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Apr 13

"The Writing Styles of TWICE" by mera

Video transcript by @ casual-video-transcripts will be under the cut

[0:00] ["FINGERTIP" by GFRIEND]

[0:20] [On-Screen Text: m e r a]

[0:21] [On-Screen Text: This is going to be a long video, grab a snack.]

mera: I did promise this video a few months back and it's finally here.

[0:24] This video is for fun and it's speculative.

[0:25] It's entirely based on my own observations

[0:27] and my training in translated rhetoric.

[0:31] It's a YouTube video, not a textbook.

[0:33] The release of Eyes Wide Open has very much

[0:35] confirmed for me that it's time to take a deeper look at TWICE's writing.

[0:38] Eyes Wide Open is very much a writing album to me

[0:40] and while I enjoy the production in it,

[0:42] the lyricism is what pushes the boundary within TWICE's discography.

[0:46] And six of the 13 songs on the album are written solely by members of TWICE.

[0:50] Writing is by no means a hard science.

[0:52] There are multiple ways to define a writing style

[0:54] but I'm going to be using a workable definition adapted from

[0:57] Maureen McHugh's definition of a writing style,

[0:59] which theorizes that there are two "pillars" of writing,

[1:03] style and form,

[1:04] and that a developed lyricist will understand both even if

[1:07] she presents in one more strongly than another.

[1:10] "Style", or art, examines lyrics in a literary sense.

[1:13] It's the aesthetic judgment,

[1:15] the individual artistic approach, or emotional depth, or personal touch

[1:18] that a writer brings to a song's lyrics.

[1:21] And "form" is the technique and examines lyrics in a sonic sense.

[1:24] Form is the efficiency by which strong lyrics are written compatibly to

[1:27] a song's composition and arrangement.

[1:29] The specificity with which words or syllables are chosen to create

[1:33] rhythm, rhyme, pattern, and poetic subtext through sound.

[1:36] While no member of TWICE has published lyrics for a lead single yet,

[1:40] member contribution has expanded from a song credit here and there

[1:43] to nearly half a full studio album.

[1:45] TWICE's writing styles are interesting to me

[1:46] because many of them are emerging, not fully developed.

[1:50] Most members of TWICE don't have extremely defined styles yet.

[1:53] Just to clarify before we start,

[1:55] I'm using a couple of different translation sites

[1:57] but the ones that I'm showing on screen

[1:59] come from Color Coded Lyrics.

[2:01] I like their policies behind translations and their system is very

[2:04] similar to the one that I use for analyzing translated rhetoric.

[2:07] That said, there is a margin of error and

[2:09] not all translations are 102% accurate.

[2:11] When it comes to TWICE,

[2:13] I believe the members with the strongest presenting writing styles are

[2:16] Chaeyoung and Jihyo.

[2:17] The two of them have the most writing credits out of the group

[2:19] and their lyrics display an understanding of both style and form.

[2:23] [Text on Screen: CHAEYOUNG]

[2:27] mera [speaking] : Chaeyoung is arguably the most seasoned writer in the lineup

[2:30] with the most credits to her name

[2:31] but she's really tricky to nail down

[2:33] because she rarely writes songs all by herself.

[2:35] So a lot of my notes are based on songs she's co-written.

[2:37] So let's start by talking about Chaeyoung's prowess.

[2:40] She started publishing for TWICE just seven months after debuting

[2:43] and she has 11 official songwriting credits as of right now.

[2:46] She's written in Japanese as well as Korean

[2:48] and she's the only Twice member with

[2:50] standing credits for composing as well as writing.

[2:53] Chaeyoung is a form writer from what I can feel

[2:55] which benefits her being a key collaborator.

[2:57] Her writing has very precise syllables and rhythms.

[3:00] Maybe this comes from holding a rapper position

[3:02] or maybe just a natural attention to phonic details.

[3:04] Chaeyoung seems to focus on sound,

[3:06] writing lyrics that are phonically and syllabically creative.

[3:09] [Text on screen: EMOTIVE STATEMENTS]

[3:10] mera [speaking] : In her style she often uses "emotive statements"

[3:11] or unconnected figurative in her lyrics.

[3:15] The speaker often just states what she's feeling,

[3:18] her lyrics tell you exactly what the song wants you to.

[3:21] [Text on screen - NOW PLAYING: HANDLE IT]

Mina [performing] : Cause I can’t handle it

[3:23] amu maldo deulliji ana

[3:26] Tzuyu [performing] : yeogi isseulkke

[3:29] Momo [performing] : neo doraoge dwel kkeoya

[3:31] Nayeon [performing] : Oh I can’t handle it

[3:35] deo meoreojiji ma naegeseo

[3:37] [Text on screen - NOW PLAYING: DON'T GIVE UP]

Sana [performing] : maeilgachi modu da Happy-hajin ana

[3:41] jaemiinneun il manchiman geokjeongdo mana

[3:46] Jihyo [performing] : naman geureon saenggakago saneun geon anya

[3:51] nuguna da geokjeonggeorineun ankko sara

[3:55] [Text on screen - NOW PLAYING: YOUNG & WILD]

Nayeon [performing] : We are young & wild

[3:56] nae meottaero sallae I don’t care

[3:59] du bari ikkeuneun gireul ga

[4:01] jayuropge momeul matgyeo bwa

[4:04] mera [speaking] : Outside of emotive statements

[4:05] Chaeyoung's poetry is partial to metaphor.

