Bernice Peck


Just as birders can identify birds by their melodious calls, David George Haskell can distinguish trees by their sounds. The task is especially easy when it rains, as it so often does in the Ecuadorian rainforest.

Contingent upon the shapes and sizes of their leaves, the various plants respond to falling drops by delivering “a splatter of metallic sparkles” or “a low, spotless, woody bang” or “a speed typists rattle.” Every species has its own tune. Train your ears (and forsake the diverting echoes of a plastic downpour coat) and you can help out a plant evaluation through sound alone.

This acoustic world is available to everybody, except the vast majority of us never enter it. It just appears to be so unreasonable—also somewhat corny—to tune in to trees.

Yet, Haskell does tune in, and he portrays his encounters with arousing exposition in his captivating new book The Songs of Trees.

A sort of naturalist-writer, Haskell makes a propensity for getting back to similar places and paying “rehashed tactile consideration” to them. “I like to plunk down and tune in, and turn off the applications that come pre-introduced in my body,” he says.

People might be visual animal types, however, “sounds uncover things that are avoided our eyes in light of the fact that the vibratory energy of the world comes around obstructions and through the ground. Through sound, we come to know the spot.”

In his first book, The Forest Unseen, Haskell journeyed to a similar fix of Tennessee woods and depicted how a solitary square meter changed longer than a year.

His sharp perceptions and painfully lovely portrayal procured him a spot on the Pulitzer finalist list in 2012. Presently, he carries similar reasonableness to his sophomore exertion.

In The Song of Trees, he visits twelve uniquely picked trees, including a pear tree in the core of Manhattan; an olive tree in Jerusalem; a sabal palm, roughing the salt and sun of a Georgian sea shore; a transcending, precipitation soaked ceibo in Ecuador; and a bonsai pine that endure the Hiroshima besieging and now lives in Washington, D.C. Every one of these heroes is a point of convergence for anecdotes about the characteristic world.

However, Haskell doesn’t regard the trees as people.

He considers them to be “nature’s extraordinary connectors,” living images of the book’s incredible subject—that life is about connections and that’s why it’s good to look for the best tree removal company in Richmond, VA.

Roots draw supplements from advantageous organisms and speak with neighboring microorganisms. Leaves sniff the air to recognize the strength of neighbors while delivering caution synthetic compounds that gather caterpillar-annihilating parasites. Seeds are scattered by a long shot flying creatures.

Photosynthetic cells tackle the intensity of daylight utilizing structures advanced from free-living microorganisms. Furthermore, these sorts of connections are old: A resin fir that Haskell experiences in Ontario embody this thought; it develops on rocks that contain the bodies of bacterial provinces that lived 1.9 to 2.3 billion years prior.

“The basic idea of life might be not atomistic but rather social,” Haskell says. “Life isn’t simply arranged; it is network.”

Haskell sees life, as exemplified by trees, as less about the accounts of people and more as “brief collections of connections.” And demise, at that point, is the de-focusing of those connections, as “oneself deteriorates into the organization.”

“There’s a debris log here in Tennessee, which is near where I educate. I had been trusting that years in the timberland will be there precisely when a major tree falls, and that specific log overwhelmed me with the number of cool animals that came in and utilized it. It even put out a couple of buds in the years after it fell.

Contrasted with people, the distinction between life and passing appears to be significantly less obvious to me for a tree, and you could contend that its the great beyond was more nurturing to the backwoods than its life.”

Many young people today would see the tape recorder as one good for nothing item to be trashed and let’s not even talk of gramophones and even now CDs are rarer than ever. Technology for creating and playing music has evolved greatly.

Here are top 5 technological advances that have effectively changed how musicians create music;

1) The Internet

The Internet is a technology that makes it possible for many people to connect to the same network. It comes as a top technology that has changed how musicians create music.

It definitely stands as a main determinant to how the trend in creating music goes since provides a platform for sharing ideas and tools of the trade.

On the other hand, as a medium for sharing music to consumers, it can help give an idea of where demands are more so that creators will be able to decide what type of music to make or the current in demand trend to follow.

