Over the years I’ve excreted mountains of verbal waste under this and other names. Most of it sinks without a ripple; often the writing I labor longest on is least read. Wind and rain eradicate the self-aggrandizing sand mandalas and no-one’s better or worse off for them ever having existed.
Occasionally someone asks after something I wrote that they remember and can no longer find. This has been notably true of “the Curse of Kirsha,” the two-of-three part opus I wrote about art, race and real estate in New Orleans for a vanished New Orleans anarchist newspaper called The Shotgun.
Always eager to please, I’ve accordingly used some of the hundreds of thousands of dollars I earn yearly as a successful video game streamer to hire a team of forensic blog recoverists who ventured into the digital Underdark and retrieved these lost manuscripts.
People have also asked me various times, “What happened to The Shotgun?” This is a very good question with kind of a spicy answer. To learn that answer, you’ll have to pick up “Funko Wars,” a forthcoming collaborative zine with my pal Robb where we EXPOSE THE TRUTH about wrongdoings and injustices!
Anyway, dated approximately for the dates of their original publication (why? I don’t know), please enjoy “The Curse of Kirsha”, part one and part two, “Carnival Confidential,” and “Meet Your Local Clown Fascists.”
This was part two of a planned three-part series on Art, Race & Real Estate in New Orleans for a periodical called The Shotgun, which has since vanished from the web.
In part one of this series we talked about two recent racist New Orleans art swindlers: the AirBnB Queen, Muck Rock, and the deranged daughter of Pontalba prosperity, Ti-Rock Moore, who it appears had a hidden history as a crooked cosmetic dentist.
But rest assured, the metaphorical multimedia menhirs mounted by Muck Rock and Ti-Rock on our Artster Island stand atop a fundamental bedrock of bullshit laid by Kirsha Kaechele. Kirsha was the template, the original terrible vapid criticism-proof white lady artist rampaging through post-flood New Orleans. She’s a canny enough scammer that she’ll likely persist after all the simulacra she prefigured wither. Continue reading “The Curse of Kirsha: Kirsha Kaechele Kreates”
note: unlike other recovered articles from the shotgun, i didn’t write this one. ‘arrigoni’s ghost’ did. i did contribute some material however & i think it’s worth keeping the info on these fash scum available on the internet.
Peter Morgan had a nice little business selling fashion patches out of his parents’ house at 14 St Bridget Dr., way out in the furthest corner of Kenner, cozied precariously between the lake and the Duncan Canal floodwall marking the end of the suburbs and start of the swamp. He cares a whole lot about the environment, he’ll have you know.
Peter’s wife Kearstin is a birth doula and owner of Sacred Transitions Nola, whose pastel-colored website looks like it could be straight out of some west-coast hipster wellness enclave.
Both she and Peter are fascists who would like to see Louisiana become a white ethno-state.
Continue reading “Meet Your Local Clown Fascists”
The Shotgun is thrilled to present an exclusive and entirely real roundtable with honored representatives from Eris, Witches and Heiress, three of downtown’s most notorious underground parades. Eris has been around since 2005, with Witches coalescing in 2012 and Heiress forming in 2013 in the wake of (and partly in reaction to) the 2011 NOPD assault on Eris. We spoke to these anonymous spokesfolx about how their no-throwing bullshit parades have been adapting to the changing landscape of New Orleans.
SHOTGUN: Can you start us off by describing your 2019 theme?
ERIS: Our theme for the year is “The Triumph of Safety.” It’s what we spend the bulk of our meetings obsessing neurotically over, and of course Eris is the Goddess of playing it safe.
That said, there were some within Eris who felt “The Splendor of Silent Respect” was an important theme, and since we’re all pathologically conflict-averse we did our best to accommodate that by folding these themes into one another, like a beautiful lacework polyhedron woven by iridescent caterpillars wearing tiny flower crowns.
Continue reading “Council of the Parades”
This was part one of a planned three-part series on Art, Race & Real Estate in New Orleans for a periodical called The Shotgun, which has since vanished from the web. You can read part two here.
Blackness has long been attractive to edgy white American artists, but New Orleans seems a magnet for a certain kind of shameless, tone-deaf racist art scammer. In 2014, one wealthy New Orleans white woman in her fifties gave herself the name “Ti-Rock Moore” and launched a successful art career founded on depicting Black suffering and racist imagery.
In an interview with nola.com arts writer Doug MacCash, Moore said her “privileged” white upbringing gives her an “acute” perspective on American racism. Moore made news in 2015 when some less acute viewers took issue with her life-size rendering of Ferguson police-violence victim Michael Brown’s corpse, which she’d arranged face-down on an art gallery floor. Condemnation came from many quarters, including Brown’s father, who called the artwork “disgusting.”
Moore was unfazed. “I know how necessary this art installation is,” she said. “I know it’s important.” Continue reading “The Curse of Kirsha: Ti-Rock and Muck Rock”