The radical outside claimed by Gloria T. Hull, Patricia Bell Scott, and Barbara Smith nearly 30 years ago was comprised of black feminism and feminist race theory in the context of black lesbian studies, which had no academic precedent. What today makes their actions, words, and meaning-making brave is material realization of their subjectivities. The author shares an interiority in common with at least some of them, what black playwright and activist Lorraine Hansberry signalled in 1957 with her letter to "The Ladder," the first lesbian periodical published in North America. Nearly 30 years later, black women such as Audre Lorde and bell hooks articulated relationships between homophobia and misogyny in the context of persistent racism, and forever changed the very face of academic feminism. It is from these writings that the author's "Marsha" emerged. The author offers these comments with the hope of inciting just one or two outrageous revolutions in music education, where the first journal issue devoted to critiques of race was the one in which "Marsha" was published only five years ago. She invites readers to create concepts in response to "Marsha." "Marsha" undone attempts to create an opening for thinking how disappeared itself might come undone, how homosexuality--which is to say lesbians and gay men and boys--might actually appear to music and music education, with a catchy melody and a beat one can dance to. (Contains 21 notes.)