Pitch Perfect: The Quest for Collegiate A Cappella Glory

Pitch Perfect: The Quest for Collegiate A Cappella Glory

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by Mickey Rapkin
     
 

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High notes, high drama, and high jinks collide as elite collegiate a cappella groups compete to be the best in the nation

Journalist Mickey Rapkin follows a season in collegiate a cappella, covering the breathtaking displays of vocal talent, the groupies (yes, a cappella singers have groupies), the rock-star partying (and run-ins with the law), and all the

Overview

High notes, high drama, and high jinks collide as elite collegiate a cappella groups compete to be the best in the nation

Journalist Mickey Rapkin follows a season in collegiate a cappella, covering the breathtaking displays of vocal talent, the groupies (yes, a cappella singers have groupies), the rock-star partying (and run-ins with the law), and all the bitter rivalries. Along the way are encounters with a cappella alums like John Legend and Diane Sawyer and fans from Prince to presidents.

Bringing a lively new twist to America's fascination with talent showdowns, Pitch Perfect is sure to strike a chord with readers.

Editorial Reviews

David Rakoff
Mickey Rapkin has captured the world of a cappella—a subculture that can claim members as far afield as Cole Porter and Osama bin Laden — in all its funny, earnest, and thoroughly strange glory. He nails it. (David Rakoff, best-selling author of Don't Get Too Comfortable and Fraud: Essays)
Mindy Kaling
Hilarious and very moving. (Mindy Kaling, co-star and associate producer of NBC's "The Office")
Publishers Weekly

According to GQsenior editor Rapkin, today's lively collegiate a cappella groups boast hip-hop repertory, professional vocal arrangements, competitions at Lincoln Center and a world shrunk by the Internet. During the 2006-2007 college season, Rapkin, an alum of a Cornell all-male singing club, followed three a cappella powerhouses: Divisi, an all-girl group from the University of Oregon, the testosterone-driven Hullabahoos of the University of Virginia, and Beelzebubs, from Tufts. Each is a collective with a score to settle, a tradition to honor. Robbed of a championship in 2005, Divisi wants payback; the Hullabahoos want respect without forfeiting their frat-boy charm; and the controversial Bubs want to hone their edge. Throughout, Rapkin engages with celebrity trivia (Heroes' Masi Oka sang a cappella at Brown) and music criticism. He profiles the cottage recording industry built from college a cappella. Most notably, he riffs through signature events and crisis moments with a snarky humor (onstage Divisi looks like "the women in that Robert Palmer video") that turns each chapter into a picaresque progression toward graduation. (June)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Library Journal

Rapkin's (senior editor, GQ) breezy and gossipy chronicle of the collegiate a cappella scene is unique. Except for some commemorative publications (such as those concerning the original and best-known group, the Yale Whiffenpoofs), little has been published in book form on the collegiate a cappella phenomenon. Primarily, this is because the current scene is new-with arrangements of pop music (rather than a concentration on traditional favorites), the rising importance of competitions, and a veritable explosion of groups in the past 25 years. Rapkin examines the recent history of three top ensembles-Oregon's Divisi, Virginia's Hullabahoos, and Tufts's Beelzebubs-and tells a fascinating story of top-flight recording opportunities, gigs paying up to $13,000, fame as far away as the Philippines, and an appearance on Letterman. The heart of the book consists of the personal stories of the men and women who organize and perform in these groups, though Rapkin also manages to explain much of the recent history of collegiate a cappella groups along the way. Recommended for all libraries.
—Bruce R. Schueneman

