Sending protest trucks outside the company building under the guise of "addressing backup dancers" was already an absurd display of parasocial entitlement, but the slogans actually displayed on those screens cross every line of basic respect toward SEVENTEEN, their history, and their craft.
Take an honest look at what was put on those trucks:
On one side, they deliberately weaponized "LOVE, MONEY, FAME." Woozi poured his heart into writing and producing a song about how neither the hollow power of money nor the fleeting rush of fame means anything without genuine, sincere love. To drag that vulnerability into the mud and twist it into an ugly, transactional acrostic poemβdeclaring "LOVE for staffs & dancers / MONEY from CARATS / FAME on SEVENTEEN"βis a direct slap in the face to his lyricism. It reduces years of artistic dedication into a cheap consumer flex, claiming that because you spend money, you own their stage, their relationships, and their humanity.
On the other side, they went straight for the group's deepest, most vulnerable trauma. Everyone knows what the members endured during their trainee days, surviving in that cramped, windowless Melona basement under conditions that would break almost anyone. To put "You forgot your roots, go back to the basement and train again" on a billboard truck outside their workplace is unconscionable.
Weaponizing the very place they clawed their way out of simply because you cannot stomach adult women sharing a stage with them isn't feedback. It is deliberate, calculated malice aimed at their past, their sweat, and the songs Woozi wrote to lift them from that underground room into sold-out stadiums.
And the hypocrisy behind it is staggering. The moment the organizers behind these translated hate scripts were caught using tools to fake native Japanese or Korean outrage, they immediately turned around and cursed at the global audience as "brainless idiots". People who pretend to act in the group's best interest have no problem spitting on the massive, diverse community SEVENTEEN has built around the world.
The backup dancer made an undeniable, unprofessional blunder by using official broadcast footage to promote an aesthetic clinic on her personal feed. That is a workplace compliance and image rights issue that Pledis/HYBE should handle internally with their staff. But using that mistake as an excuse to demean the production, mock SEVENTEEN's painful past, and cheapen Wooziβs art into a financial leverage tool is pure entitlement.
SEVENTEEN did not survive that basement on conditional affection or transactional ownership. They made it out because Woozi gave his entire youth to writing the music that paved their way, because the thirteen of them stood by each other with unwavering trust, and because they worked shoulder-to-shoulder with a creative crew that has bled on stage with them for a decade.
If your idea of "support" exists only when you can treat human beings as purchased property and weaponize their scars against them, keep your money and walk away. Their legacy, their art, and their dignity will always be far bigger than your trucks.
I think someone is running hate campaigns against hybe artists rn bcs soobin is also being targeted by these Chinese no follower accounts π so weird
I find it suspicious that a lot of these accounts screaming about the back up dancers have been inactive for a year but around october/november they pop back up again to spew nonsense
i stop taking discourses seriously when they bring up the "i spent money and you didn't" conversation. 2 years ago seungkwan made a post exactly about this, you don't own the idols, you cannot dictate what they do just because YOU DECIDED to spend money and are insecure.
gue tuh gakuat banget liat klip ini... ichan keberatan bawa tas, meanwhile seungkwan keliatan banget banyak pikiran πππππππππππ
@GDunpaid_lawyer They sing really well live so I don't think it's ai. The ai is used on the app to chat with the idols, not for singing! I personally fell for the a2o soul's song π not this one