson, 106, 109, 111
belly dancing, 109, 139, 176n31
Benjamin, André “André 3000,” 15, 65–70, 86–99, 145, 168n5, 171n40; as Bin Hamin, 68, 93–94, 96, 98–99; and Jamaica, 67–68
Beyoncé, 4, 141–43, 145, 150, 177n9; and “Baby Boy,” 142–43, 145; “Formation,” 141, 143–45; and “Hymn for the Weekend,” 143–44; Lemonade, 141
Bhabha, Homi, 11–12
Bhosle, Asha, 136–37
Big Boi, 65–68, 70, 87–90, 93–94, 96–99
Big Reese, 90–91
Bin Hamin (character), 68, 93–94, 96, 98–99
Bitches Brew (Davis), 42, 47, 62
Black alterity, 53
Black anality, 75
Black Caribbean culture, 68, 73, 142
Black consciousness movement, 62
Black freedom struggles, 20, 66
Black geographies, 45
Black masculinity, 14–15, 24, 74, 90–93
Black nationalism, 43
Blackness, 4–5, 14–15, 106; anti, 3, 6, 34, 42, 87, 92; and Miles Davis, 45, 50–51, 53, 62–63; and Rick James, 74, 77–78; and OutKast, 86, 91–92, 94; and South Asian culture, 3, 5, 10, 73, 106
Black Panther Party, 43, 58, 93–94, 96, 144
Black popular music, 3–4; and Miles Davis, 46; and South Asian culture, 4, 6, 10–11, 13, 21, 91, 120, 143; and South Asian samples, 125, 140
Black Power, 9, 58, 145; and Beyoncé, 144; and Miles Davis, 14, 42–44, 47–48, 56, 60; dominant ideologies of, 14, 43, 60; and OutKast, 86, 93
Black queerness: aesthetics, 5, 75, 170n28; and Beyoncé, 144, 177n9; and John Coltrane, 35, 38; and Miles Davis, 43, 45, 60, 62; and Rick James, 70, 75, 79; and knowledge production, 168n53; and marginality, 60; masculinity, 21, 23, 94; and OutKast, 70, 88, 94
Black radical tradition, 5, 35, 44, 48, 74, 87, 94
“Black Satin” (Miles Davis), 48–50
Black women, 7, 9; and “Addictive,” 108, 112, 115; and Beyoncé, 141–44; and Miles Davis, 43, 59–60; and Rick James, 80, 82; and OutKast, 99; and pleasure, 114–15; and Val Young, 80
Bollywood, 109, 111, 115, 120–22, 133; and The Queen of Bollyhood, 140; samples from, 8, 10, 105–8, 115, 127–28, 133, 138
“Bounce, The” (Jay-Z), 126–33, 137, 176n17
Boyd, Rekia, 9
Brock, Bryan, 111–12
Brooks, Daphne, 142
Brown, James, 14, 42, 46–51, 53; “Cold Sweat,” 49–51, 58; “Say It Loud—I’m Black and I’m Proud,” 14, 47, 166n18; “Soul Power,” 47, 58
Brown, Jayna, 74
Brown, Michael, 9
Bubba Sparxxx, 91, 123; “Ugly,” 91, 123
capitalism, 6–7, 130; anti, 6–7, 79; capital, 106, 130; and corner politics, 44; and “Indian Flute,” 135, 138; and Rick James, 79–80; late, 3, 129
Caribbean, 15; Black Caribbean, 68, 73, 142
Chinese Americans, 44
Chinese Exclusion Act, 96
“Choli Ke Peeche,” 127–31
Christianity: Black, 20, 25, 33–34, 37; and John Coltrane, 20, 24–25, 30, 33–34, 36–37
citizenship, 12, 53, 69, 82, 96
civil rights movement, 9, 20–21, 26, 37, 47, 145
class, 7–9, 12, 121; and Bollywood, 109, 111, 115–16; and John Coltrane, 23; and Miles Davis, 42, 44, 53–54, 56, 59, 69; and intersectionality, 8–9; and Rick James, 73–74, 77, 80, 82–83; middle, 42, 69, 80, 109, 111, 115–16; upper, 9, 53; working, 23, 53, 56, 59, 73–74, 77, 83
classical music: North Indian, 25–26, 29, 37, 52, 81
coalitional politics, 6, 10, 54, 85; Afro–South Asian, 10, 31, 124, 145; coalition building, 17, 45, 82, 87; and Miles Davis, 43, 45–46, 48, 54, 60, 69; and intersectionality, 7–8; and Rick James, 70, 80–83, 85, 101; and OutKast, 70, 87, 96, 98
Cohen, Cathy, 8–9, 43, 46, 60, 75, 82
Coldplay, 141, 143–45; “Hymn for the Weekend,” 143–44; “Up & Up,” 145
“Cold Sweat” (Brown), 49–51, 58
Cold War, 6, 15, 65, 70, 83–84
Coleman, Wanda, 59
collaboration: Afro–South Asian, 1, 3–4, 7–10, 12–13, 17; and Beyoncé, 143–45; collaborative sounds, 78, 100, 103, 145, 160; and John Coltrane, 24, 39; and Miles Davis, 52; and Missy Elliott, 100–101; intermundane, 129–30; and Rick James, 78, 80–81; Timbaland and Rajé Shwari, 124–26, 129, 135–36, 138–50. See also cross-cultural collaboration
