“We are all alone, born alone, die alone, and—in spite of True Romance magazines—we shall all someday look back on our lives and see that, in spite of our company, we were alone the whole way.” — Hunter S Thompson
This past weekend, Epic Steph and I went back to the Museum of Death for our second visit. We’d gone earlier in the year for my birthday, but this time we were grizzled veterans, bringing friends who’d never been. That first visit had been on a Monday morning, just after the museum had opened; this time, it was a late Saturday afternoon. Packed but silent, save for the one woman who was there with family, obviously drunk. Whatever.
Having already seen the sights, I contented myself with observing the other guests, and looking, really looking, at the hundreds of photos that line the walls. This time, I saw that all the victims in all the photos bore one common trait: they died alone. Even if there were two or three together, they died alone. Sharon Tate, Elizabeth Short, Abigail Folger, Albert Dekker, the sad sacks of the Heaven’s Gate comet cult, the incomprehensible nine hundred and eighteen of Jonestown, the suicides, the executions, the murders…no matter how many were there, each of those people went to death by themselves: their final breath, their final pulse, a desperately personal act as they made their way to the other side.
Even the Serial Killer Gallery, the first exhibit in the museum, stands as testament to the loneliness of the deviant mind. Artwork by Gacy and Ramirez are poor attempts at portraying an alienated inner landscape few of us can really understand. Here and there are the random teams, Toole and Lucas, Bianchi and Buono, but even in those cases, it was the loneliness of alienation that bonded these people together. This is no attempt at justification; just an observation that these were some profoundly fucked-up people who had trouble relating to most others and acted out in abhorrent ways.
Leaving the museum, we ventured up Hollywood Boulevard in the waning light of the fall afternoon, the setting sun seeming to light the street on fire as the city’s night shift emerged. The boulevard fascinates me; tourists make pilgrimages here every day of the year, seeking that magic that might have once lived here, but has long since fled. Graumann’s Chinese is owned by some big company that has set retail kiosks out in the courtyard, the souvenir carts covering the very signatures and handprints that bring people there in the first place, while poorly-costumed geeks wander the crowd, demanding money for photos no one wants, while a guy selling five-dollar t-shirts calls a girl a fucking bitch because she doesn’t return his aggressive flirting.
Across the street is the El Capitan, a former movie palace that’s been restored to its former glory by Disney. It’s beautiful, but in a cheap and tawdry way because it’s just another cynical way for Disney to pimp itself, but it stands in stark contrast to the ugliness, the desperation, the despair of Hollywood Boulevard. All the other storefronts are cheap souvenir shops, luggage shops, food stalls, ‘naughty’ costume shops, strip clubs, liquor stores, and on and on, foul, dirty, untended, uncared for. One would think that with all the tourism, someone would step up and take back at least this block, reclaim it as a tourist destination and make it pretty, clean, photogenic and worth visiting, but it’s painfully obvious that no one has given a damn about this place in a very long time.
Lining the star-embedded sidewalks are the legions of the homeless and the addicted, the lost and the lonely, hustling a buck to get through the night, the stink of urine rising from the sun-baked street makes me think of Times Square circa 1976, wondering which of the countless, wound-up Travis Bickles wandering the street, lonesome and unloved, alienated and alienating, will be the next to snap, and how many they’ll take with them.
We see two prostitutes inside the Roosevelt, and my friend tells me that the dark-haired one will die tonight, and I have no problem believing that. The words are spoken without humor, an honest, genuine gut-hunch that I’m in no position to argue, because when night falls on the Boulevard, anything is possible and the darkness is absolute. It’s then that I realize that all of this, the hustling, the squalor, the stardom, the death, all of this – it’s all a monument to loneliness, the uncomfortable silence that falls between friends, between lovers, between family members, that which drives people apart and away, sending them scuttling into the dark corners of their homes, the streets, their hearts, their minds, fighting the thoughts, the voices, the need, the desire, the desperation, the despair, the longing, the heartache, the past, the future, until there is no fight left, the will exhausted, the battle lost, and the curtain finally falls.