Regardless of race, gender, class, physical- and cognitive-ableness, as well as sexual orientation, to be musical in North American and western European societies is to be queer--particularly for men (Fuller and Whitesell, 2002), and maybe specifically for men, since women barely register in discussions of musicians. In this article, the author talks about being white--people's whiteness. Where/how do individuals place themselves along the continuum of whiteness? For feminist women, the ways in which middle class respectability is implicated in whiteness is particularly salient. As an analytical device, then, the author suggests that whiteness and by extension the racial imagination must be interrogated as they produce and reproduce heteronormativity and fail to take into account the lived experiences of at least some embodied subject(ivitie)s. As an alternative, the author suggests another perspective: lesbian imagination. What the author calls "lesbian imagination" is explored by Suzanne Cusick (1994) in terms of what she describes as an attempt to avoid thinking straight. Discussing what it might mean to be a lesbian as well as a musician, Cusick notes that all relationships are negotiated in terms of power. (Contains 11 notes.)