Kirkus Reviews
Endearing but ultimately disappointing inquiry into collegiate a cappella via three beloved groups. With a fanatical fan base and famous alums including Barbara Streisand, Prince, John Legend, Hillary Clinton, Barack Obama, even Osama bin Laden, collegiate a cappella has been a cultural touchstone for much of the 20th century. GQ senior editor Rapkin, who was a member of Cornell University's Cayuga's Waiters, approaches the subject in the tradition of popular films like Spellbound and Wordplay (and the Christopher Guest movies that mock them). He focuses largely on three groups. The all-female Divisi from the University of Oregon is a relatively new band that has become a favorite on the competition circuit. The Tufts Beelzebubs are known as the gold standard for music arrangement and album recording. The University of Virginia's Hullabahoos, also a newer group, has a rock star-reputation, gigs opening for the Lakers and plenty of girls lining up on campus to meet them. Some colorful characters emerge, particularly Divisi's founder, who stayed on at Oregon long past her prime to shape her squad; a troubled young music director at Tufts who left the Bubs in a lurch when he had to go on medical leave; and a handsome Hullabahoo who attracted wealthy old benefactors with his youthful looks and charm. Perhaps even more amusing are the alums who can't let go: One Tufts grad made a career out of producing a cappella albums, and another continued to lend his country home to the Bubs even after they accidentally burned down the house they were renting from him in Somerville, Mass. Still, the author fails to enable readers to connect with the amusing, astonishing and, most importantly, humanaspects of this obsessive hobby. Though Rapkin highlights several competitions and notable gigs throughout the book, there is no conclusive event or end moment to wrap things up. Wit and nostalgia mitigate, but don't entirely compensate for, a weak story arc and lack of emotional engagement. Agent: Farley Chase/Waxman Literary Agency
From the Publisher
"Finally, a journalist with the courage to investigate the cutthroat world of college a cappella. . . .Rapkin has the perfectly bemused and giddy tone to tell these stories with the reverence they deserve."
-New York Post

"Rapkin's book reveals a world with as much discord as harmony."
-Newsweek

"Look out, barbershop quartets. Mickey Rapkin uncovers the dirty truth behind collegiate a cappella groups."
-Marie Claire

Product Details

ISBN-13:
9781592403769
Publisher:
Penguin Publishing Group
Publication date:
05/29/2008
Pages:
288
Product dimensions:
6.20(w) x 8.90(h) x 1.10(d)
Age Range:
18 - 14 Years

Read an Excerpt

Prologue

For Denise Sandole, the forty-seventh annual Grammy Awardswas something to celebrate. She was working for AOL Musicat the time, as a senior manager in sales, and her boss had invitedher to the star-studded ceremony. It was February 13, 2005, at theStaples Center in Los Angeles, and she wore a polka dot dressfrom BCBG. “You never know if there will be a next time youattend the Grammys,” she says.

Denise was sitting upstairs in the balcony when a then unknownsinger named John Legend came out onstage to introducehis mentor, Kanye West, who was nominated for a handfulof awards that night. Legend himself would be nominated foreight Grammys the following year, but for now anyway he wasjust that handsome, well-dressed young man standing centerstage. Upstairs, meanwhile, Denise was screaming like a crazyperson. The thing is, she and John Legend were best friends, andthey’d been sending text messages back and forth all evening.Long before John Legend would collaborate with Snoop Doggand Alicia Keys, he’d collaborated with Denise Sandole. Back in1997, onstage at Carnegie Hall, Denise Sandole and John Legendcompeted together in the National Championship of CollegiateA Cappella.

As an undergrad at the University of Pennsylvania, DeniseSandole majored in psychology, though her mom likes to say shemajored in a cappella. Denise and John met “on the a cappellaaudition circuit,” she says, in the mid-nineties, when the twojoined the Counterparts—the university’s oldest coed a cappellagroup. The Counterparts had been primarily a jazz ensemble.(Denise was no stranger to jazz—her father, Dennis Sandole, hadmentored John Coltrane.) But the group’s new music directorpushed for a more pop sound, and with Denise and John Legendin the stable, the Counterparts suddenly had the talent to pull itoff. Prince’s “One of Us,” featuring John Legend (né John Stephens)on the solo, quickly became the Counterparts anthem.

This change was not without collateral damage. Two membersof the Counterparts actually quit in protest, feeling as if themusical left turn away from jazz somehow betrayed the wishes ofthe group’s founding fathers. “Aca politics,” Denise says. To makematters worse, a rift soon developed between the Counterpartsand UPenn’s other coed a cappella group, Off the Beat—who’dbuilt their reputation on pop music. But the campus embraced thenew sound, showing up to Counterparts gigs in record numbers.The animosity only intensified when the Counterparts decided tocompete in the National Championship of Collegiate A Cappella(the NCCAs), pitting them squarely against their heavily favoredrivals, Off the Beat. To everyone’s surprise, in February 1998, theCounterparts triumphed at that regional quarterfinal round—andit was more of the same at the regional semifinals. The Counterparts’set included three songs: “One of Us,” “Route 66,” and theSophie B. Hawkins one-hit wonder, “Damn I Wish I Was YourLover.” Denise sang that solo—this little girl belting out theangst. “That song put me on the a cappella map,” Denise says.Against all odds, the Counterparts were headed for the finals ofthe NCCAs on April 26, 1997, at Carnegie Hall.

