Maya ○ 30 ○ Czech ♥ Here you can find my song series and some of those rather mediocre gifs. I love to explore BTS producing, songwriting and lyricism. Obsessed with making Playlists. You can find my 150+ playlists HERE I read all the tags you add if you reblog and they make me super happy ♥ ♥ KOFI ♥ MASTERLIST ♥ NETWORKS house of ddaeng Bangtan Oasis bts honey hive kgfxnet
Maya has created an advent calendar for you! Happy holidays! :)
HELLO ALL! Long time no see :)
I hope everyone is doing well in this app and in the world out there.
To celebrate the end of the year but also the 4th Anniversary of my Namjoon Bookclub, I made a BTS Advent Calendar.
The event is full of games, trivia quizzes, little events and some activities for every day.
You can open window 1 & 2 already, and then, you know the drill. Come back every day for a new game.
Feel free to also jump to Discord to share your progress, insight, or reach me quickly if anything doesn't work or isn't clear.
Maya ♥
Like a Lotus Flower: The Overarching Narrative of Agust D
Min Yoongi is an idol. Min Yoongi is a songwriter, a lyricist, a composer and a producer. Min Yoongi is a rapper, a dancer, and a performer. Min Yoongi is an ambassador to global brands. Min Yoongi is SUGA, is Agust D.
Underneath all of this, Min Yoongi is a storyteller.
Storytelling is at the core of every creative endeavor he undertakes, be it his verses in BTS's songs or his solo music videos. His songs are an effort to paint the story of BTS SUGA's extraordinary life and Min Yoongi's very human struggles, and all the places where they meet. However, it's never been clearer than it is in the Agust D trilogy and its accompanying media.
Credit: Agust D '대취타' MV - HYBE LABELS
This article, in return, is an effort to summarize and explore all the parts that make up the lore and the myth of Agust D as a character—the music, the lyrics, the videography, and the concert tour.
Let's weave through all these components as we try to unravel the story of Min Yoongi's three personas.
Disclaimer: All lyrics, pictures, and quotes in this essay do not belong to me. Translations are paraphrased by me, with the help of doolset lyrics, Genius and Google Translate. For more accurate translations, please visit above mentioned sources.
All interpretations of themes, topics, and concepts mentioned below are mine and may not match the artist's intent.
WHAT HAPPENS IF BANGTAN RISES?
Agust D—the sharp-edged alter ego of BTS' SUGA—has been a beloved figure among fans ever since the release of his first self-titled mixtape in 2016. If you don't know who he is, let me introduce you—very shortly and then very comprehensively.
Min Yoongi is a Korean rapper and producer, who rose to fame as 1/7th of the idol group BTS. Known mostly under his stage name SUGA, he's climbed every social and musical peak you can think of. His group has been streamed more than 40 billion times across all platforms and holds many world records that will remain nigh impossible to break for years to come.
To fully grasp the scope of SUGA's solo works and the themes therein, we need to understand the history of BTS. SUGA's work is always deeply personal and to comprehend its depth, knowledge about his situation is beneficial. The music, themes and topics he explores in his music are going to be wildly different depending on where he was at anz point in time, both as an idol group member and a person.
Progress to some steps which are a bit more difficult
BTS hail from a once small production agency Big Hit Entertainment. However incomprehensible it may seem now, BTS's entertainment agency was for a long time on the brink of bankruptcy. After BTS debuted in 2013, they were Big Hit's only active idol act for a long, long time, and they didn't receive acclaim and success instantly. The road to the BTS we know today has been long and winding and hard. Their first significant success—a win at a weekly Korean music show with their single I Need U—came in 2015, two years after their debut. It is, in retrospect, a small victory, but one that felt monumental at the time.
It's hard to pinpoint when BTS truly hit it big, but to me, it's this—the release of their 2016 album Wings and their massive hit Blood, Sweat & Tears, their very first foray into international stardom.
2016 marked another milestone for BTS—their first major award win. As of today, BTS hold the record for most received Daesangs, major awards, but when they won their first, they stood on the stage and wept.
However, before BTS started sweeping Korean awards and made their big break overseas, just on the brink of getting big, 23 years old Min Yoongi released his first eponymous mixtape.
Fame, Money, Success
Agust D the mixtape, released in 2016, is SUGA's first solo endeavor and first proper introduction to Agust D the persona.
It's anyone's guess what Min Yoongi thinks of being an idol at that point. It's a fair assumption, though, that it's not all sunshine and roses. His group is struggling for success, his agency is struggling to survive, and according to his lyrics, Min Yoongi is just struggling.
At the time, SUGA and his group member RM (then known as Rap Monster) were facing criticism and ire from their hip-hop contemporaries. Allegations of selling out, inauthenticity, or mockery of their idolhood were not strange to them. Their very public altercation with an older rapper is well documented—videos of the rapper's hostility towards them at a radio show are widely available online.
