Natalie Saved My Life Tonight

π™Έπš— 𝟷𝟿𝟻𝟻, πšπš‘πšŽ π™ΌπšŠπš•πš’πš‹πšž-πšœπšπš’πš•πšŽπš πš‹πš˜πš’-πš—πšŽπš‘πš-πšπš˜πš˜πš›, πšƒπšŠπš‹ π™·πšžπš—πšπšŽπš›, πš‹πšŽπš•πš’πšŽπšŸπšŽπšœ πšπš‘πšŠπš πš‘πš’πšœ πšŒπšŠπš›πšŽπšŽπš› πš’πšœ πš˜πšŸπšŽπš›. πšƒπš‘πšŽ πšπš˜πšœπšœπš’πš™ πš›πšŠπš π™²πš˜πš—πšπš’πšπšŽπš—πšπš’πšŠπš• 𝚘𝚞𝚝𝚜 πš‘πš’πš– πš’πš— πšŠπš— πš’πš—πš—πšžπšŽπš—πšπš˜-πš•πšŠπšŒπšŽπš πšŠπš›πšπš’πšŒπš•πšŽ πšŠπš‹πš˜πšžπš π™·πšžπš—πšπšŽπš› πš‹πšŽπš’πš—πš πšŠπš›πš›πšŽπšœπšπšŽπš 𝚊𝚝 𝚊 "πš•πš’πš–πš™-πš πš›πš’πšœπšπšŽπš πš™πšŠπš“πšŠπš–πšŠ πš™πšŠπš›πšπš’" πš’πšŽπšŠπš›πšœ πš‹πšŽπšπš˜πš›πšŽ πš‘πšŽ 𝚠𝚊𝚜 πšπšŠπš–πš˜πšžπšœ. π™΅πš˜πš›πšπšžπš—πšŠπšπšŽπš•πš’ πšπš˜πš› πšπš‘πšŽ πš›πš’πšœπš’πš—πš πšœπšπšŠπš› 𝚘𝚏 "π™±πšŠπšπšπš•πšŽ π™²πš›πš’," π™Ώπš‘πš˜πšπš˜πš™πš•πšŠπš’ - 𝚊 πšπšŠπš—πš£πš’πš—πšŽ πš πš’πšπš‘ 𝚊 πš–πšžπšŒπš‘ πš‹πš’πšπšπšŽπš› πšŒπš’πš›πšŒπšžπš•πšŠπšπš’πš˜πš— - πšŒπš˜πš–πšŽπšœ 𝚘𝚞𝚝 𝚊𝚝 πšπš‘πšŽ πšœπšŠπš–πšŽ πšπš’πš–πšŽ πš πš’πšπš‘ πšŠπš— πš’πšœπšœπšžπšŽ πšπšŽπšŠπšπšžπš›πš’πš—πš π™·πšžπš—πšπšŽπš› πšŠπš—πš "πšπšŽπš‹πšŽπš• πš†πš’πšπš‘πš˜πšžπš 𝚊 π™²πšŠπšžπšœπšŽ" πšŠπšŒπšπš›πšŽπšœπšœ π™½πšŠπšπšŠπš•πš’πšŽ πš†πš˜πš˜πš πš˜πš— πšπš‘πšŽ πšŒπš˜πšŸπšŽπš› 𝚊𝚜 πšπš‘πšŽ "πš’πšŽπšŠπš›'𝚜 πš–πš˜πšœπš πš™πš˜πš™πšžπš•πšŠπš› πš—πšŽπš  πšœπšπšŠπš›πšœ." π™·πšžπš—πšπšŽπš› πšŒπš›πšŽπšπš’πšπšœ πš†πš˜πš˜πš πš’πš— πš™πšŠπš›πš πšπš˜πš› πšœπšŠπšŸπš’πš—πš πš‘πš’πšœ πšŒπšŠπš›πšŽπšŽπš›. πšƒπš‘πšŽπš’ 𝚜𝚝𝚊𝚒 πšπš›πš’πšŽπš—πšπšœ πšžπš—πšπš’πš• πš†πš˜πš˜πš'𝚜 πšπšŽπšŠπšπš‘ πš πš‘πšŽπš— πšœπš‘πšŽ πšπš›πš˜πš πš—πšœ 𝚘𝚏𝚏 πšπš‘πšŽ 𝚌𝚘𝚊𝚜𝚝 𝚘𝚏 π™²πšŠπšπšŠπš•πš’πš—πšŠ π™Έπšœπš•πšŠπš—πš πšžπš—πšπšŽπš› πš–πš’πšœπšπšŽπš›πš’πš˜πšžπšœ πšŒπš’πš›πšŒπšžπš–πšœπšπšŠπš—πšŒπšŽπšœ.

