
Kylie Jenner's hairstylist's cause of death confirmed four months after tragedy
Celebrity hairstylist Jesus Guerrero worked with the likes of Kylie Jenner and Jennifer Lopez but died in February aged just 34. His cause of death has now been confirmed
The cause of death of a celebrity hairstylist has been confirmed four months after his passing. Jesus Guerrero died in Los Angeles in February, with his passing shocking his celebrity clientele.
Among those on his roster were Kylie Jenner, Katy Perry Jennifer Lopez. Guerrero died in hospital shortly after working with J-Lo in Dubai. He was aged just 34.
According to a report, Guerrero died from a severe form of pneumonia. According to the Los Angeles County Department of Medical Examiner, the stylist's cause of death was listed as Pneumocystis jirovecii pneumonia (PCP), which is a fungal infection that usually affects people with weakened immune systems.
Also listed was Cryptococcosis neoformans, which is a serious fungal infection that can spread to a number of organs and tissues in the body. The secondary cause listed was Acquired Immunodeficiency Syndrome (AIDS).
The manner of death was listed as natural.
His death was confirmed at the time by his younger sister Gris. She shared an emotional post - and revealed the family had set up a GoFundMe page in his honour. She wrote in her touching message: "My name is Gris, Jesus's younger sister. It is with a heavy heart that we let the world know that Jesus Guerrero has gone to heaven. He is a son, a brother, an uncle, an artist, a friend, and so much more."
She added: "Born and raised in Houston, TX to immigrant parents, Jesus learned how to work hard and dreamt of taking his skills to the top. Unfortunately, his passing came very suddenly and unexpectedly. Currently, his family is taking care of his personal belongings and accommodations to bring him home to Houston. "We hope that you find it in your heart to help in any way and/or share this GoFundMe."
After sharing a touching tribute shortly after his death, reality TV star and business mogul Kylie said that the 'ache of missing' her late hair stylist 'hit all over again' as she continued to come to terms with his death two months on.
She had generously stepped forward to help his family with the funeral expenses which was held held in Texas in March. Expressing her ongoing heartache on Instagram in April, the Keeping Up with the Kardashians alum said: "Found this video from [October 2024]. I thought I could get through today without crying, but the ache of missing you hit all over again.
"Grief isn't getting easier, it's getting lonelier. I miss you so much. Why aren't you here? Every first without you hurts [so much]."
Her initial heartfelt tribute had read: "Thank you, Jesus, for always being there for me, for lifting me up, for being my friend. The pain of losing you is just unbearable and I don't know how to move forward without you but I know great grief is born only of great love. and I loved you so much.
"You were the best person, with a talent that was unmatched. a true artist. You inspired so many, and you always will. Your words, your laughter, your kindness, your beautiful spirit will live in my heart forever.
"I'll cherish all our moments together. every laugh and hug. I wish I could hug you again. I laid in your bed the way you used to lay in mine, talking for hours. I would give anything for one more deep talk. I'm going to miss you so much. more than any words can say. 222 my angel."
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Author Edmund White at his home in New York in 2019 (Mary Altaffer/AP) A Boy's Own Story was a bestseller and classic coming-of-age novel that demonstrated gay literature's commercial appeal. Advertisement He wrote a prizewinning biography of playwright Jean Genet and books on Marcel Proust and Arthur Rimbaud. He was a professor of creative writing at Princeton University, where colleagues included Toni Morrison and his close friend, Joyce Carol Oates. He was an encyclopaedic reader who absorbed literature worldwide while returning yearly to such favourites as Tolstoy's Anna Karenina and Henry Green's Nothing. 'Among gay writers of his generation, Edmund White has emerged as the most versatile man of letters,' cultural critic Morris Dickstein wrote in The New York Times in 1995. Advertisement 'A cosmopolitan writer with a deep sense of tradition, he has bridged the gap between gay subcultures and a broader literary audience.' 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But in the 1990s he lived to see gay people granted the right to marry and serve in the military, to see gay-themed books taught in schools and to see gay writers so widely published that they no longer needed to write about gay lives. 'We're in this post-gay period where you can announce to everybody that you yourself are gay, and you can write books in which there are gay characters, but you don't need to write exclusively about that,' he said in a Salon interview in 2009. 'Your characters don't need to inhabit a ghetto any more than you do. A straight writer can write a gay novel and not worry about it, and a gay novelist can write about straight people.' Advertisement In 2019, White received a National Book Award medal for lifetime achievement, an honour previously given to Morrison and Philip Roth among others. 'To go from the most maligned to a highly lauded writer in a half-century is astonishing,' White said during his acceptance speech. White was born in Cincinnati in 1940, but age at seven moved with his mother to the Chicago area after his parents divorced. His father was a civil engineer, his mother a psychologist 'given to rages or fits of weeping'. Trapped in 'the closed, snivelling, resentful world of childhood,' at times suicidal, White was at the same time a 'fierce little autodidact' who sought escape through the stories of others, whether Thomas Mann's Death In Venice or a biography of the dancer Vaslav Nijinsky. 'As a young teenager I looked desperately for things to read that might excite me or assure me I wasn't the only one, that might confirm my identity I was unhappily piecing together,' he wrote in the essay Out Of The Closet, On To The Bookshelf, published in 1991. Even as he secretly wrote a 'coming out' novel while a teenager, he insisted on seeing a therapist and begged to be sent to boarding school. Edmund White was one of the leading gay American authors (Mary Altaffer/AP) After graduating from the University of Michigan, where he majored in Chinese, he moved to New York in the early 1960s and worked for years as a writer for Time-Life Books and an editor for The Saturday Review. He would interview Tennessee Williams and Truman Capote among others, and, for some assignments, was joined by photographer Robert Mapplethorpe. Socially, he met William S Burroughs, Jasper Johns, Christopher Isherwood and John Ashbery. He remembered drinking espresso with an ambitious singer named Naomi Cohen, whom the world would soon know as 'Mama Cass' of the Mamas and Papas. He feuded with Kramer, Gore Vidal and Susan Sontag, an early supporter who withdrew a blurb for 'A Boy's Own Story' after he caricatured her in the novel Caracole. 'In all my years of therapy I never got to the bottom of my impulse toward treachery, especially toward people who'd helped me and befriended me,' he later wrote. Through much of the 1960s, he was writing novels that were rejected or never finished. Late at night, he would 'dress as a hippie, and head out for the bars'. A favourite stop was the Stonewall and he was in the neighbourhood on the night of June 28 1969, when police raided the Stonewall and 'all hell broke loose.' 'Up until that moment we had all thought homosexuality was a medical term,' wrote White, who soon joined the protests. 'Suddenly we saw that we could be a minority group — with rights, a culture, an agenda.' His works included Skinned Alive: Stories and the novel A Previous Life, in which he turns himself into a fictional character and imagines himself long forgotten after his death. In 2009, he published City Boy, a memoir of New York in the 1960s and 1970s in which he told of his friendships and rivalries and gave the real names of fictional characters from his earlier novels. 'From an early age I had the idea that writing was truth-telling,' he told The Guardian. 'It's on the record. Everybody can see it. Maybe it goes back to the sacred origins of literature – the holy book. 'There's nothing holy about it for me, but it should be serious and it should be totally transparent.'