It's not surprising the theme of selling out, the price of fame and success, and artistic integrity plays a big part in Agust D's first mixtape.
Agust D oscillates wildly in his approach to it, however. In the title track Agust D, he addresses the allegations head on with ferocity and anger that will come to characterize him for a long time.
They say I made it too easily
Fuck you, I'm a pain in the ass of those far from success [...]
All you fried rappers should be thankful that I'm an idol
"Agust D" - Agust D, Agust D
Even the video plays on this anger—it starts with Agust D shackled and bound in a decrepit trailer, breaking free to wreak havoc on his immediate surroundings.
The next song on the record and the second single, give it to me, carries on in much the same vein. It's also the first exploration into another prominent theme—greed. Agust D makes it no secret that he yearns for money, fame, and spotlight.
Money, fame, anything is fine, just bring it to me
Fame, flash light
Gi-give it to me
"give it to me" - Agust D, Agust D
The MV also seems to be a direct sequel to the previous video—the freed Agust D makes his way into the wider world, bruised and bloodied, but unafraid, hungry for success, and ready to take on a challenge.
Credit: Agust D ‘give it to me’ MV - HYBE LABELS
This hunger for wealth and accolades will come into play once Min Yoongi acquires them, but it's easy to see why it would be such an important thing to him then. In the face of adversity, failure and poverty, money and success are a symbol that he's made it. That the naysayers were wrong about him, and his artistic integrity didn't take a blow for no reason.
Min Yoongi is already dead (I killed him)
The dark side of Min Yoongi's situation is explored further in the crown jewel of the mixtape, the track The Last. It's a dark, grimy mirror to the cheeky Agust D calling his contemporaries lazy and fake.
While boasting the same gritty atmosphere as the rest of the record, this song's mood is undeniably different—darker, more raw, more painful. The Last is no less a diss track than Agust D or give it to me, but this time, it's aimed at Min Yoongi himself.
Behind the idol rapper
Is my weak self, a bit dangerous
"The Last" - Agust D, Agust D
The hunger for success that was presented as a virtue in give it to me is now a vice. Agust D goes as far as to call it monstrous, something that threatens to swallow him. He admits that his callousness is an armor to hide his weakness.
With time, I'm turning into a monster
The monster I exchanged my youth for, success, demands more
My greed used to be a weapon, now it swallows me, ruins me, leashes me
"The Last" - Agust D, Agust D
This song sets not only a precedent for the rest of Min Yoongi's art, but introduces another red line that intermingles throughout it—the death of self. Agust D declares Min Yoongi, his original, his creator, to be dead by his hand.
Whether this alludes to literal or metaphysical death is up for speculation—the part of the song that could have answered this is redacted, maybe to stimulate the listener's thoughts, maybe to shock them. But when Agust D grits these words out, you believe him—Min Yoongi, at least in some way, doesn't exist anymore.
Such is the price of success.
This is the first real look we get at Min Yoongi's exposed, bleeding core. It's not often that an idol gets so candid about their mental health or the bad and the ugly of idolhood, and this song unsurprisingly came as a shock to many. Even sound wise, this is far from k-pop's usual bubbly and colorful shine. It's proof that Agust D is not here to play, and a testament to Min Yoongi's desire for authenticity.
This is further cemented by the final piece on the record, the crooning ballad So Far Away. A duet with Korean singer Suran, it explores the idea of a life without desire and ambition. It's a stark contrast to the start of the mixtape, where Agust D boasted about his success and accomplishments, and threatened anyone who dared question him. It's also a painful resolution to the wounded admissions of The Last.
Agust D, by design, is a creature of contradiction, and Agust D the mixtape is a piece of history of one of k-pop's most interesting figures. A first step in a fascinating journey of self-discovery, it's a record that only Min Yoongi could have created, and only in this particular pocket in time.
It will take him four long years to follow up.
I'm a king, I'm a boss
The day is 20th May 2020. The world is deep in the throes of a global pandemic and Agust D makes a comeback.
Min Yoongi is in a completely different situation. Since the release of Agust D, BTS shot to global superstardom. In his previous mixtape, Agust D confessed how embarrassing his song Ssaihanuwar is. The song brags about BTS having sold 30.000 record copies.
Honestly, Ssaihanuwar is embarrassing
We sell half a million copies a year now
"Agust D" - Agust D, Agust D
At the time of the second mixtape's release, BTS's latest album Map of the Soul: 7 sold more than 4 million copies in its first week.
It's almost ironic. In 2016, Agust D grappled with his desire for success and the understanding of how it's destroying him. Now, he seemingly has it all. The greed he called so monstrous and all-encompassing has won.
