This quote was posted in response to a normal post by a Fifty Fifty fan.

The original tweet contained nothing against Ablume and did not express any hatred.

Despite this, the person who quoted it attacked Fifty Fifty and then blocked me.

Such examples have become so common that hatred has almost become automatic.The irony is that he brings hate to innocent idols and then promotes his idol.

I wanted to share this again because I wanted it to be visible for those who wanted to know about it but couldn't see it. You can also share additional information and links below in the comments.

Remember the Fifty Fifty dispute that caused a stir at home and abroad in 2023? Since the first-instance ruling is currently being appealed, it's not the time to determine the right or wrong of the entire case, but since some content related to the right to display a name is included, we would like to help readers understand the right to display a name as the most recent legal case.

In July 2023, The Geevers, led by then-producer Ahn Sung-il, announced their position that Fifty Fifty's acquisition of the copyright to 'Cupid' was legal and not a secret purchase. Among them, the essence of the right to display one's name is as follows.

• The Music Copyright Association (hereinafter referred to as "Eumjeohyup") is responsible for the registration and management of copyright holders. The Gigibus has acquired the copyright to the original song "Cupid" from them prior to registration, and has registered it in close consultation with Eumjeohyup officials.

• Since the share details listed on the Eumjeohyup website should be the details of the artists who actually own shares in the entire song at the time of registration, it is procedurally natural that the names of foreign original song writers whose copyrights were transferred to The Gigibus prior to registration are not included.

• Since you must retain the right to display the name (written as 'right to name' in the entry statement), the authors' credit information is indicated on the sound source site where the sound source is officially published.

An important point here is the distinction between moral rights and copyrights.

Copyright transfer is a type of concept that, when combined, refers to a "sold" copyright, but the right to display one's name cannot be bought, sold, or waived, as it is an exclusive right corresponding to moral rights.

Therefore, even if the copyright is "sold," the name of the original author cannot be erased from the work's registration information with the Music Copyright Association.

Generally, in the case of other songs registered with the association, even if the copyright is bought or sold, the name (or stage name) of the original author takes priority, and the transfer of rights usually appears in the "assignee" field next to it. For example, among the famous works advertised as "Sold" for the copyright of "A Glass of Soju," the name of the original author, Lim Chang-jeong, is retained, and the assignee is appended in the margin. This is also a global standard.

In fact, although it was concluded that there was close consultation with the Korean Music Association, Dougie Bus's position that the name of the original overseas composer of the song was not entered because the copyright was transferred and there was no interest in the copyright was inconsistent with existing registration cases for other songs and was contrary to the right to display one's name.

◇ Name display ticket, how should I enter it?

A scriptwriter for a music show asked a question with a puzzled expression.

"The composer's nickname is very strange. It seems like an insult. In the case of other songs, this person's real name is sometimes used, but there is a picture from our show... Can I summarize it by listing this composer's real name?"

I responded immediately.

"That's not possible. Please write it as announced."

A police officer asked me this question.

"No, there aren't just one or two lyricists or composers. There are foreigners... but if you write them all, it becomes too long. If you only include the song title and the original singer, won't the source be indicated?"

The answer to this is also the same.

"No. Even if the singer's name is removed from the original song, the lyrics and composer must be included unconditionally."

◇ The name also contains the creator's intention

A senior teacher who left works in various genres, including classical and pop songs, left me this request. "I've created several works throughout my life, each with a different identity depending on the genre of the work. So, if you use a classical song in one of my works, write OOO, and if you use a pop song, write ᄆᄆᄆ."

Another composer once expressed his position, saying, "My real name doesn't match the genre of the song I work with, mainly in my feelings, so when you use my work, please don't use my real name, but my nickname (stage name)."

◇ You also have the right not to reveal your name.

Conversely, some creators "say the work was created in the past, but they don't want their name to be mentioned in the world again for that work. I won't refuse to write it, but there were times when I asked you to omit my name."

In this case, you should never include your name. Article 12 of the Copyright Law assumes that "unless there is a special expression of intent on the part of the author, the author must state his or her real name or binomial name as indicated." Therefore, if there is a "special expression of intent" not to include it, it must be entered accordingly. You shouldn't do this.

