Drum. Guitar. Song. Cue up Brittany Howard's "History Repeats" and notice what happens. For us, something akin to a bluesy-funk hums while reading critical whiteness studies (CWS) through black feminist thought (BFT). Breaking form. Diffractive. Relational. In this essay, we work through prismatic rhythm and consider how Howard's creative text moves beyond the logic of modern reason to welcome otherwise. We note a writing-thinking-jam session and methodological openings guided by BFT. We then discuss CWS to rethink its approach to analysis and the production of whiteness as its object of knowledge. At the core of our argument are lessons from BFT to incite ways of outmaneuvering and undoing immunity with impunity. With those lessons, we aim to disrupt traditional practices of biocentric disciplinary knowing and open radical (un)disciplinary possibilities. Tune in for a rhythmic swell.