Gloomy Bear is so cute! But Oh so Violent! ^_^ I love it!
In the end of my video, you get to see the relationship Gloomy Bear and its owner had/has…
I didn’t make Gloomy Bear…so I don’t own nothing….
The Song I used is called Lolita by Kana who is also awesome!
I got the pictures from google.com
Please Enjoy! ^_^
gloomy bear web movie
wiiiiiiii. that bear is so raped *¬*
jajaja,no, just kidding, but is very cute, 
i want oneee ¬¬
From the Chax Clips DVD
Jonathan Ross’ Japanorama. Series 2, Episode 6 of 6. Clip from the interview with Mori Chack, the creator of Gloomy Bear. The story of Gloomy and Pity is so sad… but HE’S A BEAR!
A one-minute stop-motion animation about gnomes living in cupcake houses, by Aimee and Ben Johnson.
I had a batch of cupcakes that didn’t turn out so well but i wanted to do something with them before i threw them out. I had recently purchased iStopMotion for my Mac and wanted to try it out. I hooked my computer up to my Nikon S200 to snap the images. You can see the movie jump twice when i had to change the battery. In total there are 1019 still images in this video at 15 fames per second.
This is a stop motion video of someone making a meal of common household items, none of which are edible.
Emilie Simon is perhaps the most amazing, intriguing, talented person to ever influence pop music. In America, in some circles, pop culture is a bad word. Perhaps something is missing from American pop culture. Emilie Simon completes everything that is missing from American pop music. Everything she touches seems to become enchanted. Take a look at this Fleur de Saison video, for example.
Her talent goes so far beyond just an amazing video like that. Her live performances challenge the concept of live performance itself. This video is a live performance of Le Vieil Amant. Perhaps the most chilling acoustic performance ever.
But Emilie Doesn’t stop there, at her concert, she performs Swimming blending the most natural acoustic instrumentation (including percussion by splashing water) with electronic sounds.
Some of her acoustic instrumentation includes using a spoon inside a crystal wine glass to represent the sound of ice in Ice girl. She even controls some of the effects by a device attached to her wrist. It looks like the device has buttons and knobs on it, similar to the Power Glove. This performance of Ice Girl and Song of the Storm at l’Olympia is nothing short of astonishing.
Her Song of the Storm (數位動畫作業) video features some of the most artistic animation, including amazing depth of field changes and breathtaking textures:
Yeah, I’m not an expert on this stuff, just a person who has been affected with Emilie Simon. Let’s see what others can say about this phenomenal lady.
From Khaelo @ shakiramedia.com:
Emilie Simon was surrounded by music from an early age. Hardly surprising given that her father is a sound engineer and her mother a professional musician. As a three-year-old, Emilie was used to accompanying her parents on regular trips to the recording studio or to gigs in smoke-filled jazz clubs. Born in Montpellier, in the south of France, in 1979, she grew up bathed in the Mediterranean sun and immersed in the sound of clarinets and electronic melodies that her mother was mad about at the time.
Despite growing up in a fairly bohemian household, Emilie took her studies seriously and completed a degree in contemporary music. As a teenager, her musical tastes evolved to include pop and house. The budding young musician soon broadened her horizons even further, however, attending the Conservatoire et l’Institut de Recherche et Coordination Acoustique/Musique (IRCAM), the French experimental music institute directed by composer Pierre Boulez up until 1992.