[4:07] [Text on screen - NOW PLAYING: HANDLE IT]

Chaeyoung [performing] : gieogi seutikeocheoreom

[4:11] tteeo naebeoryeodo jagugi namaseo deo jiteo boyeo

[4:15] Jeongyeon [performing] : keurepaseu deulgo maeum dohwajie gadeuk chilhaebwa

[4:24] [Text on screen - NOW PLAYING: STRAWBERRY]

TWICE [performing] : ttalgi

[4:25] Chaeyoung [performing] : heoreom jugeunkkaega manaseo

[4:28] TWICE [performing] : ttalgi

[4:29] Momo [performing] : cheoreom saekomdalkom gwiyeoweo

[4:32] Nayeon [performing] : So sweet

[Text On-Screen: *this is a metaphor about hickeys, in case you couldn't tell]

[4:33] mera [speaking]: I find that when you combine emotive statements and figurative speech,

[4:36] it's usually an attempt to balance each other out.

[4:39] Since one is plain statement and the other is slightly more poetic.

[4:42] This is also a typical pattern of J.Y.P's lyrics in TWICE

[4:46] so I wonder if Chaeyoung didn't have some sort of mentorship from J.Y.P. in her earlier stages

[4:51] or if she's just reflecting the kind of singles that TWICE records.

[4:54] Chaeyoung's writing doesn't skip subtext altogether

[4:57] but I would argue it's just not what she focuses on either.

[5:00] What Chaeyoung really loves is sound.

[5:02] [Text On-Screen: PHONEMES, PATTERNS, & SONIC POETRY]

She's focused on linking together the best sounds and syllables

[5:06] for matching the hook of a song

[5:08] or creating poetic connections through sound.

[5:10] Take “Handle It” for example.

[5:12] Stylistically the song is a collection of various emotionally similar images

[5:16] but they aren't connected or designed to build off of each other.

[5:19] What Chaeyoung is really linking together

[5:21] is the sound of the poetry,

[5:23] not the literary content.

[5:24] [Text on screen - NOW PLAYING: HANDLE IT]

Jihyo [speaking] : geu maneun iyu byeonmyeong da

[5:27] soyongeoptan geol neon deo jal aljana

[5:30] soneul eonjgoseon daedapae bwa

[5:33] moreuneun cheokajin ma

[5:35] mera [speaking] : She has this gorgeous phrase for “useless” or “no good”

[5:38] right at the beginning of the second line.

[5:40] It has a strong “s” at the start,

[5:43] two very round “o” sounds,

[5:44] one of which is tempered by an “n”.

[5:47] In the next line, the speaker asks the lover

[5:49] to basically take some responsibility,

[5:51] put your hands on it, and answer it.

[5:53] In the lyrics, Chaeyoung opens the line with this word for

[5:56] hands that starts with again a strong “s”

[5:59] and a round “o” sound tempered by an “n”

[6:01] so these two ideas, uselessness and putting hands on responsibility,

[6:05] are connected by sound.

[6:07] Chaeyoung is sonically connecting the lover's useless excuses

[6:10] with the concept of taking responsibility.

[6:12] Her rhyme schemes are some of the most developed in TWICE.

[6:15] She loves to lace sub-rhymes in her lines

[6:18] or to trade off a-b-a-b rhymes with

[6:20] tapped rhymes or slanted rhymes.

[6:22] You can often hear blurred vowels between each line in her writing

[6:26] and I don't think this is always done with poetic intentions.

[6:28] Sometimes I think it's done just because it sounds good.

[6:30] Another way of emphasizing an idea through form is by pattern.

[6:34] Chaeyoung has these long lines of fast running syllables

[6:37] but right at the end she has this simple final phrase,

[6:40] “don't pretend you don't know”.

[6:42] This line sits outside the regular pattern of the other lines

[6:45] which is going to emphasize it against the rest of the stanza.

[6:48] She loves audible links, connecting ideas and her lyrics

[6:51] by choosing syllables and phonemes

[6:53] that sonically reflect each other.

[6:54] [Text on screen - NOW PLAYING: DON'T GIVE UP]

Mina [performing] : ni hwakshineul euishimhaji ma marajweo

[6:57] ttodashi mangseorineun ireun haji marajweo

[7:00] Nayeon [performing] : maeil naege malhaejweo

[7:03] Tzuyu [performing] : himeul nae Baby don’t give up

[7:05] [Text on screen - NOW PLAYING: STRAWBERRY]

TWICE [performing] : Berry very joa ttalgi

[7:09] neorang naman aneun yaegi

[7:13] I’ve been waiting only for you

[7:17] Tzuyu [performing] : yeogi yeogi yeogi nae maeum Ooh boy

[7:21] mera [speaking] : Okay I'm just gonna stop it really quick to point something out.

[7:24] This section is almost perfectly written in iambic tetrameter

[7:28] when it's in Korean and trochaic tetrameter when it's in English.

[7:31] So they're like opposites of each other.

[7:33] I just think that's so cool.

[7:34] [Text on screen - NOW PLAYING: YOUNG & WILD]

Mina [performing] : jashingameneun Passion

[7:36] jayuroweojineun Action

[7:38] ojik naegeman Attention

[7:40] doraoneun Good reaction

[7:42] mera [speaking] : These are emotive statements where the speaker's feelings are, again, textual

[7:45] but the design of the line is in the rhyme scheme

[7:48] and the pattern of syllables.

[7:50] The songs Chaeyoung contributes to often

[7:52] present short tasteful lines that stack against each other.