Collins, Addie May, 34
Collins, Patricia Hill, 113
colonialism, 12, 31, 58; anti, 23; and “Hymn for the Weekend,” 143; postcolonial Africa, 68; settler, 100
Coltrane, John, 1, 3, 13–14, 19–39, 145; “Acknowledgement,” 27–34, 38; and African American music, 21, 33–34, 37–38; and African American movements, 23–24, 31; Ascension, 22, 39; and Beyoncé, 142; Coltrane Plays the Blues, 19–20; and Miles Davis, 50; eccentricity of, 25, 27; and Rick James, 85; A Love Supreme, 22–23, 25, 27–34, 36–39, 50, 163n34; Meditations, 22; My Favorite Things, 19, 168n5; Om, 21–22; and OutKast, 86, 89; and Pharaoh Sanders, 73; “Psalm,” 27, 32–38; “Reverend King,” 13, 20; and saxophone, 13, 20, 24, 27–28, 30, 32–33; “Sonny’s Blues,” 20, 161n6
Coltrane Plays the Blues, 19–20
comparative racialization, 7–8, 10, 45
Cooper, Carolyn, 142
Corea, Chick, 50
corner politics, 14, 44–46, 54, 59–61. See also On The Corner
counterculture, 3, 42, 71–72, 74, 77–78, 83, 144
Crawley, Ashon, 35
Creamer, David, 50
Crenshaw, Kimberlé, 7
cross-cultural collaboration, 3; and “Addictive,” 106, 116; Afro–South Asian, 2, 4, 12; and John Coltrane, 13, 23, 31; and Miles Davis, 48, 73; and OutKast, 98; and Rajé Shwari and Timbaland, 124, 140
cross-racial relationships: and Miles Davis, 45, 52; and Rick James, 70; music, 4, 10; and OutKast, 98; and Rajé Shwari and Timbaland, 17, 124; solidarities, 6, 8
Cruz, Ariane, 114
cultural appropriation, 11–12, 143
Da Bassment crew, 111
dandyism, 86
Daulatzai, Sohail, 94
Davis, Betty, 46–47
Davis, Dedra S., 105–9, 113–14, 119
Davis, Janet M., 77
Davis, Miles, 4–6, 14–15, 41–43, 45–63; and African American culture, 41–43, 46–47, 50, 53, 56, 62; and bisexuality, 165n5; Bitches Brew album, 42, 47, 62; “Black Satin,” 48–50; and John Coltrane, 25–26, 39; and experimentation, 41–42, 47–48; Filles de Kilimanjaro album, 47; and Hernando’s, 62; In Concert album, 61–62; Jack Johnson, 42, 47; and Rick James, 66, 69, 73, 75, 85; and “Mr. Freedom X.,” 48–50; and OutKast, 93; and Rajé Shwari and Timbaland, 124–25, 140; and South Asian culture, 43–44; “Yesternow,” 47–48
death, 68, 81, 88, 130; “deadness,” 129
DeJohnette, Jack, 49
Desai, Jigna, 97
dhikr, 30
diasporas, African and South Asian, 6–7, 9, 13–15; and “Addictive,” 111–12; and Beyoncé, 142, 146; and Rick James, 72–73, 84; queer diasporic critique, 120; and Rajé Shwari and Timbaland, 126, 131, 138–39. See also African diaspora; Afro-diasporic music; Asian diaspora; South Asian Americans
disability, 100–101
DJ Quik, 105, 107, 109, 111–13, 115–17, 122
“do something different,” 123–24, 134, 137, 139–40, 175n3
Douglass, Jimmy, 136
Du Bois, W. E. B., 6, 138; Dark Princess, 138
Duggan, Lisa, 114
Dylan, Bob, 73
Early, Gerald, 23–24
Ebony, 92
Edwards, Erica, 20–21
“Elevators (Me & You)” (OutKast), 68, 88, 96–98
Elliott, Melissa “Missy,” 4, 63, 111, 145; and “Get Ur Freak On,” 1, 70, 99–103, 106, 123; and Miss E . . . So Addictive, 99
eroticism: and “Addictive,” 108–9, 111–12, 114–16, 118–19; and Beyoncé, 142–43; and “Get Ur Freak On,” 100–101; homoeroticism, 128, 130; and Rick James, 66, 75, 77, 80–81; and On the Corner cover, 59; and Rajé Shwari and Timbaland, 129, 131–32, 137
ethnoracial relationships, 8, 10, 38, 42, 45, 92
exoticism, 73, 92–93, 106–7, 111–12, 119, 144
Fanon, Frantz, 58
Fellezs, Kevin, 47
feminism, 100, 121–22; and Beyoncé, 141–44; Black, 16; and pornography, 114; queer of color, 138; second-wave, 69, 114; women of color, 7–8, 12, 17, 142
Ferguson, Roderick A., 1, 8–9, 168n53
