
Yes, I really do have a Council of Lego Karens set up in my apartment because I believe every divorced heterosexual male should never be free, for even one second, of the powerful force reshaping society: aging liberal white women.
Today I want readers to behold the new leadership that my Karen Council has appointed to lead us all into the amazing future we deserve, and that’s Queen Koostra!
All hail Queen Koostra!!!
Thanks to Alani Bankhead’s discrimination lawsuit revival show on Monday, I’m reviving my interest in Barbara Koostra’s role as one of the three original plaintiffs of that discrimination lawsuit, along with her highbrow taste in art and propensity to make a man homeless when he breaks his leash and acts like a bad boy who refuses to do what he’s told.
Let’s begin.

On a warm July morning last year, a truck completed its journey from Washington, D.C, arriving in Missoula at the Montana Museum of Art and Culture carrying several nondescript pine boxes.
Inside those boxes lay the treasured art collection of copper baron William A. Clark. Their arrival – met with great anticipation – capped a milestone in museum director Barbara Koostra’s long career.
“Some of Clark’s vast art collection coming to Montana permanently, nearly a century after his death, is a profound and important moment in our state’s long, historic relationship with the Copper Kings,” Koostra quipped that morning.
This article from former Democrat spokesperson, Martin Kidston, frames the quipping Koostra as an accomplished art guru seeking to preserve Montana’s history through art. Later in the article we get a hint at the Koostra shit-storm brewing:
Given the prominence of that collection and the achievement it represented, it came as a surprise when five months later, the University of Montana announced that Koostra would be leaving the museum.
The school, working to trim costs and restructure its faculty and staff, opted not to renew her contract after 14 years, The announcement came as a surprise to the art community, as well as to Koostra.
“On the heels of obtaining the Clark collection, it took my breath away that that would be a response to adding so richly to the collection and its value,” Koostra told the Missoula Current. “I don’t know where the genesis of this change even began. There was never any input solicited from me or my staff as to how to reposition the museum within the structure of the university.”
For more Koostra context, here’s the pedigree that I believe fueled this art influencer’s brazen entitlement that going UP UP UP was the only direction for her to be moving on the status ladder:
Before returning to Missoula, Koostra spent 17 years performing at the Kennedy Center for the Performing Arts. After earning her MBA from the University of Montana, she stepped in as director of the Missoula Cultural Council before serving the National Endowment for the Arts in Washington, D.C.
As someone keenly aware of narrative control and the critical role that MONEY plays, like funds from the National Endowment for the Arts, it’s obvious that Barbara Koostra got VERY comfortable in her influential position picking artistic winners to promote with Federal dollars.
For an alternative take on the role of Uncle Sam subsidizing national art, here’s a little history from an institute that would like to END the National Endowment for the Arts:
The National Endowment for the Arts (NEA) was born in 1965 out of President Lyndon B. Johnson’s Great Society agenda, under the National Foundation on the Arts and the Humanities Act. Its founding objectives in subsidizing art were sweeping but vague; they included supporting artistic excellence, increasing access, strengthening the country’s cultural infrastructure, and boosting national heritage.
The overarching principle was clear: Art matters, and as such, taxpayers should be forced to pay for it. As Johnson put it, “Art is a nation’s most precious heritage.… Where there is no vision, the people perish.”2
Art is undoubtedly important to human well-being. Yet the power to subsidize art cannot be found clearly within the powers enumerated to the federal government under the Constitution. What’s more, none of the arguments for direct government art subsidies hold up under basic scrutiny.
Any agency with such amorphous and ill-defined goals was bound to spark controversy. Over time, political pressure has seen the NEA’s priorities change. In the 1980s and 1990s, outrage over provocative taxpayer-funded art led to funding cuts and a ban on direct grants to most individual artists.3 After increases in real terms, the rate of growth of the NEA’s budget stagnated and then declined.4
By the 2000s, the NEA’s focus shifted toward community-based and educational programs, with less support for avant-garde experimental work. More recently, the NEA has supported projects that ostensibly advance economic development and diversity and inclusion goals, through public-private funding models whereby “experts” select projects for grants matched by the private sector.
After being summarily dismissed from her influential perch over Missoula’s art scene, Barbara Koostra continued doing community-based education by trying to educate Daniel Carlino about what kind of political pet the Council of Karens considered him to be.