Femme Fatale
Drawing on these experiences and her multiple musical influences, Emilie began to think seriously about the idea of launching a professional singing career. In 2003, aged 23, she recorded a debut eponymous album which won rave reviews from the critics who hailed her as France’s answer to Iceland’s alternative pop princess Björk. (It turned out these comparisons were not entirely gratuitous, as Markus Dravs, one of Björk’s loyal collaborators, was actually involved in the final mix of Emilie’s album). Emilie’s pure, crystal – and, at times, almost childlike – vocals absolutely shone on this debut album which featured twelve perfectly-honed compositions. Not surprisingly, the album went on to triumph at the “Victoires de la Musique” ceremony winning the award for Best Electronic Album of the Year. On her debut album, Emilie switched easily from French to English and even dared to record a cover of a Velvet Underground classic with Tim Keegan (lead singer with the group Departure Lounge, formerly renowned as vocalist for Kid Loco). “Femme Fatale” was perhaps an appropriate choice for pop’s young temptress. Other highlights of the album included an interesting adaptation of The Stooges’ “I Wanna Be Your Dog”, “Flowers” (chosen as the first single release) and the superb “Graines d’étoiles” featuring Perry Blake.
Music for Penguins
Emilie’s electro-pop masterpiece, tinged with a streak of sentimentalism, won the previous unknown media coverage far beyond her wildest dreams. What’s more, she was able to take full credit for her debut album, having largely written, composed and produced it herself. The album, originally released on 3 February 2003, proved such a hit that it was reissued a few months later (on 23 December) with four special bonus tracks including an English version of “Desert.” Besides catapulting her to media attention, Emilie’s first album also impressed those in the film world and she was invited to compose the soundtrack for “La Marche de l’empereur” (Luc Jacquet’s documentary about Emperor penguins). The film proved to be a huge box-office hit worldwide and Emilie’s soundtrack went on general release in France on 10 January 2005. The young singer, who had grown up steeped in the Mediterranean sun, managed to transpose her imagination to the polar ice caps – doubtless, her admiration for Björk helped here! The fifteen highly atmospheric songs on the soundtrack, all performed in English, fitted Jacquet’s film like a glove. In February 2006, Emilie went on to triumph at the “Victoires de la Musique” ceremony once again, winning the award for Best Original Film/Television Soundtrack of the Year. “La Marche de l’empereur” proved to be a particularly big hit in the States and director Luc Jacquet even won an Oscar for best documentary. Unfortunately for Emilie, the film soundtrack was re-recorded for the American market and ended up featuring vocals by Alex Wurman instead.
Flower Power
Meanwhile, Emilie was already busy preparing material for a second album. The young southerner had already honed her vocal skills on the live circuit with a number of concerts including an impressive performance at the Eurockéennes festival in Belfort in 2005 and another at Le Grand Rex, in Paris, where she appeared on stage with La Synfonietta orchestra, and percussion and keyboard-players from the Lyon orchestra. She had also left her home in Montpellier to base herself in the French capital and had had a small home studio made to order there. When the time for her second album came, she was thus able to settle down to work in the peace and quiet of her own home, crafting her new melodies morning, noon and night. As the title “Végétal” suggests, Emilie’s second album was based on a botanical theme, the opening track, “Alicia”, introducing a bizarre hybrid protagonist who was half flower, half woman. The 50-minute album, featuring thirteen tracks, meandered through intricate herbaceous borders with songs such as “Fleur de saison”, “Opium”, “Dame de Lotus”, “Rose hybride de The” and “En cendres.” Emilie’s vocals were much in the same vein as on her debut album, but “Végétal” found her introducing new instruments such as flutes, percussion and cellos into her arrangements. A number of experienced musicians such as Simon Edwards (who has played bass with the likes of Talk Talk, Beth Gibbons, and Alain Bashung) also contributed to the album and, once again, Markus Dravs helped out on the final mix. Switching between French and English (e.g. “Le Vieil Amant”, “Swimming”, “In The Lake”) as easily as she had on her first album, Emilie served up a superbly coherent second opus which established her as a major new talent to be reckoned with.
Clip for Golden Cage by Whitest Boy Alive.
www.whitestboyalive.com
www.myspace.com/thewhitestboyalive
www.modularpeople.com/thewhitestboyalive
Purchase the album ‘Dreams’
iTunes - http://tinyurl.com/5uot8g
Viewed: 147 times
WP Cumulus Flash tag cloud by Roy Tanck requires Flash Player 9 or better.