film, 91, 120, 140; Indian popular, 115, 120, 127; South Asian, 105, 108–11, 115, 127–28, 132–34, 140
Finney, Nikky, 35
Fire Next Time, The (Baldwin), 20, 36
Flag, The (James), 15, 65–70, 78–85, 101, 145; liner notes, 78
Floyd, Samuel, 89
“Formation” (Beyoncé), 141, 143–45
Franklin, Aretha, 46–47
freakiness, 77, 81, 83, 85; and John Coltrane, 25; freaks, 25, 69–70, 72, 75–78, 80–85, 99–101; freak-show, 77; “Get Ur Freak On,” 1, 70, 99–103, 106, 123; Rick James’s “freak flag,” 65, 68, 78–81, 83–85, 101; super freaks, 66, 75–77
freedom: Black struggles, 5, 20, 38, 65, 93; dreams, 5, 68, 94
Freeman, Elizabeth, 130–31
“Free to Be Me” (James), 65, 82, 84
fucking, 10, 84, 101, 106, 115
funk, 3, 15, 69; and Miles Davis, 14, 42, 46–51, 62–63; and “Get Ur Freak On,” 101; and the one, 81; punk funk, 70, 72, 74–75, 77–79, 81, 84–85
“Funk in America/Silly Little Man” (James), 65, 83–84, 170
fusion, jazz, 14, 42, 47–50, 58
futurity: and “Addictive,” 130; Afro-futurism, 92–94, 99, 168; and John Coltrane, 31, 38–39; and OutKast, 89, 93, 97–100
Garnett, Carlos, 49–50
Garrett, Stephen “Static,” 111
gender: and “Addictive,” 107–8, 115, 119–21; and Black–South Asian collaboration, 7–10; cisgender, 8, 76; and John Coltrane, 21, 39; and Miles Davis, 43–45, 54, 59; and Missy Elliott, 100; and empire, 7; femininity, 16, 111, 115, 119; genderqueer, 77, 131; hetero-masculinity, 14, 44, 93, 98; and Rick James, 69, 75–77, 80, 82–84; and OutKast, 69, 88–90, 93–94, 99; racialized, 9, 21, 82, 94, 136; and Rajé Shwari and Timbaland, 125–27, 131, 138, 140. See also feminism; masculinity; men; women
genealogy of sound, Afro–South Asian, 6, 10, 12–13, 70, 132, 145
genres: Afro-diasporic, 29; and Miles Davis, 46–47, 50; and Rick James, 74; and raga rock, 157
“Get Ur Freak On” (Elliott), 1, 70, 99–103, 106, 123
Gillespie, Dizzy, 23, 42, 92, 165n5
Ginuwine, 111
God, 27, 30, 33, 163n43; as Higher Power, 30, 33, 37, 163n43
Gopinath, Gayatri, 12, 120, 128
Gore, Tipper, 77
Halberstam, Jack, 12
Hancock, Herbie, 49–50
harmonic progressions, 28, 32–34, 49–50; and chanting, 30
Harper, Phillip Brian, 43
Harrison, George, 2
Hart, Billy, 49
Henderson, Michael, 48–49
Hendrix, Jimi, 46–47
Hernando’s, 62
hetero-masculinity, 14, 44, 93, 98
heteronormativity: and “Addictive,” 118, 121; and Afro-Asian studies, 7; and Beyoncé, 142; and John Coltrane, 24; and Miles Davis, 43, 59; and Missy Elliott, 100; and “Indian Flute,” 138; and popular music, 16
heteropatriarchy, 7, 44, 48, 76, 93, 98
heterosexism, 8, 43, 75, 114, 131
heterosexuality, 7–9, 44, 92, 119, 127, 137–39
Hindi language, 106, 109, 118, 125, 128, 134–37
Hinduism, 30, 105, 108, 142, 157n1
Hindustani music, 25–26, 29, 37, 52, 81
hip-hop, 3, 7, 10–11, 14–16; and “Addictive,” 105, 120, 122; and OutKast, 66, 67, 86–89; and Rajé Shwari and Timbaland, 125, 132, 134–35, 137, 140
HIV/AIDS, 9, 69–70, 81–84, 88, 145
Hollibaugh, Amber, 114
hooks, bell, 44
Horne, Gerald, 23
horns, 14, 20–22, 24, 26, 28, 35, 38
Hunter, Nan, 114
“Hymn for the Weekend,” 143–44
immigration, 69; and Asian racialization, 96–97; and Rick James, 73, 77; and model minority trope, 53; South Asian, 9, 15, 53–54, 73, 77, 91
imperialism, 6–7, 11, 15–16; and “Addictive,” 106–8, 120–21; anti-imperialism, 6–7, 15–16, 23; global, 6, 9, 44, 83, 113, 138; and Rick James, 83–85; and U.S. invasion of Iraq, 106
improvisation: and John Coltrane, 26, 32–34, 36, 39; and Miles Davis, 49–50
incarceration, 58, 82, 85, 97, 118
In Concert (Davis), 61–62