I got a big house, big car, big ring
D-2, the second mixtape of the trilogy, is in many ways a direct response to the first. In Daechwita, the lead and only single from this record, he exchanged western-style marching drums from Agust D for Korean marching music, traditionally played to accompany a king's procession. It's a statement to his listeners—he's an undisputed ruler of his genre, and his arrival should be met with proper reaction.
This is also visually represented in the song's music video, where SUGA plays the double-role of a corrupt, crazed King and a Rebel on a path to destroy him. He gives visual form to a topic so prominent in Agust D—the fight between greed and integrity. The King is arguably the same Agust D we've seen destitute and furious in his previous two videos, Agust D and give it to me. Now, he's driven mad by power and wealth, parading around with his opponents' decapitated heads.
I got everything I wanted—what else do I need to feel satisfied?
I got the clothes, then the money, then the goal—what comes next?
I realize my situation—there's nothing above me to strive for
"Daechwita" - Agust D, D-2
Meanwhile, the Rebel mucks about with the commoners, making connections.
The two protagonists are clearly one and the same, both sporting a matching raw scar across one eye, but each features on a different part of a spectrum. They contradict each other. Their conflict is even given a resolution this time—the Rebel shoots the King, killing him.
The status is reset. It's now the Rebel's turn to succeed. The King is dead; long live the King.
The cycle continues.
Credit: Agust D '대취타' MV - HYBE LABELS
If Daechwita is a response to Agust D, the next song What do you think? is a response to give it to me—a humblebrag exploring life, creativity and artistry after unprecedented fame.
In 2013, SUGA asked for 'a big house, big car and big rings'. In 2016, Agust D begged for fame and the spotlight. Now he has it all. He doesn't need to ask—whatever is brought his way, he can afford it. The question of integrity seems meaningless in the face of his overwhelming success.
The ten zeros in my bank account, I paid for that money with my youth
I'll get a big car, big house, big ring, or whatever, take my black card [...]
I don't fucking care if idol music is music
I'm high, higher, I'm so high you can't even see me
"What do you think?" - Agust D, D-2
Art is what he dictates it is. The masses seem to agree. And so another question arises—what comes next if you have achieved all of your dreams?
To live, to live, to live
The comfort of success gives SUGA the space to ask existential questions—what is the meaning of life if not hardship? Why am I here, if I've reached all my goals and more?
D-2, compared to the eponymous mixtape, is both much more external and brooding in this exploration, be it in the track Strange (featuring his bandmate RM), 28 (featuring Korean singer NiiHWA), or in the probably most important track of the record—People.
While all previous tracks on the record sound like something Agust D would have made—coarse, gritty, and cutting—this bittersweet, melancholic ballad marks the first significant sidestep into a stylistic change.
Am I a good person? Am I a bad person?
However you look at it, I too am just a person
"People" - Agust D, D-2
This gentle approach feels new to Agust D, even though it subtly recalls themes from his previous work. The Last especially comes to mind, with its lyrics about how monstrous his lust for success is. People, on the other hand, offers comfort—not only to the listener, but to Min Yoongi himself.
It feels like something Agust D in 2016 couldn't have done.
D-Day's coming—it's a fucking good day
Two years after the release of D-2, BTS soft-launched their hiatus. The members are set to start their military service, and before they leave their fans for an extended period of time, they decided to focus more on solo activities to make the transition smoother, shorter, and less lonely.
It's no surprise that Agust D, too, announces his latest installment, titled simply D-DAY. The announcement follows an earlier one about an extensive tour across the United States and Asia, spanning over four months and 28 shows total.
Slaves to hatred and prejudice
The release of D-DAY is accompanied by three singles. The pre-release track People pt. 2 is, unsurprisingly, a spiritual and literal successor to D-2's People. The jazzy pop ballad, featuring Korean singer-songwriter IU, follows in People's footsteps, exploring the themes of human connection or loneliness. The music video, almost shockingly, shows Agust D at his most vulnerable—dressed in comfortable clothes and barefoot, but ultimately alone, haunting a luxurious mansion.
Credit: Agust D 'People Pt.2 (feat. IU)' Official MV - HYBE LABELS
On the last record, the soft comfort of People was for the faithful listeners only. Now, it heralds Agust D's return, unashamed. It's a first sign of integration of the three personas—the furious Agust D, the proud and accomplished SUGA, and the wounded Min Yoongi—into a single entity.
However, the edgy Agust D returns only a few days later with the release of Haegeum. As the main single of the album, Haegeum speaks mostly of freedom and self-indulgence, and how closely the two play together. A critique of both the sensationalist press and the public that consumes controversy mindlessly, the song is a less traditional diss track than Agust D or Daechwita, but it's no less scathing.