2) MIDI (Musical Instrument Digital Interface)

The magic of the MIDI is the ability to produce different sounds of different musical instruments with one interface. You can think of the digital keyboard that produce sounds ranging from piano, strings and percussion instruments.

This technology allows for easy recording of the required combination of sounds that makes up a good music without having the instrument say trumpet plus the skill of the trumpeter.

3) Music Production Software

Even with the midi alone, if you have to record what you create from a live production, you’d have to repeat several times to get the perfect music. The music software helps in making it even much easier to string together music and remove where necessary, sounds that may not be needed.

Software for music creation makes it possible to seamlessly edit music of more than one sound track that can be used together in the final work.

Some of the top used music production software names; Ableton Live, FL Studio, Apple Logic Pro X, Avid Pro Tools, and Garageband are where some top artists start their music career.

4) Digital Streaming Web Services

In the sea of Internet, web services that provide on-demand music to their customers have direct impact on how music is made nowadays.

Between the top players; SoundCloud, Spotify, Tidal, Apple Music, YouTube, MySpace and others, music creators have to answer questions about how to monetize their music based on the targeted users and the information about them. These streaming web services were developed by sophisticated web progrmaming language like Javascript, Ruby on Rails, etc. and it’s mostly done by web development companies like

5) Loop Pedals

With this technology, one man live band is very possible! In fact it is a reality that most people make music with the ‘loop pedals’.

Ed Sheeran is famous for using the loop pedals for live performances. Another name to you can look up for loop pedal in action was when one of the ‘Pentatonix’ used it.


Technologies for production and sharing now allow creators to focus on creating their music in a competitive network where distribution is not much of a problem.

It is left to see what new innovation will evolve in this space. Keep watching and creating!

“bare” is the brainchild of lyricist Jon Hartmere, Jr. and composer Damon Intrabartolo.  After an initial staged reading at the Hudson Mainstage Theater in Hollywood, the show opened on October 14, 2000. 

Expecting a run of only 6 weeks, the cast and crew were overwhelmed by praise and support. 

JOHN TORRES (Peter), is currently pursuing a career as a singer/songwriter and actor.  Part of the original Los Angeles cast, John played the role of Peter in the amazing God Help Production, which garnered great acclaim and as well awards (Including a 2001 Robbie nomination for best actor, and  a 2001 Ovation Award for Best Musical in Small Theatre). 

Other musical theatre roles include starring as Jesus in The Tiny Band’s production of “Jesus Christ Superstar” as well as co-staring in their production of “Songs for a New World”.  At UCLA, John was a member, and two year musical director, of  the award winning vocal ensemble Awaken A Cappella. 

He made his solo music debut singing the single “Wrong”, written by composer Damon Intrabartolo, for the film “Urban Legends II: Final Cut.” John is currently continuing to write music, both for himself and for other artists. 

He recently performed showcases at the Viper Room in Hollywood and The Gig on Melrose, and can these days be seen playing numerous venues in and around the Los Angeles area.  He is honored to have been a member of this talented cast and wishes the show well on its journey to Broadway.

JOHN GRIFFIN (Jason) made his stage debut last May opposite Tony winner Tyne Daly playing her son in Big Maggie, directed by Women In Film co-founder Nancy Malone.

John then guest starred opposite Dick Van Dyke under Ms. Malone’s direction in a sweeps episode of  “Diagnosis Murder.” Over the last year, John has also worked for director Brad Silberling and producer Joel Silver.

John has guest starred on numerous television shows, including “The Pretender”, “Sabrina the Teenage Witch”, “The Strip” and “Sweet Valley High”. He has also done a lot of national commercials.

A recent Stanford University graduate, John studied at Oxford University as well.  Since his arrival in LA, he has been studying under Milton Katselas. John was nominated for the 2001 Robby Award for Best Actor in a musical for his performance in the Los Angeles production of bare.  He is represented by UTA, and managed by Sean Bryan at Bayonne Entertainment.

JENNA LEIGH GREEN (Ivy), is best known from her role as “Libby Chessler” on the hit show Sabrina the Teenage Witch. However, the stage has always been her first love and she was thrilled to recreate the role of “Ivy” which she originated in the bare workshop of ’99.