India: and “Addictive,” 105, 109, 111, 115–16, 119–21; and Beyoncé, 142–44; and Black artists, 1, 5–6; British colonization of, 6, 31; and John Coltrane, 13–14, 19–26, 29–32, 36–38; Miles Davis, 52, 62; and Missy Elliott, 101; independence, 6, 109, 115; Indo-chic trend, 3, 120; Indophilia, 2, 72–73, 144; and Rick James, 70–73, 81, 85; North Indian classical music, 25–26, 29, 37, 52, 81; and OutKast, 15, 69, 91–92; and Rajé Shwari and Timbaland, 123–25, 127, 131–32, 134, 136; and white artists, 2, 144, 157n1
“Indian Flute” (Timbaland, Magoo, and Rajé Shwari), 91, 126, 133–39
intermundane collaborations, 129–30
Interscope and Universal Music Group, 105, 121
intersectionality, 7–8; and “Addictive,” 106–7; and John Coltrane, 21; and Miles Davis, 44–45, 69; and Missy Elliott, 100; and Rick James, 74, 80, 82–83, 85; and OutKast, 91; and Rajé Shwari and Timbaland, 126
intimacy, 100; and “Addictive,” 114; and Black queerness, 75; and Missy Elliott, 100; and Rick James, 75, 84; queer, 75, 133; and Rajé Shwari, 133, 140
Islam, 24–25, 30–31, 38, 93–94; Ahmadiyya, 31, 38; Muslims, 9, 68, 94, 103, 105
James, Rick, 4, 15, 65–70, 78–85, 145; and African American culture, 69, 74, 83–84; and Missy Elliott, 99, 101; “Free to Be Me,” 65, 82, 84; “Funk in America/Silly Little Man,” 65, 83–84, 170; going AWOL, 72, 77, 83, 85; India room, 71; in London, 21–74, 77–78, 85, 91; “Love Gun,” 76; “Om Raga,” 81, 170n33; and OutKast, 86, 91, 99; “Painted Pictures,” 81; and punk funk, 70, 72, 74–75, 77–79, 81, 84–85; “Super Freak,” 66, 75–76; and working-class life, 73–74, 77, 83
Jay-Z, 124, 126–27, 131–32, 137; The Blueprint, 127, 175nn7–8; The Blueprint 2, 126–27; “The Bounce,” 126–33, 137, 176n17; “Excuse Me Miss,” 127
jazz, 3, 13–14; and James Baldwin, 20; Black jazzmen archetypes, 23–25, 142; and John Coltrane, 22–26, 29, 37, 39, 142; and Miles Davis, 41–42, 46–50, 52, 165n5; electric, 42; free, 46, 49–50; and Rick James, 73; jazz fusion, 14, 42, 47–50, 58; modal, 26, 39, 46
“Jazzy Belle” (OutKast), 98–99
Jet magazine, 92
Johnson, Barbara, 71–72
Joshi, Khyati, 97
Jun, Helen, 12
Kapur, Sudarshan, 23
Khalnayak, 128
Khan, Bismillah, 19
Kim, Claire Jean, 12
King, Jason, 128–29
King, Martin Luther, Jr., 7, 13, 20, 33–35, 37
kink: and “Addictive,” 111–12, 115, 117; and Rick James, 75–76
Kirk, Rashaan Roland, 23–24
Knowles, Beyoncé, 4, 141–43, 145, 150, 177n9; and “Baby Boy,” 142–43, 145; “Formation,” 141, 143–45; and “Hymn for the Weekend,” 143–44; Lemonade, 141
Kumari, Raja, 150
Lahiri, Bappi, 106
Lavezzoli, Peter, 24
Lemonade (Beyoncé), 141
liberalism, 60, 74, 100, 114, 145; neoliberalism, 145
Lincoln, Abbey, 22
London, England, 21–74, 77–78, 85, 91
Love Supreme, A (Coltrane), 22–23, 25, 27–34, 36–39, 50, 163n34; liner notes for, 27, 33
Lowe, Lisa, 100
Macero, Teo, 48, 50–52, 54, 63
Mahon, Maureen, 46
Maira, Sunaina, 11
Mangeshkar, Lata, 8, 108, 111, 113–19, 121, 129
Marshall, Wayne, 106, 109, 111
Mary Jane Girls, 77, 79, 170n26; “Leather Queen,” 79, 170n26
masculinity, 54; and “Addictive,” 114, 119; anti-masculinist Black politics, 15; and James Baldwin, 20–21, 23; Black, 11, 14–15, 20–21, 23–24, 74–75, 90–93; and John Coltrane, 20, 23–24; and Miles Davis, 43–44, 54; hetero-masculinity, 14, 44, 93, 98; hypermasculinity, 92; illegible, 24–25, 89, 94, 142; male fantasies, 113, 119; male gaze, 114; and OutKast, 86, 89–94, 98; and pornography, 114; and punk, 74; and Rajé Shwari and Timbaland, 125, 131, 137, 142. See also men
masochism, 113–14
Matsuda, Mari, 7–8
Matthews, Tracye, 43
Maupin, Bennie, 49
McAlister, Melani, 26
McCoy, Cortez “Corky,” 41, 54, 57, 59–62, 168n51
McKittrick, Katherine, 45
McLaughlin, John, 49–50
Mehta, Monica, 127