Endless influx of information that prohibits freedom of imagination and seeks conformity
All these painful noises that blind you, and even infringe on freedom of thought
All the controversy incessantly triggers confusion in judgment
And is fabricated over and over again
"Haegeum" - Agust D, D-DAY
The video, an important piece of the Agust D puzzle, is an indirect sequel to Daechwita. The protagonists, the King and the Rebel, are now represented by the Detective and the Thief. The detective carries Agust D's scar, and his legacy. The Thief's face, however, is surprisingly bare.
The story starts out as any other noir fiction does—the Thief murders and steals, and the Detective works tirelessly to catch him. We find out very quickly what the twist is—the dirty money the Thief stole belongs to the Detective. The healed scar across his eye betrays him—he's the Rebel from Daechwita, and his success corrupted him yet again.
Knowing this, you are seemingly meant to cheer for the scar-less Thief as he outsmarts the Detective and disposes of him.
Credit: Agust D 'Haegeum' Official MV - HYBE LABELS
However, it's important to note that Agust D doesn't seem to make a clear distinction in who's the hero and who's the villain. When the Thief succeeds and returns to the scene of his crime, he eats using the same red chopsticks he used to kill a man. We're reminded that while he doesn't bare Agust D's scar, his hands are dirty as well.
You understand, then, why the Detective laughed in the face of death. Agust D had, once again, failed to kill this part of him. The cycle of greed and corruption will keep repeating forever.
The never-ending trials that failed to kill me
The third and last MV for the track Amygdala is released 3 days later, completing Agust D's cinematic universe. It doesn't feature elaborate settings, but presents a very human story—the story of Min Yoongi's real trauma. Disheveled and washed out, the rapper sits in an empty room, suspended in nothing at all. In front of him stands a closed white door, a way out, as if to taunt him.
We get to watch as he relives his most agonizing memories over and over again—including his traffic accident that nearly crippled him, and sentenced him to years of chronic pain.
I can only hope that all my choices were the right ones
Because they too are in the past now
Could it be that all these trials are for my benefit?
"AMYGDALA" - Agust D, D-DAY
Everytime Min Yoongi attempts to escape the room, his tries are thwarted—the room tilts until he's forced to crawl uphill, or it begins to rain, making his climb even harder. The door remains out of his reach, as if he's never going to be free of the ache.
It's here that we witness the birth of Agust D and the origin of his most defining feature. His scar. In the end, it's quite simple—the greatest hurt is the one we inflict upon ourselves.
This MV doesn't end happily, or actually at all. The Min Yoongi trapped in his own psyche isn't able to get out, isn't able to stop reliving his past, and isn't able to change it. The video ends with Min Yoongi, or maybe with Agust D, lying wounded and defeated on the ground amidst a storm. Unable to heal from his trauma.
Credit: Agust D 'AMYGDALA' Official MV - HYBE LABELS
It's an end to a story, but not the end of Min Yoongi's story.
For this day, I've wandered through the maze
D-DAY, technically Agust D's debut album, is released only five days before his world tour kicks off—making the album forever tied to its live accompaniment. It would have been preposterous to expect SUGA to create a tour that doesn't tie to his established lore, or that doesn't have any deeper meaning, anyway.
At first glance, the production is quite simple—a plain, rectangular stage with a large projection behind it. Before the show starts, the screen plays a looped recording of rain on a dark background, accompanied by the occasional thunder—the atmospheric backdrop makes it quite clear that from the moment you enter the venue, you are part of Agust D's vision.
It's then that you notice the peculiarities. The stage, a metal grid segmented into fifteen individual parts, hangs suspended on chains from the venue's ceiling.
Conceptually, the production directly ties into AMYGDALA, the MV. The show kicks off with a literal bang—a sound of screeching tires and a crash. Agust D is then carried, lifeless, onto the stage accompanied by the haunting wail of a haegeum.
Credit: SUGA | Agust D TOUR 'D-DAY' in JAPAN - Big Hit Music
He's laid down on the floor in the same position we've seen him in before, both in AMYGDALA and in Haegeum. We are now in the moment where the music videos left off. Physically in the room with him, we are a part of Agust D's mind, and about to witness him rise from the dead to tell his story.
The concerts cut through the entirety of Agust D's discography, from Agust D to D-DAY. As each show progresses, the segments of the stage lift one by one, exposing the technical production beneath. This not only bares the raw production elements to the audience, but also takes away from the performer's space—to perform, and to exist.
By the time the setlist progresses to AMYGDALA, there's only one stage segment left for Agust D to stand on. The exposed flame machines fire all around him as the narrative really hammers it home—this is Agust D's own, personal purgatory, and you're here to witness his pain.
