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Nick Cooper

@mrnickcooper

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by @mrnickcooper

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21 hours ago

Th#parchmanfarm #parchmanmississippi e Mississippi State Penitentiary at Parchman Farm, established in 1901 on former plantation land in the Delta, stands as one of America’s most infamous prisons, embodying a documented legacy of racial oppression, forced labor, and systemic abuse that persists into the present.
Rooted in post-Reconstruction convict leasing, Parchman replicated slavery: inmates—predominantly Black—were forced to farm cotton under armed guards, enduring brutal whippings (“Black Annie”), beatings, rapes, and quota-driven exhaustion. Historians like David Oshinsky describe it as “worse than slavery,” with conditions persisting through Jim Crow segregation until federal rulings in the 1970s (e.g., Gates v. Collier) mandated reforms, ending overt racial disparities and corporal punishment.
Its cultural legacy is profound: Alan Lomax’s 1930s–1960s recordings captured inmates’ work songs, field hollers, and blues, influencing global music—tracks like “Rosie” and those by Bukka White reflect survival amid horror.
Today, the 18,000-acre facility houses around 2,500–2,700 men (mostly maximum-security, including death row). A 2022 U.S. Department of Justice investigation found unconstitutional conditions: inadequate staffing, rampant violence, weapons/drugs, gang activity, prolonged solitary confinement, and severe mental health neglect. Recent scandals include a 2019–2020 crisis with multiple deaths from stabbings, beatings, and suicides amid rat-infested, unairconditioned cells lacking basic amenities.
Though officials report improvements (e.g., air-conditioning in most units, reduced violence by 2025), ongoing issues like leaking roofs, power outages (as in January 2026 storms), and underfunding persist. Legislative efforts to phase down or close Parchman (e.g., proposed bills in 2024–2026) highlight its enduring reputation as a site of neglect and constitutional violations, with nearly 70% Black inmates echoing historical patterns of mass incarceration. by @mrnickcooper

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2 days ago

by @mrnickcooper

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2 days ago

Hiçbir yere ait değilim. Annem çingene, babam berberi. Ben yola aidim. Bir yerde uzun süre kalmaya tahammül edemem. Sürekli taşınırım”

Tony Gatlif, geride yalnızca filmler bırakmadı; Romanların, göçmenlerin, yersiz yurtsuzların ve dünyanın kenarına itilmiş insanların sesini bıraktı.

Kamerası sınırları tanımadı.
Müziği duvarları aştı.
Hikâyeleri, özgürlüğe doğru yürüyen insanların hikâyeleriydi.

Romanların acısını, neşesini, öfkesini ve direncini sinemaya taşıdı. Sistemin susturduklarına mikrofon uzattı; kimliklerin, sınırların ve ötekileştirmenin karşısında özgürlükten yana politik bir sinema kurdu.

Onun için müzik yalnızca bir ezgi değildi; hafızaydı, isyandı, yoldu.

Şimdi o uzun yolculuğa çıktı.
Ama geride bıraktığı filmler hâlâ yollarda, müziklerde ve özgürlük arayanların sesinde yankılanıyor.

Hoşçakal Tony Gatlif.
Latcho Drom… İyi yolculuklar 🖤

Eng.

“I belong nowhere. My mother is Roma, my father is Berber. I belong to the road. I cannot stand staying in one place for too long. I am constantly moving.”

Tony Gatlif left behind more than films. He left the voices of the Roma, migrants, the displaced, the rootless, and those pushed to the margins of the world.

His camera knew no borders.
His music broke down walls.
His stories belonged to those who kept walking in search of freedom.

He brought the pain, joy, anger, and resistance of the Roma into cinema. He gave a voice to those silenced by the system, standing against borders, exclusion, and imposed identities building a cinema that was unapologetically political, rebellious, and free.

For him, music was never just music.
It was memory. It was resistance. It was the road.

Now he has begun his final journey.
But the films he left behind are still travelling through music, through memory, and through everyone who refuses to stop searching for freedom.

