#when they debut Annie will be my bias | Explore Tumblr posts and blogs

melonhun · 10 years ago

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Topp Dogg Miami FanAccount 20150207

You have to understand I've been following ToppDogg since debut for a year now, and only was able to see them from afar, on the computer screen. In-front of monitor and silently cheering and buying their albums to give them the little support I could. These 12 boys are so talented, + underdogg

I got to the concert hall around 7:00 to give myself time to buy merch and grab my VVIP wrist band. (High touch _+ fan signing *cough$200cough* )

I bought myself 2 light sticks and 2 button sets ^^ ( 1 set for me and 1 set for a friend )

Click for larger image

Then I headed for the concert, I had met a few other ToppKlass. WHICH SO MANY TOPPKLASS ARE PRETTY AF AND SO NICE OMG! Like no, stop that.

I was in the fourth row, so I am pretty damn close to the front.

Finally 7:35 and lights go down and fucking everyone goes crazy omg, I was like AKHSGASKJDALSKFJLSKDFJSDLJGFDGK

So the stage lights up and here comes these 12 perfect boys, they where fucking shining in my eyes. It was so unreal I couldn't believe it was happing, I started to tear up and I wanted to cry so hard that there were all here and I could believe it. They started with Annie and I just, that's their anniversary song and it makes me emotional as a ToppKlass. They also reached the top on the charts with Annie so it's a big deal. They played another song and then they had did introductions.

After everyone said something and we all would scream it was so loud... but so amazing.

The MC asked them what they where in charge of tonight.

Hansol: (shaking his hips) "I'm in charge of sexiness tonight."

They did a few more songs, and then we had the fan x members interactions. No I didn't called up, that's ok. I'm happy for the ToppKlass that did get called tho!

So they played this game where they had to stand on the paper and it would get smaller and smaller and you would have to dance on it, so they had Nakta and Gohn play this and Gohn was basically humping Nakta, and Nakta was like I'm not having this shit ok... and at the end Nakta was on Gohns back it was so cute. Jesus.

They did more songs after they did the fan thing, and it was just amazing. The rapper line was on point. Yano and Kidoh had killed it. The dancing was great, Wizard lines Solo dances was fucking amazing.

I think my favorite songs were Peekaboo and Arario and Kidohs/Jenissi Solo. EVERYTHING WAS AMAZING.

So they also had breaks between stuff and this is where they did the Cam Videos. Hansols was so cute he got so scared he squealed and flew across the room, it was great. Gohn and Jenissi had a bad potty mouth... tho.

We got to this one point where they where on stage, and was hella taking pictures of Xero and I waved AND HE LOOKS RIGHT AT ME A WAVES BACK OMG ASDFGHJKL... I DIED. It was around this time he waved at me x.x

The whole concert was amazing, also when PGoon was shaking them hips when they did talk dirty too me, that was great.

So after the concert (I know I left out a lot of stuff, but everything is a bit blurry) I had the fan signing and high touch so. I walking up to PGoon first.

Me: (to PGoon) You're so handsome.

PGoon: ... *looks confused*

Me: Handsome~

PGoon: Oh~ LAIR!

Jenissi: HAHAHAHAHA (Jenissi was next to him at the time)

Me: *cries on the inside*

It was mostly just high-five, thank you, we were getting seriously rushed so I could barely say thank you to them, ugh...

Me: (to Hansol) You're so cute~~

Hansol: *cheeky smile* You're so gorgeous~

Me: No............. *awkward, walks away*

More high-fives as I get rushed.

Me: (to Sangdo as he high-fives me) You're so nice ;_;

Sangdo: *cutest smile blush omg thingie*

Sangdo: *high-fives me again*

Xero also squeezed my hand tightly, and omg I died...

Me: (to Bjoo) Y-You're my b-bias......

Bjoo: What?

Me: *GETS PUSHED OUT THE WAY, CRIES FOREVER*

*sobs*

So I decided to wait outside for them to go on the tour bus, I had waited for like an hour in the back and finally they got on and it was so cute! They all waved and A-Tom giving so much fan service he was waving and dancing and he was just so cute omg. Then they left and I was hella sad :( I want to see them so bad again, I hope they come back I will buy another ticket. So that so far is my favorite night, I love ToppDogg so much you should check them out! Really their super funny and nice and talented and deserve more credit.