[7:55] Again this is similar to how J.Y.P. writes lyrics for TWICE

[7:58] and it's a very effective style for girl pop and dance pop.

[8:01] Chaeyoung writes extensively about the

[8:03] coming of age experience

[8:05] and her songs track the journey of a

[8:06] young girl becoming a young woman.

[8:08] When she's contributing lyrics

[8:10] I think she's drawn to songs with mature feminine themes.

[8:13] Her love songs are sweeter,

[8:15] her empowerment songs are encouraging rather than badass.

[8:18] And her speakers are usually coming to terms with painful or hidden emotions,

[8:21] so the lyrics are less intense and more introspective.

[8:25] Songs like Strawberry and Handle It are

[8:28] more about lying in weight than action.

[8:30] Chaeyoung displays a wide emotional range

[8:33] in her writing and I'd love to see her

[8:35] write more songs independently as her style develops.

[8:39] [Text on Screen: JIHYO]

[8:42] mera: Jihyo is the one I'd identify as

[8:43] the next most experienced writer in TWICE.

[8:46] Jihyo is a style writer

[8:48] and when she writes, her narrator's mentalities are

[8:50] so well written, it's almost like you are that person.

[8:52] So finally we come to subtext.

[8:56] Subtext is a huge part of writing in any art form

[8:58] and it's one of the trickier parts to master.

[9:01] Jihyo is very good at it.

[9:03] She's a huge fan of indirect characterization.

[9:06] Her songs exemplify emotions through descriptions of action, behavior, and mentality.

[9:10] I want to start with Up No More.

[9:12] Up No More is a very well crafted song

[9:14] about intrusive thoughts and internalized guilt.

[9:17] [Text on screen - NOW PLAYING: UP NO MORE]

Mina [performing] : eonjebuteoinji al sudo eopge

[9:21] naege seumyeodeureobeoryeo

[9:23] Jeongyeon [performing] : ijen geuman One two three

[9:26] meoreojil su itge

[9:31] Momo [performing] : useobol su isseulkka

[9:33] Nayeon [performing] : I don’t wanna wanna be up no no more

[9:34] I don’t wanna wanna be up up all night again

[9:38] Na na not again woo

[9:40] Jihyo [performing] : I don’t wanna I don’t wanna waste my time

[9:42] naeireun deo gipeun bame seumyeodeuldorok

[9:45] deo deo deo meoreojil su itge Oh

[9:49] mera [speaking] : The narrator's experience is described

[9:51] to us in terms of behaviors and mentality.

[9:54] Jihyo never has to say “I feel guilty” for us to understand

[9:58] the mentality the narrator is living with,

[10:00] the way she sees the world and the emotions that she's burdened by.

[10:03] All she has to say is “I don't want to be up no more”

[10:06] and we immediately know that the speaker is losing sleep.

[10:08] [Text on screen - NOW PLAYING: UP NO MORE]

Dahyun [performing] : Yeah meorissoge

[10:10] bijung eomneun saenggage sarojapyeo

[10:13] Sana [performing] : juingongdo eomneun temado mweotto eomneun

[10:17] Chaeyoung [performing] : hanabuteo yeolkkaji modu piryo eomneun

[10:19] iyagireul tto All night

[10:21] Momo [performing] : i bamdo bonaemyeon

[10:22] Sana [performing] : dashi beogeoun haru

[10:24] mera [speaking] : This is the writing policy of “show, don't tell”.

[10:28] Successful subtext leaves what's really

[10:30] being said behind the surface

[10:33] and contextualizes emotions in ways that are not perfectly straightforward.

[10:36] Subtext conveys to us what a person is feeling by

[10:39] showing instead of telling.

[10:41] This is different from using metaphor

[10:43] since metaphors figuratively compare the direct feeling itself to something else.

[10:47] Where Chaeyoung prefers metaphor and statements,

[10:50] Jihyo is cognizant of indirect characterization.

[10:53] She writes about the actions, behaviors,

[10:55] and mentalities that make up a character or situation.

[10:58] You know those days when you can't stop thinking about something painful,

[11:00] no matter how hard you try,

[11:02] and you realize you're gonna have to get up tomorrow and do it again,

[11:05] and the day after that, and the day after that.

[11:07] [Text on screen - NOW PLAYING: UP NO MORE]

Tzuyu [performing] : Um jigeumeun deo gireojigo got naeiri tto

[11:13] dagawa beorimyeon

[11:15] Momo [performing] : Stop stop tto ttodashi nal

[11:17] heundeulmyeon geureoke nan

[11:19] Dahyun [performing] : geuttae geunal gieokagopa

[11:20] hollanseureoun i bamdeulman gieongna geuman

[11:23] mera [speaking] : In writing terms,

[11:24] Jihyo is approaching the conflict from the subtext.

[11:27] Jihyo doesn't spoon feed the audience and she ups the tone by letting us

[11:30] pursue an underlying meaning.

[11:32] Its lyrics don't sound anything

[11:34] like what its lyrics are about.

[11:36] It's tonally hot and bouncy

[11:38] but the diction describes being eaten alive.

[11:41] [Text on screen - NOW PLAYING: HO!]