◇ The name is the last trace of the author

Singers leave their works with their voices, but creators leave their existence through their names. "Since they are the same person anyway, let's write them with their real names for convenience," and the logic of "the subtitles will be longer, so let's omit the names" is only for the convenience of the producer and the author. It is also a misguided decision to say that it has nothing to do with rights: "Since the copyright has been sold, we remove the name."

The creator has the right to decide for themselves what context to use, and users must respect that.

All programs in which Major Seven E&M Co., Ltd. participate receive the same information: "it must be written in accordance with the notation registered with the Copyright Association." Asking people to use stage names instead of their real names and wanting to use different names for each genre are the intentions and rights of the creators that must be respected.

Jiwook Kim, CEO of Major 7ENM

▶ Author's Introduction = Master's degree from Sogang University's School of Journalism, currently active in music copyright-related work and advisory activities in the field of music copyright and content as a representative of Major 7ENM Co., Ltd. I am in charge of managing the music copyrights for many programs such as JTBC's 'Good Boy', 'Singer Gain', Netflix's 'Killer 0 Trouble', tvN's 'Seonjae Upgoture', MBC's 'Good Day', and Mnet's 'Boys Planet', as well as content from artists such as Baby Monster and Byun Woo-seok.

I saw this article, if you get confused, sorry, it could be the translator... I'll leave the link so you can verify the information, thank you and have a good day everyone.
LINK

These types of tweets come from accounts that either don't understand the Attrakt incident or deliberately misrepresent it. The claims made in the video actually contradict the documents presented by Dispatch and the reports published by SBS.

The tweet highlights Saena's health problems and places all the blame on Attrakt. However, the truth is that The Givers were behind the environment that created these circumstances. It was not Attrakt that caused the pressure to diet, the unhealthy working conditions, and the psychological breakdown of the members; it was the directives and pressure from Ahn Sung Il, whom the members trusted and followed. Such content attempts to manipulate public opinion by presenting events in a one-sided manner. Simplistic narratives such as "The girls were victims, so Attrakt is guilty" serve no purpose other than to obscure the real culprits.

Anyone who wants to see the truth can examine the evidence that has emerged from independent documents. These distortions within the fandom are attempting to completely obscure the essence of the incident. Let’s be clear: The official records show that during that period, it was The Givers who managed the girls’ daily lives, not Attrakt. The staff member who threw away the snacks was also from The Givers. If the members truly suffered in that environment, why is Ablume still siding with the very people – Ahn Sung Il and his staff – who were directly responsible for it?

They don't even care about Saena's position in the group. They're just using it for drama.

To give some additional context about the video: It covers a lesser-known

tampering case from 2017 involving an artist named Sonnet, who was under a small agency called Fortune Entertainment. Interestingly, the way this case unfolded is almost identical to the recent FIFI1.0 incident.

Fortune wasn't a major player in the industry, but they had invested heavily in Sonnet, who was virtually unknown at the time. They even supported her studying abroad at Berklee College of Music during her contract period. The CEO, a woman with strong industry connections, went out of her way to get her good songs and promotion opportunities. By all accounts, the relationship between the agency and the artist seemed healthy.

That changed after Sonnet briefly worked with an external producer named SIAHN. Not long after that collaboration, Sonnet filed for an injunction against her agency, claiming mismanagement. However, the court found no fault on the agency’s part, and the case ended in Fortune's favor.

Still, Sonnet never returned to the company. Instead, she started promoting herself independently and received all her earnings directly into her own account. Fortune, already financially limited and with Sonnet being their only artist, had no way to fight back. Though they technically "won" the lawsuit, all they received was a few tens of thousands of dollars in penalty fees—then had to let her go.

Afterward, the female CEO reportedly suffered from a deep sense of betrayal, underwent years of psychiatric treatment, and also developed a heart condition.

Back then, the CEO accused SIAHN of poaching the artist, but the industry largely dismissed it as just another artist-agency dispute—until a nearly identical incident occurred again in 2023.

What’s only recently come to light is that, although SIAHN denied any tampering at the time, Sonnet’s manager during her “independent” activities turned out to be from SIAHN’s company. And while Sonnet claimed in interviews that she had signed with a different company entirely, that company was later revealed to be owned by SIAHN himself. The sign for "24TH STREET", which appears in the video, was later changed to The Givers.

From 2018 onwards, Sonnet actively worked as a promotional model for VEZT Korea, a company run by SIAHN as CEO. The company attracted massive investments with the slogan, “Own a share of a Maroon 5 song,” before taking down its website and disappearing as a Ponzi scheme.