I have a lot of video I might post later ^w^

#*fanaccount #toppdogg

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y-uyan · 6 years ago

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hello hello!! how about seventeen? :D and tangram even tho not kpop hehe

ANNIE!!! long time no talk ive missed you :’)))) i hope you are doing well and thank you for sending this in!

seventeen

bias order: o man this is gonna be a long one wonwoo, seungkwan, hoshi, vernon, mingyu, junhui, woozi, jeonghan, joshua, s.coups, minghao, dino (oh gosh i hope im not missing anyone)

current favourite song: i dont think ill ever be over dont wanna cry

tangram

bias order: hahaha i think we once talked about this when we both used vivi’s bias sorter i dont quite rmbr my list but i know we had very similar ones. dinghao, jingzuo, qiu beibei, ruotian, maotong, honglin, chaoze (sorry chaoze ;;)

current favourite song: have they debuted??? istg im like lowkey behind on everything….i did a quick search and i dont think they did…….so at the moment mercury records cuz im a dinghao girl ;) gotta stay loyal

#n0ngnong #mutuals #asks

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uptightcitizensbrigade · 7 years ago

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Her black PVC raincoat strikes an argument with North Camden’s white fronted mansions. I follow the click clack of her stiletto heels across the pavement. She swings open a small wooden doorway, I climb inside. Eye contact was quickly established as our only means of communication. My unnamed, mute guide glares at a table in the corner of the half-lit warehouse so I shuffle across and pick up the giant pink pen. A two metre contract lolls off its four corners. I sign my name on the dotted line: I will not reveal anything that happens inside The Box until late September.

The 4-metre wooden cube stands in the middle of the empty warehouse like a lost garden shed. She knocks twice on its front before pushing open a square panel no higher than my stomach. Crouching to enter, I come up in a disorientating quasi living space coated crease to crease in thick neon pink paint. Two standing lamps illuminate a perfectly central white desk. In the middle of the desk, two bright white diner-style milkshake cups have been placed with precision. Behind the desk a woman sits up straight, silent and staring, in a black leather mini skirt and bra.

I pull up the chair opposite and meet her gaze. “Hello Annie, what a lovely pink box you have here.”

Annie Clark, best known as St. Vincent, has reached a stage in her career where even her interviews have become a manifestation of her fastidious artistic vision.

Surreal, thrilling art-pop as uneasy as it is danceable, Clark is on the cusp of her fifth album MASSEDUCTION. The record has a big space to fill. In 2014 Clark self-titled her fourth album for a reason. Refining every quest and quirk of her career to date, the singular vision of St. Vincent won her Best Alternative Music Album at the 2015 Grammys. (It’s worth noting that she was the first woman to win the award since its inception in 1991, when Sinead O’ Connor collected the gong. Though really, that says more about the music industry’s white male bias than it does about Clark.)

In the three years since the success of St. Vincent her profile and passions have expanded to fit. She’s inducted Nirvana into the Rock N Roll hall of fame, hosted a Beats 1 radio show, made her directorial debut with a horror short, acted as official ambassador for Record Store Day and become one of few artists invited to design a signature Ernie Ball Music Man guitar. Beck, Dave Grohl, Josh Homme and Taylor Swift all have a St. Vincent six string somewhere in their collections.

Prowess proven, how did she tackle the enormous challenge of superseding her own infallible benchmark fifth time around?

“I more or less prepared myself to make another record by doing completely different things,” she says, referencing her recent extra-curricular activities. “But I knew early on that I wanted to make a record about power and seduction, in all kinds of forms. Political, personal, sexual.”

The luxury of success has allowed Clark to release the details of MASSEDUCTION in micro doses. Much like the Lynchian confines of our not quite Red Room today, the album’s imagery is a shock of deceptively simple eccentricity. In one of its first photos she stands with a lacklustre stare, arms crossed, hip jutted in a neon pink room that has three pairs of bodiless legs clad in thigh high PVC stiletto boots sticking out the wall.

With paradoxical precision, the sonic accompaniment to her provocative disembodied limbs was "New York". A gentle piano ballad that zooms in on Clark’s vulnerability. “You’re the only motherfucker in the city that can handle me,” she laments.

Fans were quick to assume the album’s first single was a coded message to Clark’s former girlfriend, super-model Cara Delavigne. Their relationship thrust St. Vincent into new circles, where peak celebrity is peak content, devoured and concocted at an alarming rate. “I wasn’t really bothered by it,” she says of the cash, clothes and cameras. “If you’re in love you’re in love. I’m not going to change my behaviour. I mostly just found it very strange on a human level. How rabid people were for pictures and gossip. I don’t think that experience particularly changed me.”

