The tale of the famous Greenwich Village coffeehouse turned nightclub; The Bitter End is also the story of the clubs manager and owner; Paul Colby. From the early 60s to the 90s; the Bitter End hosted a wide range of influential music and comedy acts that reflected the changing creative atmosphere of the Village; and the country beyond. Pete Seeger made frequent appearances and Peter; Paul; and Mary debuted at the club during the height of the folk music boom; around the same time that Woody Allen and Bill Cosby were headlining with their very differentmdash;but equally popularmdash;stand-up acts. After the British Invasion made rock the pre-eminent music in the land; Colby booked electrified folk and rock performers such as Neil Young; Carly Simon; Kris Kristofferson; and many others. Throughout the years; Colby kept up such strong friendships with the artists that they often returned as patrons when they werent performingmdash;the most famous local regular being Bob Dylan.The stories Colby shares of his amazing years running the Bitter End provide an insiders personal perspective on several decades of American entertainment. Told with fondness and flair; The Bitter End acquaints the world with a man beloved by performers for years.
#2122485 in eBooks 2008-08-25 2012-08-09File Name: B009D1ES3C
Review
1 of 2 people found the following review helpful. A Step in the Right DirectionBy glasscatA book on this topic is definitely needed. And this is an interesting start. The problem. as stated in a previous review. is that it goes from seriously basic to fairly advanced. I took piano lessons for 15 years. music theory in college (for fun!). and then taught piano for a long time. I am a musical theatre teacher at a university. Some of the things in this book were ideas I taught my seven year old beginning piano students. and some of the theory I learned ten years into my study in advance theory classes and would only attempt to teach someone who had studied music for a while. Having taught musical theatre to a large number of students with no musical background at all whatsoever. I would say that this book is a little too much too quick. Many of my students would be very overwhelmed and bored with this. But. I think there are parts of it that are great and very useful. I cant think of any music theatre theory class that could cover this much material in one semester and have the students TRULY come out understanding it and able to apply the information.1 of 2 people found the following review helpful. Long Awaited and Much NeededBy Ann SulThis book is a breath of fresh air. For so long musical theatre teachers across the country have lamented that traditional theory texts only use classical repertoire to demonstrate theoretical ideas such as minor chords. appogiaturas. scales. intervals. etc. This book shows the musical ideas in pieces written by Bernstein. Sondheim. Bock and Harnick. and Webber (just to name a few). For musical theatre students. many of whom come to the musical theatre art form without formal theory training. this book may help intensify and sustain their interest. And the essays the authors provide model for the student the role that this knowledge might play in their interpretive process.2 of 3 people found the following review helpful. Good class resourceBy BrownieI teach music theory to musical theatre students at the university of level. I like this book a lot. While I agree that the theory content is a bit rangey. thats actually been a plus for me. I have used this book as a supplement to my first semester beginning theory class and then carry it forward into my second semester beginning-intermediate theory class. And the theory content aside. the application to musical theatre songs is really fun for the students. I suspect well be able to use the essays in the third semester class.
