#grm

[coldasyou]

Gif Request Meme: Bones + favorite romantic relationship  

↪ Angela Montenegro and Jack Hodgins

[rebeccapearson]

GIF REQUEST MEME anonymous asked: anne with an e + favorite female character anne shirley cuthbert

For most of my life I’ve had to fight the idea that I’m nothing more than someone to throw away, or pass around as needed, or that I’m not capable of being of real help because I’m a girl. But I came to understand that I was the same person the whole time. I’m loved now, but when I wasn’t, it didn’t mean I wasn’t worthy of it. No one but you is allowed to dictate what you’re worth.

[ozkar-krapo]

V/A [GROUPE De RECHERCHES MUSICALES De La R.T.F.]

"Musique concrète 1959, n°1"

(7". BAM. 1959) [FR]

[poppy-alex]

gif request meme ★ @terrifletcher asked for gilmore girls + most attractive male character

Think how dull your life would be without me.

[gream-o]

I wish someday I could tell you how much it hurts me. Explain your side, and only then, leave.Not with silence, not with half-truths, but with the honesty I've been waiting for. Because I stayed up overthinking everything, kept pretending I was okay, as if none of it ever mattered.

[wejustdecidedto]

gif request meme: anonymous asked » favorite character of color

[gustaviam]

GRM got Featured on The Duck Webcomics!!!

My comic GRM Which you can read here also on Tumblr, was featured on The Duck Webcomics Website ¨Featured Comics¨ Section on the Frontpage, Yesterday on April 17, 2024.

It was really a big surprise for me, and i'm incredibly happy about it! :D

[dustedmagazine]

Douglas R. Ewart & Ignaz Schick — Now Is Forever (Zarek)

Schick (l), Ewart (r)

When the Art Ensemble of Chicago arrived in Paris in 1969, their combination of free jazz, boundary-defying composition, sardonic humor and theater caused quite a stir. They and the other African American musicians who joined them were invited to share stages, parties and business endeavors with hippies, underground rockers, political radicals and record labels of varying degrees of sketchiness. One scene that did not rush to embrace them was the electronic music institution, Groupes de recherches musicales (GRM). Sure, there was that 1977 collaboration between Don Cherry and Jean Schwarz, but it took 46 years to make it to a record. One wonders what might have happened if the GRM had opened its doors to the first ambassadors of the Association for the Advancement of Creative Musicians (AACM). It might have sounded a little like Now Is Forever.

Ignaz Schick is one such wonderer. The German polymath’s own involvement with electronic sound was preceded by a youthful immersion in free jazz, and if you catch him in Berlin, where he now lives, he’s likely to bring an alto saxophone to a gig alongside his turntables and sampler. But Now Is Forever isn’t the product of wondering, but of action. In 2017 Schick took a break from a residency in Los Angeles to fly into Minneapolis for a couple of days, which he spent playing with Douglas Ewart. Ewart is a multi-instrumentalist, poet, sculptor and mask and instrument maker who grew up in Jamaica, then moved to Chicago as a teen, where he fell in with the AACM. He rose from being a student in the association’s school to being its chairman for a spell, and his integration of jazz sonorities, Afro-Caribbean rhythms and ceremonial staging carries on traditions initiated by the Art Ensemble in the 1960s.

While their encounter only lasted two days, there’s nothing rushed about the performances spread across Now Is Forever. Schick layers and ruptures classical piano recordings, orchestral surges, captured mechanical sounds and vinyl crackle into a seething, constantly changing backdrop. Ewart likewise moves between woodwinds, percussion and stern proclamations. His saxophone forays are like lightning rods, drawing and concentrating the powers flowing around him. His recitations direct the energy back outwards, projecting scorn towards phonies and environmental despoilers in general, Trump in particular, and the wasteful plasticity of contemporary living. He doesn’t just condemn, though; “Bamboo Paradise” suggests the titular plant as a sustainable alternative material against a backdrop of East Asian (maybe Vietnamese?) string samples. Spread across two CDs, the album is a journey, sometimes demanding, sometimes edifying, but ultimately asserting the viability of more encounters like this one.

Bill Meyer