How do you get to Carnegie Hall? In this case, you rent twoyellow school buses and fill them with your Ivy League a cappellaentourage.

The excitement was short-lived. Denise remembers the precisemoment she knew the Counterparts had lost at the NationalChampionship of Collegiate A Cappella. In their own shows oncampus, the Counterparts regularly performed silly skits, toldbad jokes, that sort of thing. “We always tried to be funny,” shesays, acknowledging that the group’s humor was always hit ormiss. When it came time to compete in the NCCA finals, she says,“We wanted to be true to ourselves.” And so, onstage at CarnegieHall, in front of two thousand eager a cappella fans, Denise’sfriend Sloan Alexander of the Counterparts dropped his tuxedopants, revealing a black lace garter belt underneath. “He madesome joke about running late, and how he wanted to get dressedup for Carnegie Hall,” Denise says. This had been a gross miscalculationon their part. “We thought, We’re a college group. Weentertain our peers! But that was wrong. We were there to entertainthe judges.” There was a long, deadly silence from the audience.“We knew right then,” Denise says. “We’re like, oops, wrongcrowd, wrong crowd.” She acknowledges they should have playedit safe, “like the group that won.” That would be the StanfordTalisman. “They did, like, world music. They were very politicallycorrect. We went for the bathroom humor. And we wereoutclassed!”

A cappella is Italian for “like the chapel,” and it describes perhapsthe oldest form of music, the kind made without any accompanimentat all. That a cappella began with Gregorian chant in thechurch shouldn’t come as a surprise—what’s closer to God thanthe unadorned voice? The music then traveled. In time, the Puritanswould embrace shape-note singing and a book of vocal spiritualscalled The Sacred Harp. Call-and-response singing from Africa, meanwhile, would mingle with these vocal traditions tobecome American gospel. Somewhere along the way, what beganas a service to a higher power went secular. Then it went pop. Thisis how:

In 1931, the Mills Brothers recorded Swing It, Sister. Thesleeve read: “No musical instruments or mechanical devices usedon this recording other than one guitar.” Uh, then where did thattrumpet come from? Harry Mills, as legend has it, forgot to bringhis kazoo to the studio one day, which is how he figured out hecould do a passable trumpet solo with just his lips. Still, somecritics remained skeptical.

On September 26, 1936, Norman Rockwell’s “BarbershopQuartet” appeared on the cover of The Saturday Evening Post.Two years later, at a hotel in Kansas City, two traveling businessmenfrom Tulsa would form the Society for the Preservation andEncouragement of Barber Shop Quartet Singing in America, affectionatelyknown as SPEBSQSA. (Both Bing Crosby andGroucho Marx were later members.) Despite the name, they tookthemselves quite seriously, calling barbershop singing “the lastremaining vestige of human liberty,” reports Gage Averill in hisbook Four Parts, No Waiting. In the fifties, when Disneyland Parkfi rst opened, Walt Disney himself installed a barbershop quartet,the Dapper Dans, to perform on Main Street six days a week.(When the original Dapper Dans left for a spot on The MickeyFinn Show, Disney kept the name and found four new Dans.)

Barbershop most certainly had its roots in Africa, in thechanting and the close harmony—though that genre of chantwould come to be known as mbube (pronounced EEM-boo-beh)thanks to the success of Solomon Linda’s 1939 song “Mbube.”You may be familiar with this tune. Pete Seeger and the Weaverscovered “Mbube” in the 1950s, singing wimoweh instead of mbube.And thus “The Lion Sleeps Tonight” was born.

In 1952 Sam Cooke sang with the Soul Stirrers—perhaps the first mingling of a cappella gospel and rock ’n’ roll. In 1954, theChordettes (the first big female barbershop quartet) released “Mr.Sandman.” Barbershop further crossed over in 1962 when theBuffalo Bills appeared in The Music Man. In 1968, Frank Zappareleased the Persuasions’ first album, A Cappella.