When Daniel Carlino faced eviction in 2021, and the added conundrum that an eviction could de-qualify him from running in the ward he had been living in, Carlino didn’t specify WHO his landlord was at the time when KPAX reported on the plight of renters, including Carlino:
Renters across Missoula are facing eviction.
“We just got a notice to leave from our landlord, without a reason, just kind of unexpected,” said Daniel Carlino who is running for Missoula City Council in Ward 3.
“You have to live in the ward to run,” he said and if Carlino can’t find a new place in his Ward, he might have to withdraw.
“Either run in another city council ward, and restart, or I might just have to postpone the campaign for a later time,” Carlino told MTN News.
When I did what Carlino couldn’t do, and named Koostra as the landlord in my post, Daniel’s own girlfriend (handler?) came at ME for digging into this story.

Here’s the response I gave Bornstein about her strange comment at the time:
To answer Bornstein’s question: no, I did not consider that doing this investigative work, which started with comments made to the media by Candidate Carlino himself, would make it harder for him to find a place to live.
Because why would that be?
Is there some kind of entrenched political establishment with operatives in the housing market capable of using their residential gatekeeper powers to deny this young candidate the stability of housing just because he has the temerity to challenge them?
Is that what you’re saying Maggie Bornstein?
Well, the Council of Karens (including Mike Nugent?) finally got what they wanted, and they ousted Carlino after complaints to Montana’s Commission on Political Practices flew from both sides amidst the shady ward-hopping of Jennifer Savage’s musical-chair-move, as reported by The Pulp:
Savage resigned her seat because she moved to Ward 3, where she’s now running against Councilmember Daniel Carlino, a democratic socialist who isn’t afraid to tangle with the council majority. According to Savage, it’s not that she moved in order to primary Carlino, but I can say anecdotally that some Carlino supporters — and at least one Missoulian letter-to-the-editor writer — certainly feel that way, especially given Savage’s many endorsements from other members of the council, including the mayor. In other words, the decision of how to replace Savage is suffused in the tightly wound politics of the moment.
There’s also the awkward timing. Savage has been running for Ward 3 for months, but only officially vacated her seat in Ward 1 earlier this month.

In a disgusting op-ed to ensure that the vile Council of Karens got the Karen bat-signal that Daniel Carlino HAD to be politically destroyed, Queen Koostra outed herself as Carlino’s landlord in order to write this about him:

OMG! This is AWFUL! What other indignities did Queen Koostra suffer at the hands of this BAD, BAD man?
Ten hours of cleaning were needed to return the home close to its move-in condition. A curtain was missing; glass door panes, the garbage disposal and ceiling tiles were broken. Dishes and personal items were abandoned. Their 2020 Christmas tree was left in the yard, rotting — in July 2021.
Carlino failed to acknowledge the two-way street of respectfulness that should exist between tenants and landlords.
Carlino and his roommates relinquished their deposit to remunerate me for these offenses, but the time and effort required to make the home livable again I will never get back.
I’d like to thank Queen Koostra for not being afraid to show the cunt side of being queen. Honestly, you almost have to ADMIRE the dogged persistence and self-destructive vindictiveness of Karens and their mighty powers, enshrined by the church of WOKE, and ratified by those squeamish bitches across the pond:
Calling someone a “Karen” is “borderline racist, sexist and ageist”, a tribunal judge has said.
Employment judge George Alliott said the term, typically targeted at middle-aged white women, was pejorative.
The remarks came in the case of Sylvia Constance, 74, who had brought claims of unfair dismissal, direct race and age discrimination and victimisation against Harpenden Mencap, a charity that provides support to adults with learning disabilities.
Forcing an organization to spend its helping-retard money on this “victim” is pure Karen, and a good place to end this post before my Karen Council demands I get a good pegging.
Thanks for reading!





