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Let's go...

Last night I was working on the upcoming zine "Dead in Hollywood: The Crucifixion of George Michael (Issue #11) when I spilled a glass of water on my laptop, frying it. I lost everything! Or so I thought. Spending three dollars a month on iCloud storage space turned out to be quite the bargain. The laptop was not so lucky. I'm still hoping to finish the issue before the L.A. Zine Fest on May 26th. I pray to George Michael that I will. "The Crucifixion of George Michael" will focus on Michael's arrest on April 8, 1998, for a "lewd act" in a public restroom in a Beverly Hills park, forcing the pop icon out of the closet. Michael's helped me come to terms with my own sexuality. At 13, my conservative, Trump-loving uncle bought me Michael's "Faith" album for Christmas. He's never really spoken to me after I came out years later in 1998. It's not just pop icons and mythical religious figures who are shunned and crucified. BTW, that uncle also introduced me to En Vogue's "Funky Divas" album on a road trip to Mexico when I was 14. Maybe I'll send him a copy of the zine when I'm finished. Maybe it'll free his mind and help heal the pain. DEAD IN HOLLYWOOD: THE CRUCIFIXION OF GEORGE MICHAEL (ISSUE #11) COMING SOON TO THE WILL ROGERS MEMORIAL PARK IN BEVERLY HILLS.

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Accepting Submissions!!!

Calling all Sal Mineo fans! What does Sal mean to you? Dead in Hollywood will be accepting submissions for the upcoming zine "Sal Mineo: The First Gay Teenager." The issue will focus on Sal's performance as one of the first gay teenagers in a major motion picture (Rebel Without a Cause) as well as Sal's groundbreaking 1972 interview where he comes out as bisexual. DM me for more details and feel free to forward this to any fellow Sal fans. Feel free to e-mail Dead in Hollywood at thehellfirepress@gmail.com for more info!

Pages: Dorothy Dandridge

π™ΏπšŠπšπšŽπšœ 𝟺 πšŠπš—πš 𝟻 πšπš›πš˜πš– πšπš‘πšŽ πšžπš™πšŒπš˜πš–πš’πš—πš πš’πšœπšœπšžπšŽ 𝚘𝚏 π™³πšŽπšŠπš πš’πš— π™·πš˜πš•πš•πš’πš πš˜πš˜πš: π™³πš˜πš›πš˜πšπš‘πš’ π™³πšŠπš—πšπš›πš’πšπšπšŽ. 𝙸 πš‹πšŽπš•πš’πšŽπšŸπšŽ πš’πš 𝚠𝚊𝚜 π™»πšŽπš—πšŠ π™·πš˜πš›πš—πšŽ πš πš‘πš˜ πšπšžπš‹πš‹πšŽπš π™³πšŠπš—πšπš›πš’πšπšπšŽ 𝚊 "πš‹πš•πšŠπšŒπš” π™ΌπšŠπš›πš’πš•πš’πš— π™Όπš˜πš—πš›πš˜πšŽ." π™³πšŠπš—πšπš›πš’πšπšπšŽ 𝚠𝚊𝚜 πšπš‘πšŽ πšπš’πš›πšœπš πš‹πš•πšŠπšŒπš” πš πš˜πš–πšŠπš— 𝚝𝚘 πš‹πšŽ πš—πš˜πš–πš’πš—πšŠπšπšŽπš πšπš˜πš› 𝚊 π™±πšŽπšœπš π™°πšŒπšπš›πšŽπšœπšœ π™°πšŒπšŠπšπšŽπš–πš’ π™°πš πšŠπš›πš. (IG: deadinhollywoodzine)

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Ruby Dandridge

Reading up on Dorothy Dandridge's life, I find myself drawn to her mother, Ruby Dandridge. Five months before Dorothy is born, Ruby leaves her husband, Cyril Dandridge, and moves in with her "companion," Geneva Williams. This was 1922! A black woman divorcing her husband was almost unheard of at the time and not to mention the fact that Ruby was also pregnant with Dorothy. But that's exactly what she does. She chooses not only to survive but to thrive in the repressed society of the 1920’s. I can’t even imagine what that must have been like for Ruby.