R.I.P Tony Gatlif
Latcho Drom…🖤

#tonygatlif by @mrnickcooper

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5 days ago

4 her records were pulled off the radio and her concerts were boycotted because a black woman singing that openly about her own desire was treated like a threat. within a few years she quit the music business entirely and vanished so completely that most people assumed she had died.

her name was betty davis. before the funk records she was a model in new york, and in 1968 she married miles davis. the marriage lasted about a year, but in that year she turned him toward jimi hendrix and sly stone and the electric direction that led to his most radical era. he put her on the cover of “filles de kilimanjaro” and named a song after her. by her own account, she was the one who talked him into calling the 1970 album “bitches brew.” she later said the marriage ended because of his temper.

then she went out on her own. three albums between 1973 and 1975, “betty davis,” “they say i’m different,” “nasty gal.” she wrote the songs, produced them herself, and led her own band at a time when almost no black woman was allowed to do any of that. she growled and howled about sex and power on her own terms, and it scared people. she was reportedly barred from television, and religious groups pressured venues into boycotting her. a decade later the same thing would have been called pioneering.

by the end of the seventies she walked away. she moved back to homestead, pennsylvania, cut off the phone, gave no interviews, and stayed silent for decades while a small cult grew around three out-of-print records. when the label light in the attic began reissuing her albums in the 2000s and a documentary crew went looking for her, they found her living quietly in obscurity, far from the stage she once owned. carlos santana called her “indomitable, she couldn’t be tamed.”

born in durham, north carolina, in 1944, betty davis died in 2022, at 77. she never once softened herself for anyone.

follow @forgottenindies for by @mrnickcooper

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10 days ago

On this exact day in 1978—48 years ago today—two volatile forces in punk history collided on stage at Max’s Kansas City in NYC. Fresh off the collapse of the Sex Pistols, Sid Vicious took the mic, backed by the raw, explosive power of Philadelphia’s Pure Hell.
Why This Moment Matters: Pure Hell carved out a crucial, pioneering legacy as the first all-Black punk band, breaking barriers in a predominantly white subculture while delivering a faster, heavier sound that predated the hardcore movement. Their undeniable stage presence and raw proto-punk thrash made them an essential bridge between Philadelphia’s underground rock scene and NYC’s punk epicenter. Meanwhile, Sid Vicious embodied the raw, nihilistic intensity and chaotic aesthetic that defined late-70s British punk during its initial global explosion. Despite his brief and tragic life, his magnetic, volatile performance style made him an enduring icon of punk rebellion and cultural notoriety.
The Setlist: • Search and Destroy
• Chatterbox
• I Wanna Be Your Dog
• Somethin’ Else
• I’m Not Your Stepping Stone
• Don’t Give Me No Lip Child
• Belsen Was a Gas
• Take a Chance With Me
• Chinese Rocks
Nearly five decades later, the noise, collision, and sheer energy of that legendary stage still echoes through punk lore. ⚡️🖤🔥
#PureHell #SidVicious #MaxsKansasCity #OnThisDay
Video credit to AntiBonez by @mrnickcooper

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11 days ago

So, are y’all taking your chicken to the klurb?? 🐔🐔🐔
Fun fact; you could buy X from the guy in the chicken mascot costume at Limelight in the early 90s.

#Limelight #Mascot

Repost from @jakemnodar
•
Chicken purses DID NOT come from SHEIN 💅🏼🐔👜

#farmfashion #chickenpurse #modellife

Custom chicken purses by @just_sew_jayy
📸 @moganderton by @mrnickcooper

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11 days ago

More than 100 U.S. veterans came forward to testify about what they witnessed or took part in during the Vietnam War.

In this testimony, one former U.S. soldier reflects on the racist attitudes he held toward people of color and how those beliefs influenced the way he viewed the Vietnamese people during the war. He describes being trained to kill and how violence gradually became part of his experience as a soldier.

He also shares that, after returning home, the thoughts and effects of his time in the war continued to remain with him. Notably, he recalls having thoughts of wanting to kill even his own mother — a deeply troubling admission that illustrates how profoundly those experiences and training had affected his state of mind.

Years later, he still could not stop thinking about what he had witnessed and taken part in. Those memories remained with him long after the war ended, forcing him to confront the beliefs, training, and actions that had shaped his experience as a soldier.

His testimony offers a firsthand perspective on the intersection of racism, military conditioning, and violence during the Vietnam War, while also showing how the experiences of war could have lasting effects on those who took part.

#vietnam #vietnamwar #america #usveterans #history by @mrnickcooper

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11 days ago

Sterling Hayden smoking a cigar (Dr. Strangelove) by @mrnickcooper

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11 days ago

PUSSY GALORE - ALRIGHT
music video, 1987
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#pussygaloreband
#pussygalore by @mrnickcooper

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12 days ago

by @mrnickcooper

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13 days ago

by @mrnickcooper

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18 days ago