Over a decade ago, I established a framework for engaging with Hip Hop in music education (Author, 2016). Building on Hill’s (2009) descriptions of existing Hip Hop pedagogies outside of music, I aimed to encourage music educators to engage with Hip Hop music in their classrooms via considerations of Hip Hop as a Bridge, Hip Hop as a Lens, and Hip Hop as Practice. In the years since, I have witnessed and participated in numerous growing engagements of Hip Hop within the field of music education. I have seen the hopeful and the horrifying - the inspirational and the insidious, and I have come to both regret elements of my previous work and question the efficacy of the framework I introduced. While I originally hoped to help increase the presence of Hip Hop content in music education spaces, I now reflect more critically with what I hope will be a more responsible and more responsive approach.This session will unpack the positive potential and pernicious problems of the Hip Hop as a Bridge, Hip Hop as a Lens, and Hip Hop as Practice framework and consider the merits and maladies of Hip Hop pedagogies for music education under a new framework. This framework introduces increasing levels of depth for music educators consisting of Hip Hop as a Costume, Hip Hop as Content, Hip Hop as Community, Hip Hop as Culture, and Hip Hop as Critique. The aims of this work are to encourage the growing relationship between Hip Hop culture and music classrooms while also holding educators accountable to move beyond problematic performativity and superficial stereotyping towards understanding and embracing Hip Hop as an evolving global culture capable of transforming individuals, classrooms, and communities.