Chaeyoung [performing] : maeil georeotteon geu giri

[11:44] bunmyeong i giri manneunde

[11:47] oneureun dareun geot gata

[11:54] Momo [performing] : myeochil kkulkkulhan nalsshido

[11:56] oneureun hwachang haejin ge

[11:59] gwaenhi nal wihan geolkka

[12:04] Jihyo [performing] : Oh baby sesang modeun geotteul gotteuri

[12:08] machi nal wihae junbidwen geot gatjana

[12:11] Sana [performing] : eojjeom ireoke nal

[12:13] Jihyo [performing] : seollege mandeureo

[12:14] Sana [performing] : niga nal mandeureo

[12:16] Jihyo [performing] : niga nal mandeureo

[12:18] Nayeon [performing] : neo ttaeme meorissogeun

[12:19] Round and round and round

[12:21] nareul baboro mandeureo mandeureo tto

[12:23] Tzuyu [performing] : jakkuman useumi

[12:25] Nayeon [performing] : jakkuman useumi

[12:26] Tzuyu [performing] : nado moreuge Ho-ho-hoo

[12:30] mera [speaking] : In Ho, we get this literary text about

[12:32] measuring the exact steps you watch each day,

[12:35] obsessively checking the weather,

[12:37] spinning around like an idiot,

[12:38] and the subtext is love.

[12:40] I mean, yes, she does say that out loud but that's more

[12:42] for beat-effect than externalizing emotions.

[12:44] [Text on screen - NOW PLAYING: GIRLS LIKE US]

Nayeon [performing] : eonjebuteonji moreugesseo

[12:49] orotan namane kkumkkun geonji

[12:54] Jihyo [performing] : nae meorissok pantaji geu kkumdeuri

[12:59] eojjeomyeon heottwen himanginji

[13:02] TWICE [performing] : Girls like us uricheoreom geunyang dallyeo

[13:07] Girls like us duryeoum Oh gyeou

[13:13] geu gamjeonge jiji ma

[13:16] Girls girls girls like us

[13:20] mera [speaking] : In Girls Like Us, text is the detailed descriptions of daydreaming,

[13:24] the parallels drawn between running free and releasing fear,

[13:27] and the subtext is "girls should be free to grow up however they want."

[13:31] [Text on screen - NOW PLAYING: GET LOUD]

Chaeyoung [performing] : witaerobge seweoga neoye domino

[13:34] maneun shiseoni moyeo

[13:36] neoye deung dwiro

[13:38] Chaeyoung and Nayeon [performing] : neoye dwiro

[13:39] Dahyun [performing] : han beonjjeumeun dorabwa jalmottwen gillo

[13:42] gyeolguk neo honja nama

[13:44] gil ireun miro

[13:45] Dahyun and Nayeon [performing] : gireul ireo

[13:47] mera [speaking] : Get Loud is a little different since she co-wrote it with JQ.

[13:50] And I can't say for sure which lyrics belong solely to her,

[13:51] but the song as a whole is built on subtext:

[13:55] actions, behaviors, mentalities, indirect characterization,

[13:59] and most importantly the choices made by

[14:01] the speaker and the speaker's antagonist.

[14:04] [Text on screen - NOW PLAYING: GET LOUD]

Jihyo [performing] : balmite boin geu seon ap guji neomgettan mal (Get loud)

[14:08] Tzuyu [performing] : neomu wiheomhan jangnan geuman keunil na

[14:12] Nayeon [performing] : nae nunen jeolbyeok kkeuchinde

[14:14] han georeum ttemyeon neon? Get down

[14:16] Momo [performing] : neomu aseulhan sanghwang jeongmal keunil na

[14:19] Jihyo [performing] : (Might get loud)

[14:21] mera [speaking] : Since subtext tends to build on itself gradually,

[14:23] her lyrics are best consumed altogether.

[14:25] On the other hand when it comes to form,

[14:27] Jihyo has a pattern of mid-measure repetition

[14:30] and this is done for artistic effect as well as grammatical.

[14:33] She enjoys long descriptions that bleed into each other,

[14:35] where Chaeyoung is usually the opposite,

[14:37] short lines that stack against each other.

[14:39] [Text on screen - NOW PLAYING: SUNSET]

Nayeon [performing] : ttagaun Sunset

[14:41] barabogijocha himdeureo Baby

[14:45] Mina [performing] : du nuni ppa ppa ppa ppa ppalgaejeodo

[14:49] mameul nogigo maneun geol

[14:51] Jihyo [performing] : bulgeun jeo Sunset

[14:53] meolgeman neukkyeojineun neoyege

[14:56] dallyeoga ppa ppa ppa ppa ppa ppa ppa ppa

[14:59] ppa ppa ppa ppa ppareuge nege

[15:03] mera [speaking] : Jihyo's lyrics tend to be intense and passionate.

[15:06] Her songs are vivid and fearless

[15:08] and are largely first-person action and self-reflection,

[15:11] rather than speaking to an exterior audience.

[15:14] Jihyo tends to do an extremely

[15:16] in-depth character study of one specific struggle or emotion,

[15:19] whereas Chaeyoung does a much larger,

[15:22] more guided tour of multiple connected

[15:24] experiences within a song.

[15:26] One isn't better than the other,

[15:27] they're just doing different things

[15:29] and it is nice to look at the two of them

[15:30] because they are somewhat two sides of the same coin.

[15:33] Unlike Chaeyoung, Jihyo suffers more in terms of form

[15:36] because her writing is tailored to externalizing emotion.

[15:39] I think she has the tendency to overwrite

[15:42] and thus has to jam words together or cut them up.

[15:45] Jihyo is an example of writing too much at once

[15:48] and while it can be very beautiful, sometimes it costs her a hook.

[15:51] She'll write just a bit more than a line can take

[15:54] and the line gets either crammed into the measure

[15:56] or gets broken up over several

[15:57] and it can sound rather weird.

