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Jonathan A. Minkoff A Cappella Award

Congratulations to the 2008 Jonathan A. Minkoff A cappella Award Committee, Freddie Feldman, Diana Preisler, Marty Gasper and Dave Brown.

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East Coast A Cappella Summit - Breaking News!

{mosimage} The East Coast A cappella Summit announces the first stage of its 2008 line up! Vocaldente - Euro-pop a cappella from Hanover, Germany Mauf - Dance/Trance a cappella beatbox band from Austria Six13 - Jewish Rock A cappella from New York Cartoon Johnny - pop and jazz from DC Euphonism - sultry pop a cappella Plus award-winning barbershop, beatbox and more! Blue Jupiter - co-producers of the ECS with CASA -Jazz infused pop-funk a cappella band from New York City, NY, fresh off their fourth tour of Asia Masterclasses from A cappella Producers Freddie Feldman of VOCOMOTION Studios in Evanston, IL Bill Hare of Bill Hare Productions in San Francisco, CA Marty Gasper of 2Dog Creative in New York City And more! Check back soon for more announcements! Tickets are selling fast! Buy yours today! www.casa.org/tickets.

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Permission to Arrange for Live Performance

{mosimage} Does a group need to get permission to arrange a song before performing it live? It’s a question that comes up a lot. The answer to that is it depends on where you perform. Live in the shower? No, you don’t need permission. Unless you invite the public.

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The Back Row CD Review

{mosimage}The Back Row’s “After This I’ll Show You My Rock Collection” has the formula down for an impressive sophomore release. Start with dense, multilayered (but never “busy”) super-pop arrangements by Ian Goldstein, Joe Goetz and others. Add Bill Hare’s exceptional mixing and a free hand to go hog wild on the electronic effects. Now plug in high-energy deliveries by Back Row’s worthy soloists (notably Jon McDonald and Casey Andree) and you’ve got a hot new pop vocal band (of 15 college guys).

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Why do we perform?

{mosimage}Carefully, patiently dissecting the urge to perform yields the unexpected anatomy of our truest motivations. What are these factors that drive us? They may be obvious or obtuse, noble or base. They may appear in one guise, only to be exposed later in truer form. They often take a bit of coaxing before revealing themselves. But if, as Socrates believed, the unexamined life is not worth living, then this part of life, this sliver we share with so many others, is perhaps most worthy of our unfaltering gaze. Why do we perform?