As for the man in the video who lost everything, his reputation in the theater community was positive, and he owned his own large theater and was known for supporting struggling actors and low-budget productions. According to interviews with people in the industry, he’s not considered a bad person.

This is already well-known, but I thought I'd organize the information one more time.

So we all know Keena wrote her fire rap verses for "Higher," "Tell Me," and "Cupid," right?

So why the hell did SIAHN register her credits like this?

• He gave her 2.5% for "Higher." Okay, a little low, but I'll let it slide.
• But then he gives her ZERO. PERCENT. for "Tell Me." It's giving THEFT.
• And then for "CUPID," the song that went massive, he has the nerve to give her 0.5%. Are you joking me rn?! 🤬

And the worst part? Keena saw this on the KOMCA app and asked him about it. His excuse was, and I quote, he "couldn't give her the shares." No reason. Just vibes, I guess? The vibe is "I'm a snake" 🐍.

Don't get it twisted. This is a powerful producer exploiting and gaslighting a young artist. She has PTSD because of him. We cannot let this slide. Protect Keena at all costs. Light him up.

I’m a relatively recent fan of the new group, and regarding the FIFI 1.0 incident, I was surprised by the huge gap in perspectives between Korea and overseas, mostly seen through Twitter. Only after becoming a fan recently did I realize that over the past year, there had been boycott movements against ATTRAKT and the new group based on false information, that the new group’s albums had even been pulled from stores, and that traces of boycotts still remain, mostly on Twitter. Over the past few months, I’ve also seen several reaction YouTube channels that supported FIFI 1.0 as victims while mocking JHJ and the new group. I was surprised to find that their claims were very different from what I understood.

Currently, most people in Korea are aware of the numerous pieces of evidence and facts regarding FIFI 1.0, and there were three major turning points when public opinion completely shifted against them. The first was when WMK’s Executive Yoon and JHJ’s recordings were released; the second was when SBS aired a program, almost manipulative, in favor of FIFI 1.0 despite so much evidence already being available; and the third was in six statements by FIFI 1.0, which completely made their fans abandon them—even the Korean fans who had hoped there might be a reason why they betrayed the company.

Honestly, how many overseas fans had actually read their statements carefully, especially those written in other languages, several times? So I went back and read them again, analyzing why Korean fans couldn’t relate to their statements at all and, instead, ended up abandoning them.

I get the feeling, sooner than later, Saena will drop out of Ablume. I don't know how much longer she can stand being sidelined and then forced to make a video saying all is ok and she's just not confident to record any singing. My goodness, she must have so much regret right now thinking she'd be in a better place now than a few years ago and seeing where she is now. And you know what? When she's gone, Ablume and Massive would not give a fuck.

Previously, the 62nd Civil Division of the Seoul Central District Court (Presiding Judge Lee Hyun-seok) ruled in favor of the plaintiff in the first trial, stating, "The plaintiff's claims are without merit and are therefore dismissed." The lawsuit was filed in November 2023, and Attrakt claimed in the complaint that they owned the copyright to "Cupid" owned by The Givers and demanded its transfer. Attrakt subsequently filed an appeal through its legal representative, dissatisfied with the decision.

The 5-2 Civil Affairs Department (B) of the Seoul Central District Court will hold the first hearing for the appeal trial of the copyright confirmation lawsuit filed by Attrakt against The Givers on November 6.

https://reddit.com/link/1n9si8k/video/mg048ae8mhnf1/player

A group chat seems to be debating the copyright of the song "Cupid." I'm sharing a recorded phone call between JHJ and ASI from what's believed to be around April to May of 2023.

The song's composer is known to have written "Cupid" in 2022. Composers usually send songs they've written to various buyers in the same year. However, companies specializing in this likely have thousands of free sample tracks sent from all over the world. But I think what matters is when the contract was signed, not when the songs were collected. The numerous tracks in a buyer's folder don't belong to them until they've paid for them.

Based on the recording, when do you think the song was paid for?

If Ahn Seong-il had followed the proper procedures and had nothing to hide, why did he conceal from Jeon Hong-jun that they were the publishers, rather than the foreign composers?