In the seventies a group called the Nylons first got togetherin, of all places, a Toronto delicatessen. In 1981, the ManhattanTransfer released Mecca for Moderns, concluding the album withan a cappella track, “A Nightingale Sang in Berkeley Square,”which won a Grammy for Gene Puerling. In 1983, Billy Joel’s“For the Longest Time” blew a cappella wide, paving the way forBobby McFerrin’s “Don’t Worry, Be Happy” in 1988. Doug E.Fresh brought beatboxing to the mainstream (or closer, anyway)with the 1986 track “The Show.” (“I am the original human beatbox,”he sang.) That same year, Paul Simon released Graceland, acollaboration with South Africa’s Ladysmith Black Mambazo(who, themselves, went on to tour the States, performing on SaturdayNight Live, even recording a jingle for MTV).

A cappella continued to assault pop music. In 1990, Spike Leeproduced a documentary for PBS called Do It A Cappella, whichintroduced the world to four very white guys called Rockapella,who would soon land a gig as the house band on the PBS kiddieshow Where in the World Is Carmen Sandiego?, introducing awhole new generation to a cappella music. (The show was notentirely altruistic, for the record. Up in the control room, employeeswould bet on which kid would win, says Sean Altman,then the lead singer of Rockapella.) One year later, Boyz II Menhad a number-one hit with “It’s So Hard to Say Goodbye to Yesterday.”In 2004, Toxic Audio started an open-ended run off-Broadway at the John Houseman Theater.

Which doesn’t really explain how a cappella became one ofthe most celebrated pursuits on our nation’s college campuses.

There are more than twelve hundred collegiate a cappella groups in the United States alone. And the good ones, well, it’snot what you think. A cappella has come a long way in the onehundred years since it evolved from glee clubs into a traditionthat is hugely popular (some eighteen thousand active participants),considerably profitable (the Harvard Krokodiloes earn,conservatively, three hundred thousand dollars a year, whichfunds the group’s adventures), and much publicized (a cappellagroups have appeared on the Late Show with David Letterman).It’s not what you think. Today the music is less barbershop thanBarbershop 2: Back in Business.

The gold standard remains the original, the Yale Whiffenpoofs—the very first collegiate a cappella group, founded in 1909after a drunken night of singing at Mory’s, a New Haven supperclub. Nearly one hundred years later, the Whiffs still performthere every Monday night. And their influence has been felt welloutside of New Haven. The group’s signature tune, “The WhiffenpoofSong” (the name comes from a mythical fish), was later coveredby Frank Sinatra and Ella Fitzgerald. Senator PrescottBush—President George W. Bush’s grandfather—was a memberof the Whiffenpoofs. So was Cole Porter. Over the years, theWhiffs have traveled the world, entertaining the likes of MotherTeresa and the Dalai Lama. The Whiffs have even performed onSaturday Night Live. (The producers ran each kid’s SAT scoresacross the bottom of the screen in a CNN-style crawl.) A recentaddition to their clip reel: In late 2002, Aaron Sorkin—a bigWhiffs fan since childhood—flew the entire group out to Los Angelesto tape a Christmas episode of The West Wing, where membersof the Whiffs report Sorkin was jumping around the setyelling, “I can’t believe the fucking Whiffenpoofs are here.”

The Whiffs aren’t the only a cappella group at Yale. Actually,there are now at least fifteen on campus. One, the Baker’s Dozen,is known around New Haven as “the drinking group with a singingproblem.” The BDs briefly eclipsed the Whiffenpoofs in namerecognition when, on New Year’s Eve 2007, they were assaultedoutside a party in San Francisco—a story that made internationalnews. The San Francisco Chronicle ran this headline: “New Year’sNightmare for Visiting Yale Singers.” The New York Post followedwith the cheeky: “Yale Songbirds Are Pummeled.”