She has been seen on stages all over Southern California; favorites include “Juliet” in Romeo and Juliet, “Dorothy” in The Wizard of Oz, “Maria ” in West Side Story, “Anne” in The Diary of Anne Frank , “Martha” in The Secret Garden, and “Little Red” in Into the Woods . Jenna recently performed the role of “Della” in the staged readings of the new musical Valley of Kings, written by Reefer Madness authors Dan Studney and Kevin Murphy. 

Jenna’s numerous television appearences include two highly rated Mow’s for NBC as well as many guest appearences, most recently on the USA series “Cover Me”.

She  recently returned from Vancouver where she was filming the TBS movie “Hidden Target” along with Mariel Hemmingway and Greggory Harrison

PHILIP LIGHTSTONE (Lucas/Jason Understudy) is very proud to have been a part of bare from the beginning.

He has appeared on stage in the national tour of Fame: The Musical, A Few Good Men (a Broadway benefit for DRA), the world premiere of Disney’s Mulan at the Hollywood Bowl, and with the CDT’s Festival Ballet.

You can see Philip in Mandy Moore’s music video “I Wanna Be With You” from the movie “Center Stage”, and in the upcoming film “Arnie”.

Philip would like to thank Damon, Eric, Jon, and Debbie for their years of work on this amazing project, and his family and friends for their love and support.

CHARITY HILL (Tanya) started her stage career at age 10 with the world renowned Children’s Theatre Company. Having done seven consecutive seasons (over 4200 performances) of more than 30 different productions at the Guthrie, Ordway, Penumbra, Child’s Play, Children’s and Mixed Blood Theatres before the age of eighteen, she is a veteran of musical theatre.

Her performances encompass everything from “Macavity” in Cats to Jean Genee’s six-hou epic The Screens .

She began her television career with over ten commercials under her belt while also performing with Prince, MC Hammer, and LL Cool J. Since then she has appeared on numerous television programs, including: “The Jamie Foxx Show”, “The Steve Harvey Show”, “Martial Law”, “Sister Sister”, and “Power Rangers”. Upcoming feature credits include “2020: The History of Our Future”, “The Breaks”, and “Lucky 13”.

JENNIE KWAN (Diane / Ivy understudy) is a Southern Californian known to most as “Samantha Woo” on NBC’s sit-com “California Dreams”.

Prior to that, she played the lead fole of “Kim” in the first national touring company of Miss Saigon. Jennie’s musical careers bega at age 11 with the performing group Kids of the Century. Currently, Jennie is involved in an all-girl pop/rock group called Zoom which recently traveled to Japan to promote their new album, “Zoom”.

In addition to her music career, Jenni also performs in Faces of America, a one-person stage show that travels the nation to promote diversity and multiculturalism through the eyes of generation Y2K.

Additional credits include “The Nanny”, “Maloney”, “Beverly Hills 90210” and “Family Matters”. She has appeared in the feature film “Trojan War” and in Oliver Stone’s mini-series “Wild Palms”.

REED PRESCOTT(Jake/Matt Understudy

Recent Credits: “The Sound of Music” (Rolf) for Downey Civic Light Opera, “Camelot” (Mordred) for Cabrillo Music Theatre, “Meet Me in St. Louis” (John Truitt) for the Glendale Centre Theatre, “Little Shop of Horrors” (The Dentist) for the East West Players, “The Secret Garden” (Lt. Shaw) for CLOSBC, and “Deathtrap” (Clifford Anderson) at the Knightsbridge.

Reed had the opportunity to be directed by Francis Ford Coppola in “Gidget – a Rock and Roll Musical,” as well as replacing Chad Allen in “*change at Babylon” at the Tiffany Theatre.

Other credits include “Advice From a Caterpillar” (Brat), “Summer and Smoke (John Buchanan), “Sweeney Todd,” “Grease,” and “Joseph…Dreamcoat.” Reed’s new single “The Reluctant Soldier” can be heard on singer/songwriter Steve Schalchlin’s new CD “Beyond The Light” . He can also be heard on the “South Park” Christmas CD and while you wait in line for “Men in Black: The Ride” at Universal Studios Florida.