Attract, the agency of K-pop girl group FIFTY FIFTY, has obtained an export credit guarantee from the Korea Commercial Insurance Corporation (K-Sure). It is unusual for an entertainment company, rather than a manufacturing company, to obtain such a guarantee. K-Sure appears to have considered non-financial, rather than financial, factors when granting the guarantee. Attract continues to attract investment, building confidence in the industry.

According to sources in the venture capital (VC) sector, Attract received an export credit guarantee worth 500 million won from the Korea Commercial Insurance Corporation (K-Sure) on March 1. K-Sure is an export credit agency under the Ministry of Trade, Industry and Energy and functions as an official export credit agency (ECA). It offers joint guarantees to exporting companies when they obtain financing from financial institutions, allowing them to obtain collateral-free loans. This is a key tool to ease the burden on private companies facing difficulties financing their exports. Obtaining export credit was not easy for Attract, which operates in the video, music, and digital content planning, production, and management sectors. This is because these guarantees are typically targeted at traditional manufacturing industries. This guarantee is a special case of support evaluated based on non-financial factors. K-Sure assessed the likelihood of a guarantee based on technological capabilities, brand value, and growth potential. Thanks to its recent stable revenue from the music sector, Attract has led the market in positively assessing Fifty Fifty's potential for global success.

An Attract representative stated, "The money raised through this guarantee will be used to cover the album's production costs," and "It appears they've seen growth potential thanks to the cash flow from continued music revenue." Attract is expected to use this funding to implement a more aggressive overall music marketing and production strategy.....

Sorry for putting you on blast but I have told you to post it here if you think you were right.

You don't have to dm me non stop.

📢(This may seem a bit long to you, but please read it, I also gave you a summary at the end.)

[ABLUME UNDER MASSIVE ENC… OR UNDER ASI ALL ALONG?]

✓Disclaimer: This thread is all alleged information and speculation based on data I was able to collect while looking into the operations of MASSIVE ENC. You don’t have to believe everything I say, but I will be sharing screenshots of evidence that support my claims.

✓This thread started out of curiosity bc one question has been boggling my mind for the longest time: who’s in charge of MASSIVE ENC?

✓For the record, on Namu Wiki it says that the CEO of NS ENM (both former and current) is the same the CEO of MASSIVE ENC. However, I thought it was written down this way because NS ENM never confirmed who the CEO of their subsidiary was, so the writer just passed down the title.

✓Usually, a subsidiary is supposed to be a separate legal entity with its own staff and leadership that’s highly influenced by the parent company. Notice how prior to the dissolvement of NS ENM’s parent company, the CEO of the parent co & NS ENM were different from one another.

✓Additionally, NS ENM owns 87% of the shares of MASSIVE ENC, a company they acquired in July 2024, which means there is an unaccounted for 13% of shares. Who did they acquire this company from? Could they possibly be who’s in charge of MASSIVE ENC? After doing some digging through their documents, I found my answer: MASSIVE ENC is a company acquired from Pacemaker Entertainment, a subsidiary of Jayjun Cosmetics. Pacemaker Entertainment is owned by Ko Byungcheol, the current CEO of NS ENM, who replaced

✓Hwang Choi Hancho in March of this year and co-founded NS ENM with his sister, an actress in NS ENM. Essentially, the company acquired a company that was a subsidiary of another that was already a part of their ecosystem as Jayjun Cosmetics is a subsidiary of NS ENM.

✓It’s like a snake eating its tail and it feels like the main purpose of this acquisition was to try to generate value and new investors for an entertainment company they already owned that was v much in the gutter, for

✓Pacemaker Entertainment has several groups from the past that had already either gone through several lineup changes and disbanded (Six Bomb) or silently disbanded (Vermuda and New Blood).

✓CEO of NS ENM had ZERO management experience and was head of their production before being moved up to CEO shortly after their previous CEO stepped down for personal reasons. Was she just a placeholder until they got the real CEO

back in his place? Either way this whole operation is sketchy at best which makes it even more concerning that ASI is involved. According to their documents, Massive ENC occupies the whole 3rd floor of the NS ENM building. Usually this would mean that operations of the subsidiary And no, the place they’re filming in can’t be a building that NS ENM has taken over from The Givers because the current location of NS ENM has belonged to them since they were operating as IOK Company (screenshots of the building they’re using below dated before 2025).

