This chapter explores the embedded whiteness within noise music, proposing a racialized understanding of the genre that does not necessarily dissolve in the shifting demographics of a specific scene or show. To do so, I first propose an affective understanding of race, one that creates a theoretical bridge between the affective interpretations of noise I have foregrounded thus far and Whiteness as an embodied and relational phenomenon. I then extend this notion into the literature on noise music, recognizing how genre-specific framings of noise condition certain musical approaches and sonic gestures within whiteness. Finally, I end with an exploration of the pedagogical implications of the genre's racializing praxes, considering how the educative foundation of noise music can reproduce whiteness in spite of the liberatory potential argued within earlier chapters. In doing so, I draw out the problematics within the genre to which a demographic and systemic shift cannot attend. In the addendum, I further complicate my reading of noise music by analyzing Koufar’s Lebanon for Lebanese, an album that draws on the whiteness of the genre while simultaneously refusing a listening of the album as disconnected from the artist’s Lebanese identity.