Collegiate a cappella had been strictly a guy thing until, in1936, the first all-female collegiate group was born at Smith College.They called themselves the Smiffenpoofs—perhaps thebirth of a cappella’s notorious obsession with puns. (The mostegregious pun in all of a cappella may be the Harvard Law Schoolgroup, Scales of Justice. Their motto: “Because justice is blind, notdeaf.”) The first coed group was founded in 1973 at Princeton.They’re called the Katzenjammers—which is German for both “aloud, discordant noise” and (perhaps more apt) a “hangover.”

You’d be hard-pressed to find a thing about a cappella—thesnapping, the matching khaki pants—that your typical collegekid would suggest is cool. Especially not the human beatbox, thatguy (or girl) imitating a snare drum and a bass with a sh-sh-k-tssh-sh-k-ts. Even in the late 1930s, the Whiffenpoofs were alreadyconsidered to be uncool. So uncool, in fact, that a rival singinggroup, Yale’s Society of Orpheus and Bacchus (the SOBs), wasstarted with the express purpose of mocking the Whiffs. But coolis nothing if not relative. On campus—though it’s crass to say—a cappella will get you laid. “At Duke, it’s not as cool as being onthe basketball team,” says one of the Duke University Pitchforks,the university’s celebrated all-male a cappella group. “But it’sclose.”

A cappella is the kind of frenzied subculture that over fouryears—just like a fraternity—might make your name on campus.But some will spend the rest of their lives denying it. “A cappella,”sighs James Van Der Beek, the onetime star of Dawson’sCreek and Drew University’s 36 Madison Avenue. “I thought itmight catch up with me.”

Even before his TV career took off, Van Der Beek was a bigman on campus. He tells a story about the time this girl heardhim perform Sting’s “Englishman in New York,” and invited himto hand-deliver a copy of the group’s CD to her dorm room. MadisonAvenue frequently took road trips. Van Der Beek recalls amemorable tour of SUNY Binghamton. Due to extenuating circumstancestoo difficult to explain here (something about thenumber of cars and available seats), one member of his a cappellagroup needed to spend a second night at Binghamton, hitching aride back to Drew University the next morning. That man, thegroup decided, should be James Van Der Beek. Why? “Because, ofall the guys in the group,” he says, laughing, “they felt like I’dhave the best chance of finding a place to sleep that night.” Andhe did.

Mira Sorvino, Diane Sawyer, Art Garfunkel, Jim Croce, AnneHathaway of The Devil Wears Prada, Prison Break’s WentworthMiller, actress Rashida Jones (Quincy Jones’s daughter), TheO.C.’s Peter Gallagher—they all got their start in collegiate acappella.

Full disclosure: Osama bin Laden sang in an a cappella group.Lawrence Wright, in his Pulitzer Prize–winning book, The LoomingTower, writes of bin Laden’s teenage years and the man’s “desireto die anonymously in a trench in warfare”—to be just oneof the guys. “It was difficult to hold on to this self-conceptionwhile being chauffeured around the kingdom in the family Mercedes,”he writes. “At the same time, Osama made an effort not tobe too much of a prig. Although he was opposed to the playing ofmusical instruments, he organized some of his friends into an acappella singing group. They even recorded some of their tunesabout jihad, which for them meant the internal struggle to improvethemselves, not holy war. Osama would make copies andgive them each a tape.”

Not everyone could be so lucky. Debra Messing was rejectedby an all-girl group at Brandeis. Worse, Jessica Biel was dismissedby Tufts University’s coed a cappella group, the Amalgamates. It’sshocking (or maybe not) how seriously these groups take themselves—that they’d turn down a Hollywood starlet like Biel. Howbad could she have been? Still, it begs the question: In collegiatea cappella, where does the line fall between serious pursuit andgoofy joke? It’s blurrier than one would think.

After school—but before winning Grammys—John Legendwent to work for the Boston Consulting Group. But it didn’t take,and he quit to concentrate on his music full-time. Some a cappellaalums wind up on MTV. But most never sing again—at least notprofessionally. In the summer of 2007, John’s friend Denise Sandolesang a Gloria Gaynor song at a friend’s wedding.

