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20. Cvetkovich (2003, 8). 21. Derrida (1997, 240). 22. Unfortunately, there is not room enough here to thoroughly research the detailed politics and sociality of ‘‘girl’’ and ‘‘grrrl,’’ such as how do they operate sonically and interpellatively as well as the appropriation dynamics in a third wave feminist ‘‘girl love’’ reclamation context. One cultural communications study by Karla D. Scott tracked the discursive markers of identity in the usage of ‘‘girl’’ among Black women participants and its dynamic interplay with ‘‘look’’ (2000). There is another article by Ednie Kaeh Garrison who credited popularity of ‘‘girl’’ to ‘‘young American black women’’ with the specific phrase ‘‘You go, guuuurlll!’’ and made a brief link to the ‘‘revolution girl style now’’ of Riot Grrrl (2000, 141). 23. The Gullah (or Geechee) reside along the coast and islands of South Carolina and Georgia and have maintained a strong connection to their African language and spiritual beliefs. During the slave trade, they were shipped mostly from areas along the coast of Sierra Leone. See also the film Daughters of the Dust, directed by Julie Dash. 24. Womanist Alice Walker invokes the importance of spirituality in the African diasporic continuum. The lived nuances of spirituality link to sonic spirituals and how forms of spirituality and vitality make sound multidimensional. ‘‘Womanist,’’ as defined by Walker’s In Search of our Mother’s Garden, speaks to the potential and actualization of Black feminism or feminism of color (1983, xi). The spiritual aspect connotes an incalculable vitality, a spirit that cannot be supplemented by any unwanted outside force. This distinction points to a utopic wholeness and multiplicity of the body and the surrounding space. 25. Boyd (2010). 26. Lyrics for ‘‘Boot’’ courtesy of Tamar-kali. 27. My everlasting gratitude and love to colleague Ebony Noelle Golden for offering this connective insight. Lyrics for ‘‘Four Women’’ courtesy of Alfred Publishing Co., Inc. 28. See Mun˜oz (2011), for a discussion of ‘‘vitalism’’ in relation to ‘‘stagings and renderings of e´lan vital that manifested the ontological force of brownness as a mode of particularity in multiplicity’’ in Ana Mendieta’s work (192). This trace of iconicity and affect from a past life and world (real or imagined) is also the kind of vitality I am referring to here. 29. Hammonds (2004, 304). 30. Carby (1992, 741). 31. One such example is Sikivu Hutchinson, ‘‘Bad ‘Bitches’, True women’’, The Feminist Wire. August 9, 2011. http://thefeministwire.com/2011/08/bad-‘‘bitches’’-true-women/. 32. Boyd (2010). 33. ‘‘Hardcore’’ (HC) is a term used by punks and critics alike to distinguish a movement in 1980s punk rock that veered abruptly away from the mainstreaming and commercialism of punk, like the softer ‘‘new wave’’ top 40 hits (Taylor 2003, 71). HC encompasses a commitment to political values and unflagging sensibility of alternative practice. 34. One of the main arguments of Patricia Hill Collins’s substantial volume revolves around a discussion of ‘‘controlling images’’ that objectify and position the black women within a dominant framework, the visual iconographic and political stereotypes and permutations in popular culture that limit the geometry of being and stifle empowerment. Using this tool, she deftly works through the iconography and mechanisms behind institutional racism and misogyny. Drawing on cultural traditions, she also suggests several ideas for countering the persistent ‘‘suppression of black feminist thought,’’ such as ideas of ‘‘self-definition’’ [through the power of naming as well as collective independence, conscious individuation, space, and intimacies], ‘‘constructed knowledges’’ [feminist knowledge and thought that attempts to resolve rampant and ubiquitous social contradictions], and an investigation of the