Is Hip-Hop really a culture or just hyperactivity? The question itself could be unnecessary. Yet, for my ignorance it is a fair one to ask – a good place to begin this personal reconstruction.
     Using the tool of intuition (produced by observation and experience) to delve into (what is termed) Hip-Hop, through its “so-called elements”, is one way to seek the terms of validation necessary for a legitimate reconstruction. Of course, there remains a room for the academic analysis of the culture within this reinterpretation. Yet, a temporary detachment from academia is needed to create a simple picture, an easy metaphysics for (what is termed) Hip-Hop.

So I began by observing and experiencing the Emcee through recordings, and live (as well as impromptu) performances. While I found glimmers here and there, I had nothing intuitively legitimate to provide my mind with the terms for validation. So then I moved on to the B-Boy and the B-Girl. There were signs but these were also insufficient for a legitimate reinterpretation. A similar conclusion was drawn with the Aerosol Artist and the Entrepreneur.
     Then, I turned towards the DJ. Only with the DJ did I find terms of validation credible enough for a reinterpretation. Let us consider gradually:

The DJ = 2 Turntables + 2 Speakers + x Vinyl + 1 Microphone + y Human Being

DJ = 2T + 2S + xV + 1M + yH….....DJ Equation

[x and y represent positive integers greater than zero. Equation still needs much work]

     Algebra? Well, turntables, speakers, vinyl, and microphones are essentially outcomes of scientific work. Again, playful reconstruction.
     On observing the DJ, it comes with little difficulty to realize that the turntables provide a platform through which a human can create synergism between different musical traditions; into newer or emerging wholes valuable to the yH within the poorly drafted equation above. An example: Assuming you are at an outdoor event and the DJ starts the set off with Rachmaninoff’s Prelude in G minor. No one is paying attention; in fact, mischief throws in a few bottles as the event’s music is supposed to be “strictly urban.” Oblivious to the lack, the DJ masterfully watches the Rachmaninoff vinyl spin while slowly turning to the other table; another vinyl with a solo performance from Max Roach. Fingers and hands begin to move. You notice that others are slowly beginning to pay attention to this weird mix, gravitating towards the stage. About six minutes into the set, the DJ garners the attention of the crowd without uttering a word. The audience obviously appreciates the DJ's ideas. And so do you. Most pertinent, however, all present have a decent time – something of value.
     What came to intuition, on observing and experiencing the DJ, was the notion of the freedom to merge separate ideas into a unique wholeness to create something of value for the self and, possibly, someone else. Of course, the notion of blending various ideas to produce something novel is not unique to the culture of Hip-Hop. History holds numerous examples. This being the case, the question arrived: Precisely what makes Hip-Hop and/or Hip-Hop culture unique (if it is)? And, is it too grand a leap to go from the realm of the DJ (that primarily deals with sound and/or music) to the realm of ideas?

     It is going to be challenging for me to listen to the radio. Even the underground stuff, a majority at least. What a culture shock! I mean, how does one listen to the same loops all day after realizing that the DJ proves that Hip-Hop’s music is one of formless form:

Loop versus formless form – (Not particularly).

Formless form versus loop – (No, not necessarily).

Formless form, derived from the breakage of form into nearly infinite loops – (Ah)!

     Never thought I’d pay homage to the DJ. At least, a DJ that expresses the formless form of (Hip-Hop) music.

TGCMM