This three-part, creative dissertation charts my homecoming to Hip Hop as a means todisrupt and escape the carceral logics of schooling (Rodriguez 2008; Meiners & Winn 2010; Stovall 2018; Love 2019). Part I: “The Bellringer Palimpsest,” is an autoethnographic article that distills findings that emerged over the course of writing Bellringer, an autoethnographic Hip Hop album I released in April 2022. In particular, I write my way to understanding my Hip Hop songwriting as a form of fugitive pedagogy and school abolitionist praxis (Cobb, Stembridge, Samstein & Day 1964; Stovall 2018; Love 2019; Givens 2021) and as arts-based educational research (Cahnmann-Taylor & Siegesmund 2018). As well, I filter the album’s insights through the lenses of Hip Hop feminism (Morgan 1999; Lindsey 2015; Brown & Young 2015) and abolition feminism (Purnell 2021; Davis et. al. 2021). Part II: “Bellringer Lyrics, Annotated” contains an annotated transcription of the album’s lyrics. Part III: Bellringer, is the album itself. These are the fruits of a recursive, three-year songwriting and production process that enabled me to both interrogate my experiences and connect them to the larger social forces of neoliberal capitalism and the prison industrial complex, with the ultimate goal of increasing empathic understanding the animating conditions and possibilities for life as queer Black femme in liberation struggle in the American South and the potential for Hip Hop songwriting as a practice in autodidactism that keeps alive the spirit and pedagogical lineage of movements for collective liberation.