men: Black, 44, 59–60, 77, 88, 91–92, 94; Black queer, 43, 60; and “The Bounce,” 131; cisgender, 8; and Miles Davis, 43–44, 54, 58–60, 62; heterosexual, 8; and Rick James, 75, 72; men who sleep with men, 88; and OutKast, 88, 90–92, 94, 96, 98; queer, 43, 60, 62; and rap videos, 16. See also masculinity
M.I.A, 140
middle class, 42, 69, 80, 109, 111, 115–16
Middle East: conflation with South Asia, 107, 109; music, 111, 175n3; people, 15–16
misogyny, 45, 58, 112, 137; misogynoir, 112
model minority myth, 7, 9, 15, 53–54, 98, 145; model minority suicide, 54
Moraga, Cherrie, 114
Mosley, Sebastian, 126, 134, 137–39
Mosley, Timothy “Timbaland,” 4, 122–23, 127; and “The Bounce,” 126–33, 137, 176n17; and Da Bassment crew, 111; and “Get Ur Freak On,” 99, 123; and “Indian Flute,” 91, 126, 133–39; and The Queen of Bollyhood, 139–40; and Rajé Shwari, 17, 91, 124–27, 133–40; Under Construction Part II, 134
Motown Records, 65, 71–73, 80, 85
“Mr. Freedom X” (Davis), 48–50
Mtume, James, 49–50, 52, 54–55
Muñoz, José Esteban, 35, 39, 59
musicology, 49, 132; ethno, 25, 109
Muslims, 9, 68, 94, 103, 105; Islam, 24–25, 30–31, 38, 93–94
Musser, Amber Jamilla, 114
My Favorite Things (Coltrane), 19, 168n5
Mynah Birds, 71–73
Nash, Jennifer Christine, 75
Nelson, Alondra, 96
New Orleans, Louisiana, 142–43
New York City: Miles Davis in, 41, 52, 61–62; Harlem, 52; and OutKast, 68, 87
Ngai, Mai, 53
9/11, post, 9, 15–16, 91, 106, 120, 145
nonnormativity: and Bollywood, 109, 115–16; and “The Bounce,” 131; and John Coltrane, 23, 25; and Miles Davis, 53, 59–60, 69; and Missy Elliott, 100; Rick James, 80, 82, 84; and OutKast, 89, 98; racialized, 8–9, 69, 82, 84. See also normativity
normativity: and “Addictive,” 16, 115–16, 121, 142; and Bollywood, 129–30, 132; and Miles Davis, 43, 48, 50, 53–54, 69; and Missy Elliott, 100; gender norms, 7, 39, 43, 54, 69, 88, 90, 93; and “Indian Flute,” 134; and Rick James, 69, 74–77; and masculinity, 20, 24–25, 90; and OutKast, 69, 87–88, 90, 93, 96; and race, 16, 48, 69, 86, 96; sexual norms, 7, 16, 43, 54, 69, 76, 88–90, 115–16. See also heteronormativity; nonnormativity
Nyong’o, Tavia, 74
On the Corner (Davis), 5, 14–15, 41–46, 48–63, 168n51; and The Flag, 66, 69, 75, 81; liner notes for, 48; and Rajé Shwari and Timbaland, 124–25, 140
“On the Corner” (Davis), 49
Orientalism: and “Addictive,” 106–7, 109, 119–21; anti-Orientalist solidarities, 16, 121; and “Hymn for the Weekend,” 144; post-9/11, 15–16; and Rajé Shwari and Timbaland, 125–26, 137–39; and turbans, 92; and white musicians, 2
other side of things, the, 1–5; and “Addictive,” 108, 111, 120–21; and appropriation question, 10–17; and Beyoncé, 142–46; and John Coltrane, 21–22, 25, 27, 32, 38; and Miles Davis, 44–46, 48, 54, 61, 63; and Missy Elliott, 100; and Rick James, 69; otherness, 75, 77, 86, 109; and OutKast, 68–69, 98; queering, 5–10; and Rajé Shwari and Timbaland, 124, 127, 132, 138–40
outcasts, 85–88
OutKast, 15, 63, 66–69, 85–88, 169n5; as acronym, 86; and African American culture, 69, 91–92, 98–99; and Afro-Asian solidarity, 96–98; and ATLiens, 88–99; “Elevators (Me & You),” 68, 88, 96–98; “Jazzy Belle,” 98–99; and outlaw figure, 86, 88; Antwan “Big Boi” Patton in, 65–68, 70, 87–90, 93–94, 96–99; “Return of the G,” 65, 90; Southernplayalisticadillacmuzik, 86–89. See also André 3000
outsider positionality, 69–70, 82, 85; outsider racialization, 69
“Painted Pictures” (James), 81
Pan-Africanism, 23–24, 43, 51, 78, 81
Pandit, Korla, 92
patriarchy, 9, 113–15, 118–19, 127; hetero, 7, 44, 48, 76, 93, 98, 142
Patton, Antwan “Big Boi,” 65–68, 70, 87–90, 93–94, 96–99
Paul, Sean, 142
Pavis, Patrice, 124
Perry, Imani, 86–88