Credit: SUGA | Agust D TOUR 'D-DAY' in JAPAN - Big Hit Music
As the song nears its end, Agust D collapses on the stage, once again lifeless. The death of self, first explored in The Last all those years ago, comes into play once again. The artist fulfilled his purpose—your entertainment. Emptied out and driven into a corner, he falls lifeless to the ground and is carried off again. The show goes full circle to its start, as if nothing had ever happened.
Much had happened, though. Over the course of the show, Agust D unearthed his entire musical and artistic history for you, the viewer. From the opening tones of Haegeum to the last notes of AMYGDALA and everything in between, the artist exposed his inner core to us. Just as the stage slowly lifted away, so did all pretense—Agust D, SUGA, and Min Yoongi became one.
Future's gonna be okay
With the last segment lifted out of view, the stage exists no more. The inner mind of Agust D has been taken apart, the pedestal is gone, and what's left is Min Yoongi on the venue's floor, eye-to-eye with his fans for the last three songs.
It's no coincidence that The Last is the closing cut of the show. Besides its title predicting its place in the setlist, it's also a key track of Min Yoongi's career. Ending the show with such an emotional, deep track only confirms his understanding of the fact. It's a message not only to his audience, but to himself as well—he performs the song he wrote about his struggles, faced with tangible adoration from his fans, as if to say, 'This is the fruit of my labor. This makes the suffering worth it.' But it's also a reminder of where he came from.
When the show ends, Agust D usually power walks backstage with barely a glance back. He doesn't linger with the audience—the past is the past, including these moments of joy.
It's in the very last show of the tour that the story comes to its conclusion. As the show ends and the band plays, the door from the AMYGDALA video appears behind Agust D. In the music video it was as impenetrable as a solid wall. Now, he opens it without issue and walks through.
It's not only the end of a show, or the end of a tour. It's a closure of a decade long chapter of Min Yoongi's life—through his effort, and with the help from his audience, he is finally healed.
Credit: SUGA | Agust D TOUR 'D-DAY' The Original - Big Hit Music
The journey of Agust D has, at least for now, come to a close. We've seen Min Yoongi go through struggles and hardships, and have witnessed him maturing into an artist capable of facing his own demons and overcoming them. The anger, at least in that one triumphant moment, can be laid to rest.
SUGA addressed the future of Agust D in the 'Thanks to' section of D-DAY, the final installment:
"After I wrap up the Agust D trilogy, I don't know when he will be back. But when I have more to say, and thousands of emotions, and when the devil in my right hand wakes up again, that's when he'll return."
It's hard to say what kind of emotions or music Min Yoongi chooses to convey next, whether as SUGA, or Agust D, or even as someone completely new. What I do know is that when that time comes, I will help hold that door open.
You hear about life debts in fantasy, but in reality, many people owe them as well. However will I repay mine but continuing to support you and yet through that, I gather even more
More strength, more I learn of myself and other and more I grow.
I always only knew my way with words, so here are the ones I thought of this year
If you want, I would really appreciate your support
for this poem 💜
I hope you are all doing well,
Perhaps when my heart heals fully, I'll return to this precious Namjoonia place we've created
In the past few weeks, BTS' member Suga had been embroiled in a scandal of unprecedented scale. As a fan, I've been following the situation closely, and as it unraveled, I found myself more and more frustrated and helpless. With my Xwitter account locked, and my brand spanking new Reddit account (created for the purpose of keeping up with the situation) unable to comment on most threads, I decided to utilize this blog.
This is not an article, and I am not a journalist. This is a personal blog post and a recount of the events as I've witnessed them, meant to bring some light to this horrific mess of a situation to those who care to read all of it.
I tried to list sources where I could, but I didn't (couldn't) keep track of everything. If I got anything wrong, please let me know.
Here's what happened.
Credit: Agust D 'Haegeum' Official MV - HYBE LABELS
The Eye of the Storm
On 7th August 2024, the world woke up to headlines of BTS Suga having committed a DUI.
Korean media agency Yonhap reported on the event first, with a statement from the police: Suga was spotted riding an electric kickboard after falling in front of a nearby police patrol. The police officers came to assist him and, suspecting he might be under the influence, subjected him to a breathalyzer test. His results were enough for a fine and license revocation.
Both Suga himself and his agency Big Hit Music were quite quick to follow with their own statements and apologies. Suga especially was specific with the details he gave on the event: yes, he drove his electric kickboard under the influence of alcohol. Yes, he fell in front of his house while attempting to park the vehicle. No, no one was hurt, and no damage to property was inflicted. He didn't know it was prohibited to drive e-kickboards after having consumed alcohol. Yes, his license got revoked and he was fined.
He apologized and expressed his regret.
