Hilary Berwick’s annotated playlist suggests that black musical practices enact temporal interventions within which currents of desire, identification and memory reshape the boundaries of what is representable. Indeed, Berwick’s discussion of haunting as a primary mode of hip hop representation demonstrates the potential contributions that engagements with sonic culture could make to explorations of the erotic and psychoanalytic dimensions of black historical memory and practices of remembrance, particularly as it relates to reckoning with trauma.