[15:59] As of right now,

[16:00] Jihyo is more interested or more experienced

[16:02] in conveying style rather than form

[16:05] so she and Chaeyoung contrast very nicely.

[16:07] They still both write great songs

[16:09] but one is very strong in form,

[16:11] and the other is very strong in style.

[16:13] The next most active TWICE members are

[16:15] Jeongyeon, Nayeon and Dahyun

[16:17] who each have five writing credits as of now.

[16:19] [Text on Screen: JEONGYEON]

[16:23] mera [speaking] : Jeongyeon has two solo works:

[16:26] "Love Line” from Twicetagram and

[16:28] “LALALA” from Yes or Yes.

[16:30] Oddly I feel that Jeongyeon's style

[16:31] is the one I struggle the most to get my hands around.

[16:34] Her style feels pretty standard

[16:35] for pop writing meaning she focuses on rhymes and catchiness

[16:38] but she's also not too cliché.

[16:40] She has an understanding of both form and style

[16:42] but she doesn't really present in one area or the other.

[16:45] [Text on screen - NOW PLAYING: LOVE LINE]

Nayeon [performing] : weonhajana

[16:47] mollae haru jongil ni saenggangman hajana

[16:50] Sana [performing] : neowa hamkke

[16:52] georeogago shipeo neowa naye

[16:53] dulmane Love line

[16:55] Jihyo [performing] : du soneul kkok japgo

[16:57] malhae jweo geudae nawa gateun maeumirago

[17:01] Momo [performing] : neowa hamkke

[17:02] I’m loving loving loving loving

[17:04] Loving that love line

[17:07] mera [speaking] : Love Line is mostly a list

[17:09] of the narrator's thoughts about her love interest.

[17:12] Jeongyeon has the same tick as Jihyo,

[17:14] where sometimes she overwrites

[17:16] and her lyrics have to step over

[17:17] themselves to fit but she still writes catchy stuff.

[17:21] Before we get into Sweet Talker,

[17:22] I saw a video a while ago where Chaeyoung said

[17:24] something along the lines of

[17:26] Jeongyeon started the lyrics for Sweet Talker

[17:28] but after Chaeyoung joined,

[17:29] they finished the song together.

[17:31] [Text on screen - NOW PLAYING: SWEET TALKER]

Tzuyu [performing] : aju dalkomhan mallo nal yuhokaetji

[17:33] neoye malgeun nuneun nal seollege haetji

[17:36] Sana [performing] : geurae geureoke dagawa jweo naege

[17:42] Jihyo [performing] : deutji ma Sweet talker

[17:44] Sweet sweet talker

[17:45] neo ttaeme yakaejijana

[17:48] Mina [speaking] : nae mam heundeun You you

[17:51] nae meorissogen ontong You you you

[17:54] mera [speaking] : Sweet Talker is also pretty much

[17:56] a catalog of the narrator's thoughts about the love interest

[17:59] and the lyrics are pretty typical of a K-Pop b-side

[18:01] but that issue with contraction is largely fixed.

[18:04] This song has stronger form

[18:06] and whether that's due to Chaeyoung's influence or Jeongyeon's development,

[18:09] I'm not sure, but I think they add to each other's assets.

[18:11] [Text on screen - NOW PLAYING: LALALA]

Sana [performing] : bappeun ilsangppuninde haneuldo Perfect haji

[18:18] Chaeyoung [performing] : chinguya japdam ije geumanago

[18:21] oneureun neoreul wihae shiganeul naejweo

[18:24] mera [speaking] : By LALALA, Jeongyeon has added action and setting description to her lyrics.

[18:29] The form of LALALA is very rhythmic and builds on repetition

[18:33] so lines like “clap your hands” and “let's go crazy”

[18:35] are just more fitting of a party song.

[18:37] The purpose is rhythm not imagery,

[18:39] but Jeongyeon continues to balance both

[18:41] which I really do like in her writing.

[18:42] From her solo work I think Jeongyeon is walking the line between form and style,

[18:47] and because her comfort in writing is still emerging

[18:49] I think this could be unconscious.

[18:51] Sweet Summer Day finally picks up on

[18:52] some of the poetic style lacking in the other songs.

[18:55] Jeongyeon [performing] : tteugeoun taeyanggwa hamkke momeul matgyeo bwa

[18:59] nunchi bol piryoneun Oh eopseo

[19:02] Chaeyoung [performing] : Baby

[19:03] mera [speaking] : This song was also written with Chaeyoung.

[19:05] Sweet Summer Day has some of these gorgeous sensory lines

[19:08] and I think if Jeongyeon wants to continue writing

[19:10] she could end up being a very balanced writer.

[19:12] [Text on Screen: NAYEON]

[19:17] mera [speaking] : Nayeon has three solo credits

[19:19] and her first lyrics were published in 2017.

[19:21] I really like her writing.

[19:23] She's got such a sincere tone and a very distinct sense of form.

[19:27] I think Nayeon's style is one that you can

[19:29] easily identify in TWICE.

[19:31] I also think her lyrics are

[19:32] mostly inspired by her own life

[19:34] and I really enjoy her rhythm patterns,

[19:36] particularly in her more recent work.

