City of Angeles (Memoirs of Marlayna Glynn Brown, Book 2) by Marlayna Glynn Brown

By Marlayna Glynn Brown

Instantly following the wildly well known award-winning Overlay: A story of 1 Girl's lifestyles In Seventies Las Vegas, Marlayna Glynn Brown maintains her outstanding trip in urban OF ANGELES, revealing the bottom of a existence lived in Nineteen Eighties Los Angeles.

This searing, frequently extraordinary story of Glynn Brown's youngsters and twenties finds her flight from Las Vegas to the bold global of self re-invention one of the angels and demons.

Glynn Brown unflinchingly begets a self from the unlikeliest beginnings, and now promises a sequel illustrating heaven and hell on her carrying on with flight for self discovery.

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Extra resources for City of Angeles (Memoirs of Marlayna Glynn Brown, Book 2)

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The Indians spoke to us in Spanish, I interpreted and Dad was proud. The saints were kind. They stared from their great Asian eyes. A little poke and Dad saved me from heaven. Wrongly dead he takes my hand again. He fled, but cared. The Spanish Jews from Italy, the Balkans, Greece, Turkey, and some North African communities spoke Spanish as their home language. The Italian painter Modigliani from Livorno and the Nobel prize novelist Canetti from Sophia were Spanish Jews. Elias Canetti (1905–94) learned Spanish at home before he learned Bulgarian.

Men in undershirts in the tenements have their eyes glued to the passing trains. Maybe it’s carrying them someplace. They’re often smoking slow cigars. We stick to the West Side until the garment district, where the streets get too jammed with dresses and coats hanging up on carts with roller skate wheels that are rolled all over the curb and sidewalk by young fellows with Mediterranean mustaches. We go east as far as we can. Mulberry Street, not far from Chinktown. We’re in a poor Jewish neighborhood—Jews I never saw before, wearing yarmulkes in the middle of the day, men with curly sideburns and everyone wearing much too much baggy clothing.

Those national figures were Marion Anderson and Paul Robeson at the top, and then there was the Cotton Club in Harlem, Count Basie, the Duke, and Louis Armstrong. These were the jazz and swing years, the big white swing bands and the jazz clubs up in Harlem that white people visited, but no white musician could play in those terrific groups. After hours the musicians would jam together privately, whites and blacks, learning from each other, having fun. Benny Goodman had a great jazz quartet, two Whites and two Blacks recording unseen in a studio, that was a national sensation; but these musicians, Jews and Blacks, couldn’t be seen together on stage in any white hotel, theater, or club.

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