Wandering Eye: The trans community reacts to the NSA deaths, meet one of rock's great drummers, and more

Meet "Mykel, Shannen, Buttacup, Esha" in The Washington Post as former Sun reporter Peter Herman goes back to his old beat. The trans women hanging around 22nd and North Charles streets knew and mourn the two who made national news last week at the National Security Agency, ramming a police car with a stolen SUV and getting shot. "Mya, on the streets since 2009, was killed and a newcomer, Brittany, was injured," Herman writes. Mya, who died and whose legal name was Ricky Hall, had a long record of theft, robbery, and violence. "She had violated terms of her probation four times since an assault conviction in 2012 — piling up a steady stream of arrests and convictions for punching a woman and stealing her methadone in Old Goucher, shoplifting skirts from stores in the Hampden neighborhood, hitting a jail guard with a stick and soliciting a male undercover police officer for a $40 sex act on Charles Street," Herman writes. "She failed to pick up a court-ordered electronic monitoring bracelet that would have required her to live in a transitional housing facility that helps people recover from drug abuse and other problems." An arrest warrant had been requested hours before she stole the SUV and made that fateful turn down the ramp to the NSA. The trans women says they're unhappy with their lives. They wonder what happens now: "Asked Buttacup, a tear running down her cheek, 'Will she have a proper funeral?'" (Edward Ericson Jr.)


Hyperallergic recently reported that almost a third of solo museum shows featured artists from five of the world's biggest galleries between 2007 and 2013 in the U.S. Nothing wrong with smaller institutions mingling with bigger ones in theory—a contemporary gallerist, armed with a little more flexibility and risk-taking, could bring in a new perspective to what might be stale and safe traditions of a museum. The numbers here, though, are a little troubling; four of these galleries are institutions based in New York, so it's more about promoting already-established artists and well-to-do galleries, playing into the market rather than exposing the museum-going world to strong, contemporary artwork. The dealer Franklin Parrasch said to the Art Newspaper (which originally published these stats), "The concern is that art not related to a commercial mechanism of that scale will not get sufficient representation." (Rebekah Kirkman)


The Washington Post's Chris Richards (disclosure: a former colleague and friend) has an interesting profile on drummer Greg Fox of the metal band Liturgy. Good drummers are not uncommon, but great drummers, which Richards asserts Fox is, are rare. Like John Bonham and Keith Moon, Fox popularizes "the notion that, in rock-and-roll, a drummer's unsolemn duty is to establish a sense of time while happily smashing it to bits." How does he play with such power and fury? Fox uses something called the Moeller technique, which "involves a whipping motion in the wrists and fingers designed to boost speed, increase wallop, conserve energy and prevent injury." Even if you don't like Liturgy or have neaver heard of them, this is an interesting story about a master and his craft. And you can see it for yourself on July 22 at Metro Gallery. (Brandon Weigel)

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