[19:38] [Text On-Screen - NOW PLAYING: RAINBOW]

Dahyun [performing] : teure bakin gamjeong eongmaeigin shireo

[19:41] neutji anasseo

[19:44] Sana [performing] : malgeun haneul kkeute

[19:47] bulgeunbiche shijak

[19:52] Momo [performing] : bogo shipeo gogael deureo

[19:54] bicheul ttara georeosseo

[19:58] [Text On-Screen - NOW PLAYING: MAKE ME GO]

Nayeon [performing] : jeo meolli seo inneun neon

[20:00] imi gakkaweojin deut neukkyeojyeo i sungan

[20:06] Jihyo [performing] : nal hyanghae gyeonggyehaneun duryeoume chan geu nunbit

[20:10] gwaenchana geokjeong ma

[20:14] [Text On-Screen - NOW PLAYING: DEPEND ON YOU]

Nayeon [performing] : eotteon nareun bami oneun ge duryeoul ttaedo isseo deoneun

[20:19] gidaedweji anneun achimeun gongheohago buranhae

[20:23] mera [speaking] : Her writing is so honest and personable,

[20:26] and that makes her songs really easy to relate to.

[20:28] Her style suits idol music really well

[20:31] and she's got a handle on all the tropes of pop lyrics.

[20:34] I think she's developing stronger and stronger hooks,

[20:36] but the bones are already there.

[20:38] [Text On-Screen - NOW PLAYING: RAINBOW]

Jihyo [performing] : gureum dwie gamchweojin

[20:42] saeroun gireul yeoreobwa

[20:45] Jeongyeon [performing] :neoye giri pyeolcheojil

[20:49] neolbeun haneureul georeobwa

[20:52] [Text On-Screen - NOW PLAYING: DEPEND ON YOU]

Mina [performing] : cheoncheonhi I’ll hold your hands

[20:56] I know you've been waiting for me, for me

[21:00] [Text On-Screen - NOW PLAYING: MAKE ME GO]

Mina [performing] : Love me love me now

[21:01] Love me love me good

[21:02] Don’t need nobody else when it feels this good

[21:05] Ain't nobody around, do it like you should

[21:07] TWICE [performing] : Do it do it do it do it

[21:09] Jihyo [performing] : Yeah you make me go

Chaeyoung [performing] : Love me love me now

[21:11] Love me love me good

Jihyo [performing] : (you make me go)

Chaeyoung [performing] : Don’t need nobody else when it feels this good

[21:13] Jihyo [performing] : (you make me go)

Chaeyoung [performing] : Ain't nobody around, do it like you should

[21:17] Momo [performing] yeogil bwa nan haechiji ana dagawado gwaenchana

[21:20] Tzuyu [performing] : gogael deureo juwireul dulleobwa

[21:24] eodil bwado najana

[21:27] mera [speaking] :Nayeon's grip on rhythm is really well developed in her two most recent songs.

[21:31] I just think she's a natural when it comes to form

[21:33] and she's already showing increasing creativity with her word choice.

[21:36] Her artistry is still a bit reliant on

[21:38] pop tropes and cliches, and she doesn't really write

[21:41] outside of her own immediate worldview

[21:43] but her sincerity more than makes up for it.

[21:45] [Text on Screen: DAHYUN]

[21:49] mera [speaking] : Dahyun mostly co-wrote her lyrics

[21:51] until Eyes Wide Open where she wrote two songs by herself.

[21:54] She co-wrote Missing You with Chaeyoung in 2017

[21:57] and later Trick It with JQ in 2019.

[22:00] I think her writing definitely benefited

[22:01] from collaboration with other writers

[22:03] before delving into her own songwriting.

[22:05] I'd argue she presents more strongly as a form and

[22:08] sound writer than a style and imagery writer,

[22:10] and I think she has great technique for rhythms.

[22:12] [Text On-Screen - NOW PLAYING: QUEEN]

Sana [performing] : maeil ttokkateun jangmyeondeuri banbokae

[22:15] aesseo gwajanghal piryoga eomneunde

[22:17] Momo [performing] : ttakttakhan pyojeong jeonghaejin daesaye

[22:19] [Text On-Screen - NOW PLAYING: BRING IT BACK]

Momo [performing] : idaero idaero Keep going

[22:21] geudaero geudaero Don’t stop it

[22:23] Nayeon [performing] : nugudo makji motal geoya

[22:28] Chaeyoung [performing] : I like it, I like it

[22:29] I’ll bring it back, make a point you can’t stop it

[22:31] mera [speaking] : She has this innate sense for theme and hook

[22:35] and she also loves witty one-liners.

[22:38] Her lyrics have a lot of cheek and they're quite smart

[22:40] and I think Dahyun, like Chaeyoung, enjoys metaphor and analogy.

[22:43] [Text On-Screen - NOW PLAYING: QUEEN]

Mina [performing] : Just a show

[22:44] Jihyo [performing] : jinjja shinario

[22:46] neol boyeojumyeon dweneun geoya inneun geudaero

[22:48] Mina [performing] : Just a show

[22:49] Nayeon [performing] : juingongeun neoya

[22:50] challanhan geudae baro

[22:51] Momo [performing] : You’re a queen

[22:54] Dahyun [performing] : jjayeojin gakbon eopshi

[22:55] eokjiro kkumimeopshi

[22:57] Mina [performing] : For real

[22:58] Jeongyeon [performing] : nuga mweora haedo

[22:59] ne moseup geu jachero

[23:01] Dahyun [performing] : You’re a queen

[23:02] mera [speaking] : Dahyun, in my opinion, is one of the

[23:04] funniest members in TWICE and her songs

[23:06] have these great bends of humor that can be rare

[23:08] in pop writing so they're always super

[23:10] funny to listen to.

[23:11] Then there's Momo and Sana

[23:13] who each have four contributions to TWICE.

