In Part III, Khubchandani explores popular filmic and musical worlds in urban India through which their interlocutors come to see and express themselves. Khubchandani suggests that the "expansive sonic landscape" (174) of I Koothnytz i disrupts the elite, caste-coded space of Bangalorean nightclubs in productive ways by allowing exciting vernacular choreographies and engagements in urban nightlife. Although Khubchandani shows how race and power work in the nightclub, they are less attentive to how caste informs cultural and embodied knowledges.