Big Hit then recounted the event as well in a separate statement, adding a couple details—Suga wore a helmet and he drove a short distance, about 500 meters. They too expressed regret about the actions of their artist.
In most cases, this would be the end of the story. People would come to their conclusions and Suga would face appropriate legal ramifications.
However, this isn't a story about a DUI. Not really.
A couple hours later, Big Hit issued another statement, explaining that they weren't aware that Suga's kickboard, which contains a foldable seat, could be classified as a different type of vehicle—a scooter. They also weren't aware that there would be a follow up procedure from the police, but they vow to comply to the full extent.
A simple case isn't so simple anymore. Media, as they often do, smell blood in the water.
Did Suga lie?
A flurry of articles and reports follows. Suga didn't drive a kickboard, but a scooter—a much different vehicle that carries a much different legal charge. He said he fell in front of his house, but he was actually found passed out on the ground. He was actually not in front of his house at all.
JTBC airs a grainy CCTV footage that shows a man driving a much larger, faster combustion engine vehicle than initially described, in full traffic. Damning evidence.
The consensus is, Suga lied. Not only did he commit a DUI, but seemingly a much larger offense as well—downplaying the incident. He's branded a deceiver.
There is an outcry in the media, and outcry in the K-pop community. Everyone is quick to condemn Suga completely—often with unbridled glee. It's quite clear that the K-pop community had been waiting for a member of BTS to 'mess up', so to speak.
Meanwhile, Suga's fans plead to wait until an investigation is completed. They are laughed out of the room—after all, we already have CCTV footage of him and hence all the proof we need. Right? With South Korea's draconic defamation laws, the media wouldn't lie.
Right?
In the following days, the vitriol grows. Hundreds of articles are published daily, each one with more and more outrageous accusations—Suga was not only passed out on the ground, but he was found in a pool of his own vomit. His alcohol levels were outrageously high—the media reports the number 0.227% BAC, the same as actress Kim Saeron, but the highest level of any K-pop idol on record. He didn't drive for 500 meters, as he had said, but for more than 1 km. Actually, for 2.8 km. His BAC level was actually the highest of all Korean celebrities in history—Kim Saeron's was suddenly lower. All that while having said he only had one beer!
Then, another CCTV footage was released. In it, a man on a scooter (a white, blurry blob) drives erratically on the street among a crowd of people until he hits a curb and falls.
As a fan, I feel like I'm witnessing an assassination attempt in real time. It's hard to keep up with the tsunami of information coming out—reporters cite police sources, then change their articles and cite themselves. The police even goes on record and refutes the circulated BAC levels, only saying that the true number is difficult to confirm at the time.
The investigation has not yet begun. In the court of public opinion, though, Suga has already lost. What was he thinking, deceiving the public? Especially in South Korea, the land of CCTV?
In the circle of his fans, though, suspicions remain.
Did the media lie?
On Wednesday 14th, 7 days after the incident, more CCTV is revealed. This time, it's much clearer than the previous ones and much, much different.
It shows a man, riding what appears to really be an electric kickboard down the sidewalk. He drives slowly, in a straight line—as straight as you can be on a slow-riding e-scooter, at least. The point of view changes—the man has now overtaken three riot officers. He slows down, turns, disappears out of view. One of the officers points in his direction.
The point of view changes again. We can see the man make the turn to pull up to a front gate, and then—it's hard to say what happens. Maybe the front wheel of his scooter got stuck. Maybe the turn he made was too sharp, maybe he pulled on the breaks a little too abruptly. The e-scooter stops, and the man flies forward. He lands on his hands and knees. He gets up, collects his helmet, puts it back on. The police officers are, at this point, next to him, surrounding him.
The man picks up his kickboard off the ground and gets back on. He turns to the police officers, listens for a second, and gets back off.
The video ends.
It feels like a valve has been released from a pot about to blow. Fans sigh a sigh of relief. Suga didn't lie. His statement correlates with what's shown in the video. Korean media seemingly fell prey to sensationalist journalism—in an effort to be the most up to date with the biggest scandal, they voiced information from sources that were false at worst and dubious at best. K-pop fans, hungry for drama, only poured fuel into the flames.
With this new development, surely Suga must be vindicated. He didn't lie—he drove what really appears to be an electric kickboard, he really fell in front of his house. With the way he gets up instantly, the reported BAC also comes under question.
JTBC is forced to air a lukewarm apology for releasing the fake CCTV footage. Korea Now, the international leg of Yonhap news, also posts their apology—in the community notes of their channel and a separate video.
In an ideal world, this would be enough and the storm would end. The public outcry would cease and the investigation would continue uninterrupted.
Not that kind of story
On 27th December 2023, actor and movie star Lee Sunkyun was found dead in his car after taking his own life.