Pettaway, Bill, 123–24, 138–39
Piekut, Benjamin, 129–30
politics: and “Addictive,” 16, 107–8, 114–15, 119–21; and Beyoncé, 140, 142–46; Black, 5, 15, 52, 58, 60, 62, 86; Black political consciousness, 14, 140; coalitional, 6–7, 10, 13, 54, 85; and John Coltrane, 20–23, 25–28, 31–32, 34–39; corner, 14, 44–46, 54, 61; and Miles Davis, 14, 41–47, 51–54, 56, 60–63; and Rick James, 15, 65–66, 68–70, 72–74, 78–79, 82–85; and OutKast, 15, 68–70, 86, 93, 96, 98; of perversion, 114–15; political movements, 58, 84–85; political solidarity, 7, 16; political struggles, 5, 17, 39, 146; queer, 10, 70, 82, 89, 144; sexual, 9–10, 80, 99, 108, 119, 142; and Rajé Shwari and Timbaland, 17, 125, 129, 132–33, 138, 140
popular music, 2–4, 6, 10–11, 13–15; and Miles Davis, 46; Indian, 111; and Rick James, 73; and OutKast, 91; and sampling, 106, 125; studies, 2–3, 15, 73. See also Black popular music
pornography: anti-anti-pornography activism, 114; anti-pornography feminism, 114; “porn rock,” 77
poverty, 27, 56, 59, 68, 86, 145
punk funk, 70, 72, 74–75, 77–79, 81, 84–85
Queen of Bollyhood, The (Shwari and Timbaland), 139–40
queerness, 5–10; and “Addictive,” 16, 108, 115–22; and James Baldwin, 14, 20–21, 23, 25; and Beyoncé, 144, 146; Black, 35–36, 38, 45, 60, 62–63, 79, 87, 144; Black queer masculinity, 21, 23; and John Coltrane, 14, 23, 25–27, 35–36, 38–39; and Miles Davis, 41–45, 48, 54, 59–60, 62–63; and Missy Elliott, 100–101; genderqueer, 77, 131; and Rick James, 68–70, 74–79, 81–82, 84–85, 169n23; lesbians, 8, 132; LGBT peoples, 75; and OutKast, 65, 68–70, 87–94, 96, 98–99; queer diasporic critique, 120; queer methods, 5, 12, 84; queer of color critique, 8, 10, 12, 84, 101, 138; queer of color feminism, 138; queerphobia, 36, 60, 79, 81, 85; queer sonic spaces, 27, 131; queer temporalities, 130; same-sex pleasure, 119; and Rajé Shwari and Timbaland, 124, 127–33, 138–39; and transgender people, 76, 176n17. See also Black queerness
Qureshi, Regula, 109
race, 6, 8–10, 12, 16–17, 146; and “Addictive,” 106–7, 121; and Beyoncé, 142; and census, 53, 73; and John Coltrane, 21, 23; cross-racial engagement, 4, 6, 8, 45, 52, 70, 98, 124; and Miles Davis, 42–45, 47–48, 52–54, 58–59, 63; and Missy Elliott, 100; interracial, 107, 140; and Rick James, 69–70, 77, 82, 84; and OutKast, 69–70, 87, 91–92, 98; racial capitalism, 44; and Rajé Shwari and Timbaland, 124, 126, 138, 140. See also racialization; racism
racialization: and “Addictive,” 119; Black and South Asian, 2, 7–8, 10, 69; and John Coltrane, 21; comparative, 7–8, 10, 45; and Miles Davis, 45–46, 53, 58; and Rick James, 82–85; and OutKast, 85–86, 93–94, 96–97; and Rajé Shwari and Timbaland, 126, 139; South Asian, 8–9
racism, 8, 11; anti-Black, 3, 6, 34, 42, 87, 92; anti-racist activism, 6–7, 15, 21, 23, 79; environmental, 141; and Rick James, 80–82, 85
raga music: and John Coltrane, 26, 36; and Rick James, 81, 170n33; raga rock, 2, 157n1
Rai, Lala Lajpat, 6
Rakim, 84, 105–6, 112, 114, 117–19, 121
R&B: and “Addictive,” 10, 16, 105–6, 111, 124, 142; and Miles Davis, 14, 46–47, 49, 52; and Missy Elliott, 101; and Rick James, 72, 80; and South Asian sampling, 10, 105–6, 111, 123
rap music, 10, 15–17; and “Addictive,” 106, 112, 120, 122; and Beyoncé, 142; bicoastal market, 67, 87–89; East Coast, 87; and Missy Elliott, 101; and OutKast, 67, 69, 85–90, 94; and Timbaland and Rajé Shwari, 123–27, 131, 134–37, 139
“React” (Sermon), 136–39, 172n4
Reagan, Ronald, 65, 78, 81–84; Reaganomics, 9, 15; war on drugs, 82
Redd, John Roland, 92
Reddick, Nsilo, 90
Redmond, Shana, 85
religion, 23–25, 32–33, 37, 91, 94, 113. See also Christianity; Islam