It might not have changed her but it certainly affected her. In 2014 St. Vincent was our wiry silver haired cult leader. A digital witness, nodding with sardonic approval at our show-all, tell-all lives. Now she’s lived and loved through the eye of the storm, she’s returned to resuscitate her constituency with refined discontent.

True to her manifesto of “power and seduction” the album is a succinct and disconcerting picture of our times. Dystopian sugar-high electro, ballads of alienation, its thirteen tracks of pop phantasmagoria are as addictive and unsettling as the clawing social constructs we all, for better or worse, play along with.

“I think there might have been an expectation that whatever I released next would be some big, ostentatious banger,” she says of her decision to release ‘New York’ first. “Writing that song, I loved it. I thought it was really direct and emotional. People might have thought I was going to zig, so I zagged.”

St. Vincent zags, Annie Clark does not. Cultivating her own blend of passion, practice and perseverance Clark has pushed herself forward from a very young age.

Born in Tulsa, Oklahoma, to her social worker mother and stockbroker father, she was raised Roman Catholic. Her parents divorced when she was three and Clark moved with her mother to Dallas, Texas. Growing up one of eight siblings (some half, some step) Clark faced intense anxiety attacks from as young as six as she grappled with the “chaos” of the world. In her teens she began to question the internalised “culture of fear” fed to her by religion.

And how doth many a lost, pubescent mortal seek redemption? Music.

Thanks to the timeless combination of a friend’s rad Dad with a Stratocaster and some expert music supervision for the OST of a major blockbuster hit (for Clark it was Jimi Hendrix during Forrest Gump ) by 12 she had her first guitar.

From Hendrix to Zeppelin, Jethro Tull to Nirvana at their heyday and the local record store nerd who gave her PJ Harvey and Nick Cave, Clark quickly learned to respect her “inner weirdo.”

She got her first experience of life on the road with her uncle Tuck Andress and his wife Patti Cathcart, better known as jazz guitar and vocal duo Tuck & Patti. Their ubiquitous tour hand, teenage Annie was responsible for everything from flowers in the dressing room to the voltage on stage. Maintaining that she’s never worked harder, the real value came from the deeply spiritual connection her uncle had with music. An exemplary finger-picking guitarist, his talent, he insisted, came from an undoing of ego rather than a propulsion of one. She remembers watching the way their fans would listen, really listen.

Perhaps a shred of this sentiment caused her to drop out of Berklee College of Music in her third year. She realised she was being taught “every potential style of music,” she says, rather than how to develop one of her own. Aged 20 she faked it as a booking agent and moved to New York to tour the East Coast. Three months later she was broke and back at home with her parents in Texas.

Now a proficient guitarist, Clark rectified the situation with a memorable audition for choral rock troupe The Polyphonic Spree. Learning all their songs on guitar, she turned up to play them with a full guitar pedal collection and rig in tow. Joining the band on the road led to a tour spot with Sufjan Stevens and it was during one of Stevens’ UK shows in 2006 that a 24 year old Clark was spotted and signed by Beggars Banquet. Her debut album Marry Me came out the following year, on it she played 13 different instruments.

Space is important to Annie Clark. It affects the bones of her. By the time she reached third album Strange Mercy she had the means to facilitate her ideal writing conditions; a month alone, waking up in her hotel room and moving to the studio for 12 hours a day. In 2014 she told Rolling Stone she’d turned all of the books around in her New York apartment because their varying spines caused too much clutter, “There were too many different fonts next to one another,” she reasoned. Committed to a relentless touring schedule both before and after St. Vincent, by the time she came home in late 2015 she knew the only way to create a new record was to build the space to do it in first. “I just knew I needed a space to work. A space where I could really work.” How can she ‘really’ get to work? “Everything needs to have a purpose,” she says firmly. Did she live in the new studio? “Yeah, I mean, like, there’s a bedroom. And four rooms dedicated to music. It functions so every room is wired up to be recorded, except for the bedroom, which probably should have been, haha! It was just nice to have a space where I could do whatever I wanted. From the outset, I just did so many things alone.”

Just under a year after the studio was built Bleachers’ Jack Antonoff came on board. As a producer he’s worked with Taylor Swift and Lorde. How fully-formed were the new St. Vincent songs before they reached him? “Sometimes really fully-formed,” she nods. “Some things intended as demos became parts of the actual album. ‘Fear The Future’ was pretty much formed as a song. The guitars in that are from my demo. But working with him, there was also a lot of back and forth, making sure that every song was the best possible version of itself.”

The journey for some songs was simple. “'New York' was written on guitar,” says Clark. “And then we just had it played on piano by Thomas Bartlett."