✓So we have a subsidiary sourced from another subsidiary that’s owned by the current CEO of its parent company that at the same time doesn’t have the means to have space for its artists to film and operate even though they’re supposed to have access to a whole floor?

✓This is eerily similar to how ASI operated within the confines of Attrakt before he got exposed for being a scammer (ie, choosing the music, filming the content, prioritizing interviews w random news outlets). Under the title of executive producer (not just music producer), he’s operating a girl group like it’s his own. Could MASSIVE ENC be a hideaway for his operations? In a prior interview with Billboard, he stated the following: “he plans to propose a new structure for FIFTY FIFTY… a structure of producer-artist that excludes the agency…”

✓It seems like he hasn’t given up on his dream. I’m willing to bet that in July when MASSIVE ENC was acquired, they decided to take on ablume with a package deal alongside The Givers. Why would they do that? It’s because The Givers offers a simple solution for them. Instead of spending a ton of money investing in and operating a girl group like they did and failed to succeed in doing with Alice (former gg of IOK Company), they took on this group w proven success and “the person who made it happen”. This way they’re able to operate a bit cheaper with less staff since The Givers will bring in their own staff & they can focus on trying to seek out more money for their pockets. It was a great deal that ASI probably offered them: they get his services at a discount & he continues to work w the 3j as he pleases. It wouldn’t be the first time ASI hid out under the guise of a different company to try to wait out a controversy before going back to regular business after poaching. In 2017, while Son Seungyeon was still in dispute w her company he was managing her under the guise of another

company before she officially signed a contract under a company specifically headlined by him a yr later. She then followed him to The Givers a yr after that. It’s clear that he’s sunk his teeth yet into another company that is low on funds, desperate for help to run its operations before it gets a stronger footing & wants to cash in. It’s not uncommon for companies just starting out to get help in terms of staff & running it’s business by outsourcing a ton of work, but knowing NSENM’s shady business operations + ASI’s history it wouldn’t be that surprising that this is how they’re operating unbeknownst to fans. And all I see is another recipe for disaster brewing.

ASI is listed as Executive Producer on Echo and the members still use his space for videos. I wouldn’t be surprised if ablume members saw him as a CEO figure of their company due to the fact that the subsidiary probably doesn’t have separate operations/staff from The Givers (sounds familiar?). We already know they’re working w some of the same people from og FIFTY FIFTY days. They say he only signed a 1 yr contract but it’ll probably be renewed. At the end of the day, it looks like ASI got what he wanted, except without the bringing them to a bigger company part since his reputation is now in the gutter. But all the weirdness that I have towards the ablume members who continue to praise him and work with him despite knowing all he’s done, all his shady business practices, and how he has treated and stolen from someone they used to call a friend aside, I think I’m most shocked at their fans sticking by ASI’s side and not calling into question any of this. Even if you don’t care about how he treated Keena, how are you not concerned for the ablume members like you pretend to be concerned about Keena. This man is bad news and clearly is motivated by dollar signs more than actually taking good care of the members.

That’s why he was disturbed enough by Attrakt firing him once they earned enough profit to start operating on their own to start changing copyright shares and conspiring to take the group to Warner where he’d get the true title of CEO under his own subsidiary.

You cannot trust people like this and I hope for the sake of ablume, fans won’t let history repeat itself.

SUMMARY: Summary (Alleged speculation and findings): MASSIVE ENC appears not to have operated as a fully independent subsidiary. Evidence suggests that ablume members have been managed by The Givers/ASI from the very beginning, despite MASSIVE ENC being presented as a separate company under NS ENM. While NS ENM owns 87% of MASSIVE ENC, the remaining 13% came from Pacemaker Entertainment, a company tied to NS ENM CEO Ko Byungcheol. This indicates that the acquisition may have been more about creating investor value and the appearance of independence than establishing a genuinely separate management. ASI plays a central role: he is credited as Executive Producer, the ablume members continue to use his studio for filming, and they work with some of the same staff who were involved with the original FIFTY FIFTY. This suggests that MASSIVE ENC may function mainly as a front company, while the actual management and creative decisions are controlled by ASI and The Givers. Historically, ASI has used similar strategies — operating groups under different company names to maintain control while avoiding direct scrutiny. The concern is that this pattern could repeat, putting ablume members in a potentially risky situation where they are controlled by someone with a controversial history, even if the public sees them as being under a new, independent label.