These days, Denise rarely listens to the old Counterparts albums—though they were very well received at the time. (“Oneof Us,” which appeared on their disc Housekeeping, was selectedfor the Best of College A Cappella series in 1998, which is sort oflike the Now That’s What I Call Music! series for collegiate acappella.) Alums from the Counterparts, the ones in New Yorkanyway, get together now and again for a night of karaoke. Still,even they are far from a cappella apologists, winking at the verything that brought them together. “At karaoke, no one sings oldCounterparts songs,” says Denise, now a thirty-year-old gradstudent in psychology at Yeshiva University. “That’s an unspokenrule. Though we love to reminisce.” But what is it that drivespeople to such great lengths to excel at something they mayspend the rest of their lives mocking?

Perhaps they are smart to deny it. Because a cappella has becomea go-to pop culture joke. In the 2006 season premiere ofNBC’s The Office, one of the characters (played by Daily Showvet Ed Helms) bragged about singing in an a cappella group atCornell called Here Comes Treble. A cappella would become along-running joke on the show, reaching fever pitch when Helmsserenaded a co-worker in 2007 with ABBA’s “Take a Chance onMe”—backed by his old a cappella group on speakerphone. (Thegroup sang, “Take a chance, take a chance, take a chance,” beneathhis solo.) A cappella popped up elsewhere on NBC on TinaFey’s 30 Rock, and even on Broadway in 2007 in Young Frankenstein,with a Whiffenpoof joke. In the movie The Break-Up, JenniferAniston’s brother sang in an a cappella group called theTone Rangers, which was played for laughs. The film’s co-writer,Jay Lavender, had firsthand knowledge of collegiate a cappella. Asa student at Holy Cross, his sister started a coed group, 8-Track.Jay calls a cappella a “subculture,” which is how outsiders generallyrefer to a small group of people doing something they findunintentionally hilarious. He still laughs thinking about the timehis sister berated the members of 8-Track for going fl at, shouting,“Quarter tones matter, people!” These stories are comedy gold,Jay says. A joke on The Office is one thing, but even the IvyLeague brats who inherited the a cappella legacy may be turningon their own. In 1995, some Yale students led an organized revoltagainst the a cappella scene; on tap night, as new members werebeing selected, water balloons rained down, blotting out themoon. (The university has since taken steps to control tap night,in part keeping the date a secret.) More recently, in 2007, thesnarky blog IvyGate sponsored a contest to find the Worst A CappellaGroup in the Ivy League.

So where does the impulse to step out in front of a groupof identically dressed men and hum into a microphone beforea crowd of thousands come from? What is the appeal of thehuman beatbox to screaming fans of bestirred coeds who seemto lose their senses at the unaccompanied rendition of Hootie& the Blowfish’s “Hold My Hand?” And what of the crisis someface after graduation, suffering from the hangover of so muchadulation?

“Why a cappella?” or maybe more specifically, “Why not?”

What People are saying about this

From the Publisher
"Finally, a journalist with the courage to investigate the cutthroat world of college a cappella. . . .Rapkin has the perfectly bemused and giddy tone to tell these stories with the reverence they deserve."
-New York Post

"Rapkin's book reveals a world with as much discord as harmony."
-Newsweek

"Look out, barbershop quartets. Mickey Rapkin uncovers the dirty truth behind collegiate a cappella groups."
-Marie Claire

Meet the Author

Mickey Rapkin is a writer living in Brooklyn. His work has appeared in The New York Times, GQ, Entertainment Weekly, Details, and Time Out New York. He is currently a senior editor at GQ.