The journey for others, not so much. “The genesis of ‘Pills’ was that I was having trouble sleeping,” she says of the album’s four minute mental pop opera. “I took like, an over the counter sleeping pill and I just started singing the song’s jingle. ‘Pills to eat / pills to sleep / pills, pills, pills / every day of the week.’ And I was like, oh, that’s a good one. I’ll take that! So many songs that we love are like versions of nursery rhymes, you know? So I knew that it was something. And then the second half of that song, I had this piece of music that I’d written for David Byrne’s ‘Colour Guard’ project. So I kind of had ‘Pills’ part 1 and ‘Pills’ part 2. I didn’t necessarily think they would go together but I kept refining both of them.”

“The first time I played it for Jack,” she continues, “it had both parts but it wasn’t really fleshed out as an idea. He was like, ‘that’s really cool, that sounds really ambitious’ and I was like, ‘hm. Ambitious is not what you want to sound like. Ambitious sounds like you’re really trying for something but you didn’t get there.�� So, OK. This needs to be something people can really dance to until they listen to the words and then they’re crying.”

It’s an adage as ancient as lyrical music itself. Words full of hurt, tunes full of hope, the ultimate sing-a-long catharsis. ‘How could anybody have you / how could anybody have you and lose you / how could anybody have you and lose you and not lose their minds too,’ Clark struts on the insatiable electro sleaze of "Los Angeles."

Considering her demi-God status as a guitarist, much of the swaggering pop on MASSEDUCTION is won by its dizzying synths, pushing the album closer to a dancefloor than Clark’s ever dared. Her gender fluid anthem ‘Sugar Boy’ sounds like Donna Summer singing "Blue Monday." “Yes. There’s a lot of synths,” she laughs. “Jack’s playing most of the synths. I never got, I mean, I can get a tone, but I never got good enough at playing that I would wanna go, like “here, I got this” for anything other than a demo. I did a little bit on previous records but that was because I was the only one in the room.” Of the guitar that we do hear, how much of that can be attributed to her new Ernie Ball signature? “I didn’t use any other guitar on this record!” she responds, gleefully. “And not for any other reason than I love it. I have all these vintage guitars. Obviously I love guitars. I have a lot of guitars! But this was just the most perfect, flexible, go to instrument. I did a lot of glam tuning with the slide!” Is this the first time she’s only used one guitar across a whole album? “It really is. I mean, on the last record I think I used like, Thurston Moore’s Jazzmaster – his signature from Fender. My old Harmony Bobkat. And my Music Man Albert Lee for a lot of the whammy bar stuff.”

At some point during our conversation in The Box an abstract instrumental has crept on in the background. It’s an unsettling ambient drone, more Steve Reich than St. Vincent. As it quietly hums beneath us, I fall further from the reality outside The Box and closer to the one in it. Clark casually realigns the milkshake cups on the centre of the table.

I found an old photograph of you, I begin. She eyes me cautiously. I describe the find, 2004 Clark hunched over her guitar, the only female member of noise rock quartet Skull Fuckers but looking every inch the part in a black beanie, oversized t-shirt and jeans. “I was a kid in those photos!” she recoils. “It’s so horrifying to think of!” The cover art for MASSEDUCTION is a woman in pink tights and a leopard print thong, bent over, sticking her head through a bright red wall. Coupled with the PVC clad legs hanging through pink glory holes, this album features the most highly sexualised set of St. Vincent images to date.

“Yes, but I also think they’re funny,” she says. “Because there’s a level of absurdity. I couldn’t take myself seriously if it was just me and some sort of sexy outfit doing fuck me face.” I wonder to what extent she’s grappled with her own outward presentation of gender. She’s a long way from the girl with no make-up hiding under a black beanie. Last year she performed a gig dressed as a life-size toilet.

“Gender is performative,” she asserts. “And I think it’s very important to be cautious of the ways in which you unconsciously perform gender. Especially if the axioms that have been passed down to you through patriarchal culture are not fulfilling to your empowerment. But as far as the performance of sexuality on this record, it’s an exploration of power and seduction and to me, that does have an absurdist, humorous side.”

It also, quite clearly for Clark, has a vulnerable one. On "Happy Birthday, Johnny" she gently documents her relationship with a past friend or lover over barely there piano. ‘You saw me on magazines and TV,’ she sings. ‘What happened to blood / our family / Annie how could you do this to me?’

The album’s final lurching track "Smoking Section" placates line after line of crippling desperation, ‘Sometimes I go to the edge of my roof / I think I’ll jump just to punish you,’ with a cyclic admonition, ‘let it happen / let it happen / let it happen.’