respectability politics: and “Addictive,” 108–9, 111, 115–16, 120–21; and Rick James, 69, 80; and OutKast, 69, 98
“Return of the G” (OutKast), 65, 90
Roach, Max, 22–23
Roberts, T. Carlis, 3, 103, 107
Robinson, Vince, 89–91, 93, 99
rock music: and Miles Davis, 46–50, 62; and Rick James, 72, 77; raga rock, 2, 157n1
Rodríguez, Juana María, 119
romance, 106, 112, 114–15, 117–18, 127, 129, 138
Routté, Jesse, 92
Roy, Badal, 43, 49–55, 62, 73, 81, 124–25
Roy, Geeta, 52
Rustin, Bayard, 20
Sadiq, Mufti Muhammad, 31
sampling: in “Addictive,” 8, 105–6, 108–12, 116–19, 121–22; and appropriation concerns, 10–11; and OutKast, 87; post-9/11, 15; and Rajé Shwari and Timbaland, 123–40, 142
Saregama India Ltd., 105–6, 121, 175n3
“Say It Loud—I’m Black and I’m Proud” (Brown), 14, 47, 166n18
Scott, James, 22
September 11, 2001, post, 9, 15–16, 91, 106, 120, 145
Sermon, Erick, 136–37; “React,” 136–39, 172n4
sexism, 7–8, 45, 80, 85; heterosexism, 8, 43, 75, 114, 131
sexuality, 6–10, 146; and “Addictive,” 106–9, 111–12, 114–21; and James Baldwin, 21, 35; and Beyoncé, 142, 144; and John Coltrane, 21, 35, 38; and Miles Davis, 42–45, 53–54, 59, 63; heterosexuality, 7–9, 44, 92, 119, 127, 137–39; and Rick James, 15, 69, 75–78, 80–84; lesbians, 8, 132; and OutKast, 69, 88–90, 93, 99; sexual dissidence, 108, 115–16, 129; sexual impropriety, 111, 115, 128; sexual nonnormativity, 80, 82; sexual pleasure, 108, 112, 119, 144; sexual politics, 9–10, 80, 99, 105, 108; sexual violence, 108, 112, 114; Rajé Shwari and Timbaland, 124, 126–29, 132, 134, 137–40. See also queerness
sex work, 170n35; and “Addictive,” 109; and Rick James, 74–75; and On the Corner, 43, 45, 56, 58–60; and OutKast, 99; and Rajé Shwari and Timbaland, 131
Shabazz, Rashad, 45
Shah, Nayan, 77
Shakti, 140
Sharma, Nitasha, 11, 106–7, 137
Shwari, Rajé, 17, 91, 123–40, 142, 145, 175n6; coproduction with Timbaland, 124–25, 133; “Indian Flute,” 91, 126, 133–39; The Queen of Bollyhood, 139–40
Singh, Nikhil Pal, 44
sitar, 15; and Beyoncé, 142; and John Coltrane, 36; and Miles Davis, 41, 43, 49, 51–52, 164n3; electric, 52, 55, 142, 171n40; and Rick James, 68, 70–71, 77–78, 81, 84; and Ravi Shankar, 21
16th Street Baptist Church bombing, 34
Slate, Nico, 23
Sly and the Family Stone, 42, 46–47, 165n18
Smith, Jeremy, 42
Snorton, C. Riley, 89
social movements: Ahmadiyya, 31; Black Arts, 20, 59; civil rights, 9, 20–21, 26, 37, 47, 145; and Coldplay, 144; and corner politics, 44, 48, 58–59, 62, 69; and Rick James, 78, 84; Third World, 9; womanist, 59. See also Black Power
soul music, 46–47, 52, 56, 58, 175n7
South (United States), 68, 86, 92, 97–99, 141
South Asian Americans, 11–12, 44, 53, 69, 96–98
South Asian culture, 9–10, 12–13; and “Addictive,” 107–8, 111–13, 116, 119–21; and appropriation, 10–12; artists, 2, 42, 62; and Beyoncé, 144–46; and John Coltrane, 30–32, 38; commodification of culture, 15–16, 120, 139, 157n1; and Miles Davis, 44–45, 51–54, 63; and feminism, 8; and “Get Ur Freak On,” 103; and Rick James, 15, 68–73, 77–78; and OutKast, 15, 68–70, 92–94, 99; post-9/11, 15–16; and Rajé Shwari and Timbaland, 17, 125, 137, 139–40; South Asianness, 5, 43–44, 62, 77–78, 86, 91–93
South Asian music, 1–7, 12–13; and “Addictive,” 106, 111–12, 122; and appropriation, 10–12; and Beyoncé, 142–46; and John Coltrane, 13–14, 21, 23, 25–27, 30–32, 38–39; and Miles Davis, 14, 42–45, 48, 51–54, 60–63; and “Get Ur Freak On,” 100–101; instrumentation, 14–15, 42, 61, 68, 78, 82, 112; and Rick James, 15, 68–73, 77–78, 81–82, 84–85; and OutKast, 15, 68–70, 90–91; post-9/11, 15; Rajé Shwari and Timbaland, 17, 123–26, 131–32, 134–37, 139–40