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Pitch Perfect: The Quest for Collegiate A Cappella Glory 4.4 out of 5 based on 0 ratings. 104 reviews.
Anonymous More than 1 year ago
I thought this was very well written a little bit different than the movie but very similar in ways also
Guest More than 1 year ago
This book was very good. Well written, humorous, entertaining, informative, etc. It was everything I look for in a book. I had never read much about the world of a cappella, but it was very interesting. It's a quirky subculture filled with music, drama, laughs, and funny clothing. I loved it. Read it.
Anonymous More than 1 year ago
I LOVE THIS BOOK AND THE MOVIE AND I AM ONLY TEN YEARS OLD!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! :):):):):):):):):):)
Anonymous More than 1 year ago
The movie is the best. Go fat Amy.
Anonymous More than 1 year ago
Ok... dont even get me started on the movie... rape whistle, horazontal running, lezbe honest, FAT AMY!!!! im in an a cappella group called Hot High (look us up on youtube) and honestly were pretty good but it didnt start off that way... we went the same way The Bellas did minus the puking and i totally understand Beca. The Treblemakers are awesome too. My brother is in an all guys group and they do good. So for all you people out there who like flying mexican food, tweet b*tches, horazontal running, rape whistles, and eating yiur twin in the womb, this book is TOTALLY for you. Alice
Anonymous More than 1 year ago
Thevbook was great but rhe movie was so much better.it was so funny!!!!!!
Chrispy11 More than 1 year ago
Note: This is non-fiction. Divisi out of UO is the basis/inspiration for the movie's Barden Bellas. Gives insight into the collegiate a cappella world. The book made me go and look up the groups Rafkin had written about. One of them happens to be in the movie , the UVA Hullabahoos (Look for the colorful robes) A quick read and pretty informational.
Anonymous More than 1 year ago
I absolutely loved this movie. Jesse is so perfect. My favorite characters have ti be fat amy, bumper and donald and the asian chick who: was born with gills, ate her twin in the womb, went to jail, sets fires to feel joy and watches babies cry.
Anonymous More than 1 year ago
OMG luv the movie me and my friend sing along to the songs all the time Anna Kendrick, Brittany snow, and rebel Wilson make the movie I luv Donald he is so hot and I luv his beat boxing the Asian chick is so funny disturbs me a little bit but still really funny Chloe is awesome she says ,y favorite lines this is my favorite movie of all time I luv Anna Kendrick she is my favorite actrist right next to Brittany snow can't wait for the second one to come out 
Anonymous More than 1 year ago
The movie was great!
Anonymous More than 1 year ago
Love the movie and the book is kind of different to me ..........that mu opinion ..........if u dont agree deal wit it.......... thanks for making the book........ went to B&N yesterday loved it had some nice books upstairs........than B&N for nooks..... they rock......
Anonymous More than 1 year ago
I got my ticket for the long way round two bottles of whiskey for the way and i sure would like some sweet company and im leavin tommorow when its late when im gone when im gooone ur gonna miss me when im gone ur gonn miss me by my hair your gonna miss me evrywhere oh ur gonna miss me when im gone when im gone when im gooone ur gonna mis me when im gone ur gonna miss me by by my walk ur gonna miss me by my talk oh ur gonna miss me when im gone I got my ticket for the long way round the one with the prettiest of views its got mountains its got rivers its got sights that make you shiver and it sure would be prettier with u wen im gone wen im gooone ur gonna miss me by my hair ur gonna miss me evrywhere oh ur gonna miss me when im gone when im gone when im gooone ur gonna miss me by my walk ur gonna miss me by my talk oh ur gonna miss me when im gone
Anonymous More than 1 year ago
"I set fires to feel joy." "That's adorable."
Anonymous More than 1 year ago
To be honest i really love the book pitch perfect and if you think the book was awesome then just go and watch the movie if you havent yet cuz trust me youll love it and if you dont thats ok theres a bunch of movies out there but by far my most faveorite movie yet is pitch perfect and u will to and if you really loved as much as i did then like this post so ill know that you loved it
Anonymous More than 1 year ago
Ish
Anonymous More than 1 year ago
Bos and girls are equal. But we allknow girls are more Inteligent.like fat amy a boy likes her just because shes fat does not mean she is ugly girls my advice is to just be yourselves.
Anonymous More than 1 year ago
T
Anonymous More than 1 year ago
The book is so good
Anonymous More than 1 year ago
Is it even worth buying?
Anonymous More than 1 year ago
Every one can think what they want to think So shut up
Anonymous More than 1 year ago
Ive seen the movie like 100 times it was amazing Im hoping the same for the book.
Anonymous More than 1 year ago
When is it coming out?
DannTheEditor More than 1 year ago
I haven't yet read this. I jsut picked it up from my local BN. I loved the movie though. I really cant wait for PP2!!
Anonymous More than 1 year ago
!!!!
Anonymous More than 1 year ago
My school is doing the cup song at the 5th grade graduation and my principal knows Anna Kendrick's aunt! She's going to videotape the performance and send it to her aunt, who will show it to Anna Kendrick!! Cool, right??? If you think so, respond to MyDanceWorld