In the months before the tragedy, Lee Sunkyun had been hounded by the media and police for a different scandal—alleged drug consumption. The media vilified the actor. His private conversations and phone calls were leaked to condemn him to the public. He was branded a cheater on top.
Lee Sunkyun was forced to face the media head on during his first police investigation in the form of a so-called photo line—an impromptu press conference in front of the police station. The media takes prized shots of the suspected perpetrator in a compromised state, and regardless of whether they're innocent or not, the image persists.
The actor was forced to face the photo line again for his second summons. When he was summoned for the third time, he asked the police to call off the photo line.
The police refused. The actor faced the press once more and then, after a 19 hour long interrogation, he ended his life.
There was significant backlash against the media and the police. Bong Joonho, director of the Oscar-winning movie "Parasite", and other public figures petitioned for an investigation into the police and Korean media.
The photo line practice had been widely condemned and, allegedly, outlawed.
However, it cannot return the life of Lee Sunkyun.
Judge, jury, executioner
In the present, the situation surrounding Suga calms for a few days, almost ominously. The media's overwhelming narrative that Suga is a liar slowly grinds to a painful pause.
New narratives are quickly raised in replacement.
It's hard to say why this happens. One could argue the media is irked by being disgraced, or maybe they're bitter that BTS' fandom refuses to abandon their star. Instead they petition for the media to retract their false statements, or contact international press and ask them to report on the dubious Korean coverage.
Regardless of the reason, the DUI charges still stand and Korean media demand justice. With the investigation imminent and Suga expected to appear at the police station, they call for a photo line yet again.
Reporters go as far as to publicly threaten him—the photo line, considered by some to be an infringement upon human rights, should graciously be viewed as his opportunity to apologize to the public. And if he refuses to meet the press' demands, they will continue to make his life difficult, or worse. And Suga can't afford another mistake, can he?
The police refuses to set up an official photoline. However, if the press shows up to the station, nothing can be done. It's not like the police has the power to stop them or evict them from the premises.
The defamation of Suga's character continues. The new footage is scrutinized—driving on the sidewalk (legally a shared path for both pedestrians and bikes/kickboards) is actually worse than driving a motorbike (or car) in traffic, isn't it? His (unconfirmed) alcohol levels, spouted as fact, are obscenely high. Doesn't the scooter happen to need a license plate? If it does and has none, that's another crime. If it does and has one, well. Suga "once again" mislead the public.
Under blackmail thinly veiled as calls for consequences, the star is expected to grovel in shame.
No matter that Suga already apologized. His original statement, even though truthful, had been disgraced by the accusations and is no longer valid. Only a head bowed in shame will be enough for the press.
The media reports that Suga should appear at the station on 22nd August, and photographers and reporters flock the station like an army laying a siege. They block the main entrance and create a corridor. They wait like this from 3 AM.
Around 11 AM, Big Hit releases a statement that Suga was never meant to appear at the station that day. They express their concern for the reporters' well-being. They're very sorry they couldn't release a statement sooner, but they're telling them now so they don't suffer needlessly any longer.
The media has fallen prey to their own misreporting, but they blame Suga for it. Articles are released, complaining of the inhuman conditions they were exposed to, having to wait in the sweltering summer heat. Not showing up to a summon that hasn't been made is painted as inconsiderate of him.
Fans view this as a battle won.
One step forward, two steps back
The triumph is short lived. The next day, reporters swarm the station again. This time, they wait until evening—no statement from Big Hit or the police comes to send them home.
Then, Suga shows up for his investigation. He doesn't attempt to pass them by, or hide his face. He faces them, even stops to acknowledge them and speaks a few words of apology. He bows.
The press gets both their money shot and the ritual humiliation. Hundreds upon hundreds of articles are written yet again, more defamation ensues.
Bowing his head was not enough after all.
I will not share those pictures or videos here. I'm sure you can find them if you just Google Suga's name. I would, however, like for you to remember the CCTV footage of the incident that started this whole thing—Suga, on a kickboard that I've seen children ride on, falling. No one gets hurt, nothing gets damaged.
I will leave it up to you whether you think his crime warrants the kind of punishment he received—thousands of articles full of proven lies, slandering his name. Blackmail and threats from the press. Defamation (itself subject to criminal charges under Korean law) of his character, calls for the strictest of punishments—up to 5 years in prison. Funeral wreaths, akin to death threats to any sane person, sent to his home. His ability to perform his social service has been disputed. His KOMCA song credits were questioned. Calls to remove him from BTS, a group he worked his entire adult life and much of his teenage years to build.
On Sunday evening, Suga posts another apology, a hand-written letter. In it, he apologizes to his fans, his bandmates, and his team for putting a stain on their name. He also apologizes for causing a 'social stir', despite having been the victim of false narratives, harassment, and humiliation at the mercy of media outlets who decided to ruin his life beyond repair.