“Songs are Rorschach Tests,” she says, looking me dead in the eye. “And no, I’m not lonely at all,” she adds, answering the question.

Suddenly there’s a sharp, triple knock and The Box door swings open. My PVC clad guide waits for Annie to finish.

“There’s so many instances where I act on instinct,” she says of the costume, colour and choreography that now envelop her work. “So I often act on instinct with form. And meaning comes later. In the words of Annie B Parsons who I love as a friend, my choreographer, ‘Form is spiritual.’”

Before leaving, I express my fondness for The Box in no uncertain terms. “I’m so glad you enjoyed it more than a hotel lobby,” she replies.

Outside is bright and fast and real and rubbish compared to inside The Box. I wish I was back in The Box, I tell St. Vincent’s publicist.

“You didn’t get any answers?” he asks.

“Huh?”

“She didn’t play you any answers?”

For the past forty minutes I’ve been cocooned in a neon pink wooden womb with St. Vincent none the wiser to her master plan. Turns out, if I’d have asked any one of the multiple questions on her hit list she’d have pressed a button, an automated interview answer would have played and I’d have been booted straight out The Box.

Oh the power.

Oh, the seduction.

#and another one #Annie Clark #St Vincent #MASSEDUCTION #interview

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moonchild-rise · 8 years ago

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Annie, love, how are you? Kids doing good? Husband too? Great. I am curious, I have seen your tags, and you seem to have a lot of sons, what about daughters? Can I get a list, I know BB are the first sons, just saw the 4th sons, who are the rest? Thank you in advance!

Everyone here is *gestures wildly* something!! Great!! Lmao

As for my numerous non-bilogical children who live on the other side of the world!!! You know how like in greek mythololgy they have the main twelve olympians and then there are the other less focused upon but still well loved minor gods?? lmao well that’s kinda how I organize my love for kpop groups !!! I have groups that take up all my love in the moment and I have groups that I try my hardest to support when they’re active and to like just keep tabs on them so I know what’s going on with them but I don’t like actively seek out content on them unless I’m in the mood.

So yeah, my ‘sons’ that are numbered are my extra special babies that I adore with all my heart lmao. I do have daughters, but I don’t follow a ton of girl group blogs because they can be kinda *snarky* and I just don’t like seeing that!!!

But anyway, yes, you’re correct lol. Regardless of the content of my blog Big Bang are my ultimate bias group and like I love them?? so damn much *girlfriend playing in the background on spotify*???? Honestly I’m so fucking fond of those grown ass idiots???

After them is obviously BTS my superstar babies!!!! They’re doing That™and I am that obnoxious mom at their school play screaming during their solos.

And then after them is Imfact who I started following shortly before their debut and fell head over heels in love with?? My talented dorks?? Kings of any Concept??? Listen to their new single Tension Up!!!

And then after them is another rookie group that stole my heart godddd!!! SF9 my talented smols??? Let them slay you with their dance, pls, you’ll thank me for it later!!

and then after them is Bigflo who, oh my god, are my children who hurt me the most !!! They’ve been through so much and it really physically HURTS me that they’re struggling so much! But they haven’t given up and honestly they’re so special to me?? Stardom has been one of my fav songs released so far this year, show it some love!!

And then after them is Seventeen who weedled their way into my heart at KCON and I recently accepted the fact that I love them and they’re here to stay. I’m pretty sure almost everyone knows who Seventeen is but just in case I’m gonna link you to my favorite video of them :)

On the cusp of being numbered are groups like Monsta X, B1A4, iKON, Winner, Boyfriend, honestly they all just need to give me a really hardy shove and I’ll be there. I’ll fully admit that I’ve been considering adding Monsta X at #7 for a bit now but I’ve been to lazy to go back and mass edit my seventeen posts yet to include their new tag soooooooooo lmao

As for daughters: My favorite girl group is G-Friend, followed by Blackpink, Mamamoo, AOA, Bulldok, EXID, f(x), Red Velvet, Apink, CLC, Sistar, Dreamcatcher, Brave Girls, D.Holic, Hello Venus, 9muses, and Oh My Girl. But strangely I only have a ‘daughter’ tag for Blackpink (smol daughters) since I organize my tags for YG groups, so they got one via that tagging system. I don’t usually create special group tags for girl groups (even tho I do have special tags for my biases from girl groups?? lmao I’m a mess)

So anyway here is the giant answer you didn’t ask for lmao. ❤︎❤︎❤︎

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