Film credits include “Cyberdorm” (Troy, a psychotic divinity student), “The Hunted (Lance, a serial killer), and “The Virgin Larry” (Nude Model) directed by Damion Dietz and is currently playing across the country at numerous film festivals.

On TV, Reed has appeared as a series regular on “The Gender Gap,” and in commercials for SONY, Washington Mutual, and United Way.

SIERRA A. R. REIN (Stacey/Nadia Understudy) Having graduated from UCLA’s School of Theater, Film and Television in 1999 with an emphasis on directing and musical theatre, Sierra was delighted to be a part of bare.

An alumni of UCLA’s award-winning Awaken A Cappella , she has performed as the Witch in Into the Woods, as Dr. Charlotte in Falsettos, as the Castle Wench in Once Upon a Mattress , as well as roles in Reprise!’s Pajama Game and The Boys from Syracuse.

KEILI LEFKOVITZ (Nadia), since moving from her home town of Kansas City, has worked in such films as ScrapbookThe King and Me , and Justice Under God and shot movies of the week for NBC and ABC along with appearances on shows such as Silk Stalkings and Maloney. Her LA stage debut was “Maggie” in Boy’s Life , for the Zoo Theatre.

And then there was bare , for which she  won a Robbie Award for “Best Supporting Actress in a Musical” and was nominated for “Best Featured Artist” for the 2001 LADCC Awards. Keili is represented by Innovative Artists and is managed by Robert Kass Talent Mangagment.

Keili thanks her friends and teachers at the Beverly Hills Playhouse for the daily journey. But more than anything, Keili thanks her family for the love and support they give everyday and stresses that if they really loved her – they’d move. 

WALLACE SMITH (Matt) is no stranger to the stage. Performing since the age of 5, Wallace has been a part of both Rock Theatre and the Santa Monica Civic Light Opera.

He has performed in many productions, including Nicholas Nickleby , A Raisin in the Sun, and Guys and Dolls. Wallace plans to pursue his acting career for 3 years, after which he will attend Oral Roberts University in pursuit of his life goal: preaching the gospel of Jesus Christ to all.

Wallace would like to thank his Lord and Savior Jesus Christ for standing by him in times of trouble, his family for all their support, his acting mentor Dr. Frank X. Ford, and his managers. Wallace has endeavored to live his life by Philippians 4:13, “For I can do all things through Christ who gives me the strength I need.”

Also, look for Wallace  in the stage readings of ‘Seventeen’ an upcoming production hopefully headed to the big stage on broadway!

MARK EDGAR STEVENS (Priest) has toured nationally and internationally in the Broadway productions of Sunset Boulevard (Joe u/s) and A Chorus Line (Don).

Off-Broadway, he originated roles in Prom Queens Unchained and Steel Kiss , and was nominated for a MAC award for his cabaret Slumber Party.

Recent credits include Bill Sykes in Oliver (opposite Andrea McArdle), Stanley in A Streetcar Named Desire , and Laertes in Hamlet .

Since coming to LA, Mark has done a “whole bunch” of independent films that few people have seen, some “so-so” television, and a gaggle of voiceovers. He would like to thank ice cream for the impact it has had on his life.

STEPHANIE ANDERSEN (Sister Chantelle) has been performing since she was in elementary school as a member of her school choir, which traveled throughout Southern California. She and her schoolmates recorded a contemporary Christian music album entitled “All God’s Children”.

She received her B.A. in theatre at Cal State University, Northridge and has spent over ten years in children’s theatre as an Assistant Director as well as a performer in several CLO’s in Los Angeles, Orange County and at Disneyland.

Some of her favorite roles include Miss Hannigan (Annie), Narrator ( Joseph and the Amazing Technicolor Dreamcoat), Mazeppa (Gypsy ), Crystal (Little Shop of Horrors ), and Aretha Thomas (Legends! ).

Stephanie would like to give special thanks to her husband, Jesse, for being her biggest fan and supporter!