Hip hop seems to be everywhere and the siphoning and redeploying of its most marketable element, rap, occurs in a host of divergent locations, from political campaigns to college classrooms, from Disney films to Broadway stages. If hip hop is everywhere, it is because it has currency, as well as creative and political energy. This chapter takes up the questions: if hip hop is one of the only spaces on the planet where a wide spectrum of people come together, why do many of the projects that emerge out of these spaces so often ignore black suffering and leave the demands of black noise unheard? How is hip hop employed in these projects to animate some agendas while undermining others? In order to answer, the chapter describes what is understood as an ethical employment of hip hop aesthetics in theater through a concept called percussive dramaturgy. Second, it engages in an analysis of playwright Rickerby Hinds’s hip hop theater piece Dreamscape in order to further elucidate on the power and potential of percussive dramaturgy, forces the audience to look with (blackness), rather than, solely, look at black people, and (b) generates percussive dissonance in which hip hop’s black noise is brought into sonic relief.