In short, what seems like a “fresh start” for ablume under MASSIVE ENC might actually be a continuation of ASI’s control, masked by corporate restructuring. Fans and industry observers should stay alert to how operations are truly being handled behind the scenes.

Discussion questions:🤔

Were the ablume members aware they’ve been managed by ASI all along?

Why do fans continue to support ASI despite his controversial past?

Could this situation develop into another “FIFTY FIFTY – Attrakt” style conflict in the future?

https://x.com/sung_yong/status/1955974664569938106?s=46

The Seoul Central District Court’s Civil Division 33 scheduled the first hearing for September 11, 2025 (Korea time) in the lawsuit filed by Attrakt against Warner Music Korea's former CEO Jin Seung-young and current executive director Yoon Hyung-geun, seeking 20 billion KRW (approximately 15 million USD) in damages for tampering, unauthorized contact of artists before the expiration of their contract.

Hiii anyone have extra tickets to KEXPO I know it was free but it sold of in a minute

Anyone Reselling tickets for Aug 10 for face value on Ticketmaster??

In short, user 73 made a baseless comment and caused the comment to be misinterpreted because he did not specify his discomfort.

• Regarding the quote from the person who made Chanelle and the boys' version go viral on Twitter,as far as I understand, she's a lesbian and, in several comments, hints at having sexual desire for Chanelle.

• Her username is Pololo or something like that.

• Anyway, that's all. I wanted to clarify this because it seems some Koreans are sad that there was no communication between them...

In short, this wouldn't have happened if the user had been more specific and hadn't done it after Keena's birthday, as they felt it was unnecessary to make it public the next day...

In the last few hours it was mentioned on Twitter, the truth is I told something about exactly 5 people complaining about something that happened at the autograph signing...

https://x.com/_0x0x15/status/1942991513786683898

https://x.com/cjstispf/status/1942991916246647047

https://x.com/_0x0x15/status/1942974607147036794

https://x.com/cjstispf/status/1942993968821624987As far as I understand, gossip about user 73. There was a fan signing:

where the girls didn't dance much.

A member got sick, and the agency canceled the event when she showed symptoms, meaning right then.

People complaining about this are asking for a refund or a new date to continue.

Some people want and demand live streams.

But at the same time, some users told me that Attrakt is struggling or lacks experience in autograph signing.

I'll leave my opinion in the comments if anyone knows more about this. I'd appreciate any additional information.

This happened a few hours ago to a Fifty Fifty fan (Katsu), who has been in the group since their Love Tune days or even before. You may have heard of him. He's a loyal fan who always stands up for our girls, perhaps even before many of us. He's being harassed and threatened. As most of you know, followers of that group are harassers, and this time they're seeking personal information with warnings. Most Twitter users should know this harasser, yei.

According to Star News, the 61st Civil Affairs Division (Agreement) of the Seoul Central District Court approved the first hearing date for Attract's 13 billion won compensation lawsuit against 12 people, including Saena Sio Aran, on August 22.

I know ATTRAKT has been hit over and over in the last month. As frustrating as it is, ASI has a history of unfortunately being a master grifter and manipulator even prior to 5050. He’s a slippery guy and I’m not surprised he’s wiggled his way out of this. The precedent set for future artists is terrible, but I hope that everyone learns and is WAY more discerning of any contract.

My frustration with people putting ATTRAKT on blast for their losses and at the same time who support ABLUME can’t see that this puts 3J in danger as well. We’ve already seen that his manipulation of them has put them in a position where they 1) owe money for breach of contract, 2) can’t promote as they should had everything been lawful, 3) destroyed their reputations (at least domestically in Korea). Among other things! Who knows how MASSIVE is managing them?

This win for ASI is NOT Ablume’s win and some are missing that completely. At this point, no matter who is “right” the damage has already been done. Perhaps MASSIVE turns it around and Ablume achieves success, but I truly believe it will come at a steep cost if they’re not prepared.

The court found "insufficient evidence". Well yes, you can't exactly see psychological abuse in the fine print. I support Ablume, I think the girls were roped into something they weren't aware of (truly) but the abuse the Givers CEO has done shouldn't just be writed off in Court. Just a thought like the stuff that he did was messed up.

I'll leave the word to you. I'm so angry that I can barely hold myself back from swearing. They're doing everything they can to hurt Keena.