Southernplayalisticadillacmuzik (OutKast), 86–89
spirituality: and André 3000, 68, 93–94; and John Coltrane, 14, 21–32, 35–38; Indian, 2, 5, 142; and Rick James, 67
Stallings, L. H., 77, 84, 100–101
Stanyek, Jason, 129–30
Static (Garrett), 111
St. Nicholas, Nick, 72, 169n14
Stone, Louise Davis, 19–21, 23–24
Stone, Sly, 42, 46–48; There’s a Riot Goin’ On, 47, 166n18
Street Songs (James), 74–76, 85, 170n28
Sundar, Pavitra, 115
Super Bowl (2013), 141–45
“Super Freak” (James), 66, 75–76
surveillance, 8, 43, 75, 89–90, 103, 170n35
tablas: and “The Bounce,” 127; and John Coltrane, 36; and Miles Davis, 15, 43, 49, 51–52, 54–55, 68; and “Get Ur Freak On,” 101; and Rick James, 78, 81, 84
Takahashi, Corey, 121
temporality: and “Addictive,” 16, 119, 121; and Miles Davis, 52; and Rick James, 145; linear, 16, 130; and OutKast, 97–98; queer temporalities, 130; and Rajé Shwari and Timbaland, 125, 129–31, 138; spatiotemporality, 129; temporal dissonance, 131
“Thoda Resham Lagta Hai,” 105–19; flirtations in, 115–16
Timbaland, 4, 122, 123, 127; and “The Bounce,” 126–33, 137, 176n17; and Da Bassment crew, 111; and “Get Ur Freak On,” 99, 123; and “Indian Flute,” 91, 126, 133–39; and The Queen of Bollyhood, 139–40; and Rajé Shwari, 17, 91, 124–27, 133–40; Under Construction Part II, 134
transgender people, 76, 176n17
transnationalism, 6, 14, 17, 69; and Beyoncé, 143; and Bandung conference, 84; and John Coltrane, 23, 27, 38; and Miles Davis, 44–45, 51; and Islam, 31; and Rick James, 85; transnational spirituality, 38
Truth Hurts, 4, 8, 10, 16, 105–8, 111–22; and African American sexual politics, 119; and Afro–South Asian alliances, 107–8; and Beyoncé, 142, 145; and “The Bounce,” 129; and Timbaland, 111, 122, 123–24
Twitter, 10–11
Tyner, McCoy, 28–29, 31–34, 36, 38
United States, 1–2, 6, 9; and “Addictive,” 16, 106, 108, 113–14, 119–21; Ahmadiyya movement in, 31; as Amerikkka, 87; Asian discrimination in, 96–97; and James Baldwin, 26; and Beyoncé, 141; and John Coltrane, 21, 23, 26, 31, 37; and Miles Davis, 14, 44, 48, 53, 58; and Rick James, 15, 70, 72–73, 82–84; and OutKast, 15, 57, 86–87, 91–92, 94, 96–98; and Rajé Shwari and Timbaland, 16, 123, 131, 134, 139
Vazquez, Alexandra, 71
Vedas, 30
vikriti, 25–26
war: Cold, 6, 15, 65, 70, 83–84; Vietnam, 72, 83; on terror, 101, 120; World War II, 97, 129
Wesley, Cynthia, 34
West, Kanye, 124, 126–27, 131, 176n17
whiteness, 3, 6, 11, 53, 146; and Miles Davis, 42, 48, 53, 62; decentering, 2–3, 6, 11, 146; and heteronormativity, 8; and hippie culture, 62, 144; and Rick James, 72–74; and orientalism, 121; and South Asian culture, 2, 3–4, 120, 143–44, 157n1; white flight, 47; white–nonwhite binary, 2–3, 10; white supremacy, 6, 31, 44, 53, 73, 87, 100
white supremacy, 6, 31, 44, 53, 73, 87, 100
Whyton, Tony, 32
will.i.am, 122
Williams, Harold “Ivory,” 49
Williams, Pharrell, 133
women: and “Addictive,” 16, 107–9, 112–17, 119–21; and Beyoncé, 141–44; and John Coltrane, 24; and Miles Davis, 43, 45, 54, 56, 58–60; femininity, 16, 111, 115, 119; and Rick James, 74–75, 76–77, 80, 82; and OutKast, 87, 96, 98–99; and Rajé Shwari and Timbaland, 125, 128–29, 130–33, 138–39; womanist movement, 59. See also Black women; women of color
women of color, 8, 10; and “Addictive,” 121; and Beyoncé, 142–43; and “Get Ur Freak On,” 100; and “Indian Flute,” 139; women of color feminism, 7, 12
Wong, Deborah, 12
Wood, Elizabeth, 132–33
Woods, Clyde, 45
working-class people: Black, 23, 53, 56, 59
Workman, Reggie, 33
Yeun, Steven, 11
Young, Val, 80–83; Seduction, 80
Zumkhawala-Cook, Richard, 113