purple DIARY

: travel
DETROIT DIARY GALLERY

DETROIT DIARY

I like Detroit. It was love that brought me here. Detroit is truthful. It is the collapse and resurrection... in a rooftop form. When I first came here they said there's the least amount of cops in Detroit than any other city in United State and if you call for help there is nobody to help you like the Wild West. But the sky here is so blue. Murder city, Motor city, Music city… now the Up and Coming city. Beautiful homes with the windows blown out and maggots on the floors. The flies have won. The American Way… Build, Destroy, and Rebuild. What the hell happened here? There once was a family in this home, there was love here, someone spent time and life into making this home a home. Bricks over bricks. Curtains over windows. Dinner around the table. But for so many something went wrong. And all that was left were the bricks.

"I had to come all the way from the highways and byways of Tallahassee, Florida to Motor City, Detroit to find my true love. If you gave me a million years to ponder, I would never have guessed that true romance and Detroit would ever go together. And til this day, the events that followed still seems like a distant dream. But the dream was real and was to change our lives forever. I kept asking Clarence why our world seemed to be collapsing and everything seemed so shitty. And he’d say, "that's just the way it goes, but don't forget, it goes the other way too." That's the way romance is… Usually, that's the way it goes, but every once in awhile, it goes the other way too" - True Romance (1993)

Text and photo Rachel Roze

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: travel
THE RED WEST, Croatia GALLERY

THE RED WEST, Croatia

The landscapes featured in this series are film set locations from the Obrovac region of Croatia. They were used between 1960 and 1980 to make "Cowboys and Indians" films such as Winnetou Parts 1, 2 and 3, Old Surehand, and Der Schatz im Silbersee. The term used to describe the Eastern Europe's rendition of the Wild West, "Red Western", is a reference to communism. Tales from the former East were created in non-authentic environments, demanding viewers to participate in a radical suspension of disbelief and they became an instigator of identity confusion and cultural appropriation across the Eastern Bloc. The locations in this series, and the films they facilitated, essentially catalyzed a mirroring of Native American culture in Europe.

Text and photo Jen Osborne

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