Myrtle-Broadway stained glass: a nice statement of local identity

Here are some photos I took recently of the stained glass panels on the above-ground subway platform at Myrtle/Broadway (J, M, Z) in Brooklyn.  They represent the rich and broad contributions of African Americans and Latin Americans to American musical culture.

Individual panels pay tribute to jazz...

...vocalists...

...drummers...

...keyboardists...

 

...more drummers...

...with recognition of contributions from the Islands...

...and the South's position as the birthplace of the blues...

...but none of the panels make mention of hip hop.

"Daddy, I'm a bit confused."

In all seriousness, the lack of acknowledgment of hip hop makes me assume that the artist and/or the MTA folks who commissioned the panels don't see it as worth mentioning in a monument to African American contributions to popular music.  Which is odd, considering how quickly it's all but taken over the mainstream of pop music, here and abroad.  I wonder if that has to do with the general outsider's belief that all hip hop is about violence, drug-dealing and misogyny, or if it's the fairly common and well-documented disdain that the jazz community holds for hip hop (not only for what it says but also for the fact that it uses samples rather than live instrumentation, and sonic assemblage rather than traditional composition). 

This is a shame, as the panels are a really important esteem-booster in an otherwise dank subway station (and neighborhood), but leaving out the past 30 years of musical innovation keeps these from being as broad a statement of identity and pride as they could be. 

As an educator (-in-training), I try to remember that whatever my students' ethnicity or race, they're a member of many cultures and subcultures - and so I feel that giving a nod not only to the neighborhood's race, but also to the youth culture, would make this even more relevant to more people.