What genealogies have ethnomusicologists forgotten or never learned? Who do we claim, remember, and cite as part of our disciplinary history? Reclamation politics have been dismissed as impossibly second-wave – too much like salvage work – but I embark unabashedly on a recovery project to revisit the female/queer/minority scholar-subject in ethnomusicology. When African American literary critics rediscovered Zora Neale Hurston and claimed her as a radical Black feminist forebear, folklorists and anthropologists sat up and took notice, but ethnomusicologists didn’t. I trace the White liberal progressive politics of mid-20th-c. ethnomusicology and then reflect on the genealogical practices of our discipline, “shadow feminisms” (Halberstam 2011), and a Black girl magic lurking in our bibliographies. Can we undo the White gender normativity of ethnomusicology? Can I learn how to listen for gendered color in my discipline (Beckenstein 2017)? I take a long look at the work of Eileen Southern to consider Blackness as a parallel lineage to ‘American ethnomusicology’, and what it means to listen to “a quiet revolutionary” (Floyd 1992).