[23:15] So far Momo has only co-written lyrics

[23:17] whereas Sana developed the lyrics for Do What We Like by herself.

[23:21] [Text on Screen: MOMO]

[23:24] mera [speaking] : Like Jeongyeon, Momo seems to have a grip on style and form.

[23:27] Now this is purely speculation

[23:29] but I think her lyrics are likely developed

[23:31] after the main sound of a song is developed.

[23:34] And where I am sure that is the case with a lot of TWICE songs,

[23:37] I think Momo's writing seems to serve

[23:39] the sound of a song more than the other members' writing.

[23:42] In this way I think she could go either way, style or form.

[23:45] That's going to be something to look at

[23:47] the more she writes independently

[23:48] but I do think that her style is less

[23:50] poetic and more chic and I think

[23:52] her songs have some very fashionable writing.

[23:54] [Text On-Screen - NOW PLAYING: HOT]

Chaeyoung [performing] : Oh mweoga Hot hadeun sanggwaneopseo

[23:57] mweodeun shishihae boineun geol

[23:59] naega tteugeopge tteugeopge Hot

[24:00] Dahyun [performing] : Burn it up hot baby

[24:02] Nayeon [performing] : Hot hot hot whoo woo

[24:06] Hot hot hot whoo woo

[24:09] [Text On-Screen - NOW PLAYING: LOVE FOOLISH]

TWICE [performing] : (Crazy love)

[24:10] Chaeyoung [performing] : I love you, love you, hate, foolish

[24:13] TWICE [performing] : (Crazy love)

[24:14] Chaeyoung [performing] : I love you

[24:15] Tzuyu [performing] : Make me feel so high

[24:18] TWICE [performing] : (Love)

Chaeyoung [performing] :I love you, love you, hate, foolish

[24:21] TWICE [performing] : (Crazy love)

[24:22] Chaeyoung [performing] : I hate you

[24:24] Momo [performing] : Make me so bad

[24:26] Nayeon [performing] : isanghae nege ppajyeodeulsurok

[24:30] mianhae neoreul miweohage dwae

[24:34] mera [speaking] : Her themes are very sophisticated

[24:36] and while the songs do eek out a line here and there,

[24:39] [Text On-Screen - NOW PLAYING: LOVE FOOLISH]

Dahyun [performing] : (Umm)

eogimeopshi kkeullyeodeureo Yes me

[24:42] (Umm umm)

[24:43] I want to give you permission, That’s me

[24:46] mera [speaking] : lyrical content is usually pretty solid.

[24:48] [Text On-Screen - NOW PLAYING: LOVE FOOLISH]

Momo [performing] : naega mani ani

[24:50] neoreul mani ani

[24:53] malhaji aneullae For myself

[24:55] halsurok haeroweo Toxic love

[24:57] [Text On-Screen - NOW PLAYING: HOT]

Momo [performing] : aniraedo jakku mami kkeullil kkeoya

[25:00] beolsseo neon naege ppajeosseunikka Yeah

[25:04] mera [speaking] : These are the kind of components that

[25:06] make Hot one of my favorite b-sides in TWICE

[25:09] because that combination of style and form

[25:11] is kept in such good balance.

[25:13] [Text on Screen: SANA]

[25:16] mera [speaking] : Sana has mostly done collaborative writing

[25:19] but she wrote the song "Do What We Like” off of Eyes Wide Open by herself.

[25:22] From the limited content available,

[25:24] I think Sana is sort of like the opposite to Nayeon.

[25:26] She seems to be a natural for artistic writing

[25:29] even if her form is underdeveloped.

[25:31] Her lines have some inconsistencies or clunkiness here and there,

[25:34] however her artistic writing is stellar.

[25:37] [Text On-Screen - NOW PLAYING: DO WHAT WE LIKE]

Momo [performing] : mulsogeseo makin

[25:39] gwireul ttulkoseo ullyeowa

[25:41] nal bureuneun moksoriga Yeah

[25:44] Jihyo [performing] : jeo mulgyeoreul tago

[25:46] nareul hyanghaeseo jeomjeom

[25:48] dagaoneun hanbal hanbal

[25:51] Sana [performing] : nun gamkkodo neukkyeojeo

[25:54] nasseolgido hajiman i iksukan neukkim

[25:59] Tzuyu [performing] : iyu gateun geon eopseo

[26:02] mitgo nuneul tteobwasseo nan

[26:04] Cause I know how this feels

[26:06] mera [speaking] : There is gorgeous figurative language and visual imagery in Do What We Like.

[26:11] Sana pays attention to these sensory details with such

[26:14] clear development that it makes me think she's been doing this

[26:16] a lot more behind the scenes.

[26:18] She weaves together poetics and cliches

[26:20] in a way that suits TWICE's current style.

[26:22] With more experience I think Sana could

[26:24] absolutely become one of the style powerhouses in TWICE.

[26:28] [Text On-Screen - NOW PLAYING: DO WHAT WE LIKE]

Jeongyeon [performing] : ni soneul japgoseo

[26:31] jeo gipikkajido gachi hemaeyeo

[26:35] Momo [performing] : Nananana

[26:36] Nayeon [performing] : huhwen eopseul kkeoya

[26:38] Say you won’t let me go

[26:41] I won’t let u go

[26:43] And we do what we like

[26:44] Momo [performing] : Nananana

[26:46] mera [speaking] : Finally neither Mina nor Tzuyu have written songs by themselves.