"It's all my fault," he writes. I'm sorry for getting my blood on your clothes.
The situation is still ongoing—chances are we won't know the result for days, or weeks, or months. Articles full of speculation and defamation are still being published every day, every hour, while we're waiting for the police to finish the investigation.
While this media storm is happening around Suga, real name Min Yoongi, these events also happened in Korea and didn't make nearly quite the splash:
3 more high-profile DUI cases:
- a policeman drove a kickboard drunk, was found unconscious and was taken to the hospital. His case has already been closed.
- Olympic baseball player got behind the wheel the morning after a night out, collided with another vehicle, and his alcohol level was high enough to warrant a license revocation.
- Korean comedian, only referred to as Mr. A, drove after drinking and crashed his car, flipping it.
Senior officer of the Korean anti-corruption commission, tasked with investigating the First Lady of South Korea in a bribery case, was found dead. His death was ruled a suicide. Charges against the First Lady had been dropped.
Telegram chats consisting of 220 thousand Korean men and boys sharing private information, pictures, and deepfake pornography of women in their lives and celebrities, were exposed on social media.
NCT member Taeil left his group unexpectedly after being charged with sexual crimes. The investigation had been happening for months.
It's safe to say this story isn't about a DUI. Suga may have very well served as a distraction, a scapegoat, for much larger political scandals. Or the campaign against him could have been paid for by Hybe and BTS' competition—either to bring about their ruin, or to distract from their own undesirable news.
Or the simplest explanation is true—he just was the most lucrative subject, the one that brought the most clicks, the most engagement, the most money.
Consequences
While the media calls for Suga to face consequences and learn his lessons, I would like to speak of different lessons. Ones that we can all learn. Yes, one of those is that driving any vehicle after having consumed alcohol is a bad idea. Duly noted.
Another is that the reaction to this 'social stir' has been widely blown out of proportion by the engaged public, most of which consisted of the K-pop community. In the wake of the real CCTV being revealed, that community scrambled. Comments, posts, and articles were being deleted en masse. Some people condemned the actions of fellow fans and haters—the shaming and dogpiling, only because people finally felt justified in their hatred of BTS. Some doubled down—all information shared was from reputable media sources and outlets. How were they supposed to know they were fake?
The truth is, we were supposed to know. We were supposed to suspect. The media, that now more than ever take their cues and inspiration from social media and online forums, have been wrong before, and they will be wrong again. Everyone who shared unverified articles meant to damage someone is in a way complicit in the situation. A situation that is sure to repeat—it's a matter of when, not if.
A couple days ago, another idol posted a photo of himself sitting in a car. Then hastily added, "I'm not wearing a seatbelt because the car was stopped. I'm just saying." While K-pop fans cackled about the shade, the fact remains that these idols live in an environment where the smallest mistake could cost them their career, or worse, their life. Where fans of different groups view them as competition to their success and are willing to abandon all morals to get their shot at them. And if this mentality doesn't stop or change, the idols will keep dying.
BTS' fandom, ARMY, is not exempt from this, not by a long shot. Just during this whole fiasco, a twitter account with thousands of followers incited violent threats against another idol, only because they felt slighted by an unrelated comment. On the other hand, other fandoms organized a defamatory hashtag, posting pictures and tweets as if they were fans of Suga, condoning drunk driving. With only one goal—damaging his reputation further.
These "shooter" accounts are cancerous to our communities, and we as fans should shun them, not hype them up.
Lastly, I am not excusing Min Yoongi. However, if a crime was committed, it should be punished within the scope of the law, not according to what-ifs, speculation, or fantasies of the public. I disagree with the media frenzy this sparked. The media or the public cannot play the role of the judge, the jury and the executioner—we can't demand harsher punishment just because we don't like a celebrity, or because we disagree with their wealth. If we want to uphold justice, we cannot bypass it. Not like this.
Ironically, the media had turned Min Yoongi into sort of a martyr—he now both committed a crime and became a victim of one. And while his actions didn't hurt anyone, or damage anything, and are largely inconsequential, what has been done to him and his reputation cannot ever be fully undone.
One fact remains true. No one, not even a celebrity, deserves to be driven to suicide, but the media and the public gave it another good try.
And so I ask the broader K-pop community—remember this situation as a cautionary tale, and when the next scandal breaks out, do your part. Have the grace to help assure the idol's fair investigation and impartial press coverage.
That is a basic human right.
Related: South Korea | Reuters Institute for the Study of Journalism
I am not really online much anymore as I am going through this or that. But I am trying to keep up with my art thread until Joony comes back if anyone wants to take a peek at that ♥
Hope everyone is doing well, keeping healthy and all that jazz.