[26:49] Mina co-wrote Shot Through the Heart

[26:51] with the rest of the J-line

[26:53] and all of the members of TWICE wrote for

[26:54] 21:29 but because of this

[26:57] I don't really have a sense of their patterns

[26:59] or styles and frankly that's fine.

[27:01] Not everyone needs to be a songwriter

[27:03] and if they release more lyrics in the future,

[27:05] I'd be super excited to see how they develop.

[27:07] Nonetheless TWICE as lyricists continue to fascinate me.

[27:10] I love the way that they're developing

[27:12] their own styles instead of just writing all similarly

[27:15] to each other or similarly to J.Y.P., which could have easily happened.

[27:19] Every member who's written seems to be taking her time

[27:21] to create her own judgment

[27:22] and her own aesthetic vision of songwriting.

[27:24] That's why I think TWICE's lyrics

[27:26] can sometimes be so honest and so close to the audience.

[27:30] We're actually witnessing

[27:31] the diary of their world put to music.

[27:34] And that's why I think watching the development of

[27:36] their writing styles is going to be a real honor,

[27:38] especially since a lot of the members

[27:39] seem to have a genuine

[27:41] passion for writing for themselves.

[27:43] Anyway, that's the video.

[27:45] I hope you enjoyed and I will see you guys very, very soon.

End of Transcription

YouTube Channel: mera

Video Description:

Hooray for Saturday uploads! A look at the writing styles of the TWICE members, from Page Two to Eyes Wide Open. Adapted from the long-form discussion of Maureen McHugh’s approach to pillar theory and subtext in writing. Long video, whoops.

Chapters: 0:00 Writing Styles 2:24 Chaeyoung 8:38 Jihyo 16:19 Jeongyeon 19:13 Nayeon 21:45 Dahyun 23:21 Momo 25:14 Sana 26:46 Mina & Tzuyu

#TWICE #ICantStopMe #EyesWideOpen

On screen translations provided by colorcodedlyrics: Handle It – perfesian, Wozumo Don’t Give Up – pop!gasa, Wozumo Young & Wild – Sesamee_giraffe, Wozumo Strawberry – pullava (at Onehallyu), Wozumo Up No More – KosmoSub, Wozumo Ho! – pop!gasa, Wozumo Girls Like Us – pullava (at Onehallyu), Wozumo Get Loud – LyricsTranslate, tsundere Sunset – pullava (at Onehallyu), Wozumo Love Line – pop!gasa, Wozumo Sweet Talker – pop!gasa, Wozumo LaLaLa – genius, Wozumo Sweet Summer Day – KosmoSub, Wozumo Rainbow – KDHSOURCE, tsundere Make Me Go – Dejaboo Queen – KosmoSub, seraphina Bring It Back – KosmoSub, seraphina Depend On You – perfecsian, Wozumo Hot – pullava (at Onehallyu), Wozumo Love Foolish – LyricsKpop, tsundere Do What We Like –KosmoSub, Wozumo

Resources, because domestic terrorism by white supremacists should never be equated with standing up to oppression and police brutality for the basic right to live: Black lives still matter: https://blacklivesmatters.carrd.co/ Fight SARS: https://endsars.carrd.co/ Black Lives Matter Donation Box: https://secure.actblue.com/donate/ms_... Black Visions Collective: https://www.blackvisionsmn.org

Disclaimer: Following Section 107 of the Copyright Act 1976: [T]he fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. No infringement is intended.

CVT Disclaimer: None of the videos I transcribe belong to me. They belong to the content creators and the crew behind the videos. Please keep in mind that my transcripts may not be 100% as I am not a professional. I'm just someone who wants to provide video transcripts for people to understand and enjoy these videos. For this video, I focused on the speaker and used the romanization version of the lyrics by colorcodedlyrics for the on-screen lyrics as she mostly focuses on those for her explanations. For an expanded version of the transcript which included linked sources and notes, please refer to the Proton Doc hyperlinked here.

If there are any corrections you would like me to make, let me know in the comment section of the post.

If you like this video or any other videos from mera, please support her by watching her videos on her YouTube channel and/or through other means by her.

If you wish to support the sites that were used for the on-screen translation as well as this transcription, I have provided links between this disclaimer and my personal notes where you can donate/tip their authors. If you are able to, please support the sites I have used as resources whether it is through monetary means or through helping them out with songs. If there are other methods of aid for them, please let me know and I’ll update the post.

Color Coded Lyrics [Tip/Donation Page][Ko-Fi]

Popgasa [Song Request Page]

Personal Notes: Hi everyone! This video was a long time coming. This was started back around March 2023 but I put it off due to personal reasons such as my health and recent events. I'm much better now so I'm ready to post this once and for all. You may have noticed me posting other stuff beforehand. I guess I wanted to change it up a bit while allowing time for me to work on this.

They definitely evolved as artists over the years so consider this prologue or a time capsule to their beginnings. All of them definitely written more, gained and explored more opportunities, and expanded their creative abilities. It feels surreal. I'm happy for them.

After this post, I'll probably spend some more time over at Nerdfighteria transcribing more videos. I'll definitely peruse some more YouTube channels that I'm interested in. Maybe I'll do a poll. Who knows. Until then, I'll catch up with y'all next time.

Take care.

You got this!

#Youtube #mera #twice #chaeyoung #jihyo #jeongyeon #nayeon #dahyun #momo #sana #mina #tzuyu #im nayeon #yoo jeongyeon #momo hirai #sana minatozaki #park jihyo #mina myoui #kim dahyun #son chaeyoung #chou tzuyu #casual video transcripts #the writing styles of twice

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