Who Wrote The Likey Lyrics And Who Owns Rights?

If you're digging into who actually wrote the lyrics for 'Likey', the short version is: the lyrics were penned by Seo Ji-eum. I’ve always loved that detail because her writing often nails that blink-and-you-feel-it pop-sensibility—teenage anxieties wrapped in catchy hooks—and 'Likey' is a prime example. The track itself was released as the lead single from 'Twicecoaster: Lane 1' in 2017, and the production was handled by Black Eyed Pilseung with Jeon Goon credited on the composition side. I still get a little thrill thinking about how the lyrics mirror social-media-era jitters—wanting attention, curating a perfect image—while the melody refuses to be anything but buoyant. When I first heard it on a sunny afternoon commute, the juxtaposition hit me: bright, addictive music with lyrics that feel like a tiny diary entry about craving validation. If you’re tracking credits for a playlist or a write-up, list Seo Ji-eum as the lyricist and Black Eyed Pilseung and Jeon Goon as the main creative team behind the song. It’s a neat little collaboration that shows why TWICE’s pop hooks stuck so fast.

When I collaborate on lyrics I usually think in two halves: who actually wrote the words and who legally owns the music and words afterwards. In practice, the people who 'wrote lyrics with you' are anyone who contributed original, substantive lines, rhymes, or structural sections that are intended to be part of the finished song. That could be one friend who helped finish a chorus, a producer who rewrote a verse, or someone you co-wrote with over a late-night voice memo. Casual suggestions or tiny tweaks (a single word swap) usually don’t count as co-authorship, but a clear new verse or melody line does. On the ownership side, copyright generally vests in the creators as soon as the work is fixed in a tangible form (recorded, written down). If you and I both wrote the lyrics, we are joint authors of the composition unless we agreed otherwise. Rights can be split any way you negotiate — equal shares are common by default, but you can set specific percentages using a split sheet. Publishing rights (the composition) are separate from master rights (the recorded performance). So even if you and a friend co-own the lyrics, the master recording might be owned by whoever funded or produced the recording (or a label) unless the musicians kept it. Practical things I always do: get a signed split sheet before release, register writers and splits with performance rights organizations (PROs), and register the work with the copyright office if I think the song will matter commercially. If someone was paid as a ghostwriter or the work is 'work for hire', that changes who ends up owning the rights — so write it down. If you want, I can sketch a simple split-sheet template and a checklist for PRO registration.

If you're thinking of singing 'LIKEY' in a cover video, the short reality is: singing the song on camera and uploading it isn’t automatically legal just because you performed it yourself. Copyright covers two things here — the musical composition and the sound recording — and the lyrics belong squarely to the composition side. Platforms like YouTube have big licensing deals that make a lot of covers possible, but those deals don’t erase the need for permissions in all cases. From my own fumbling-through-legal-stuff experience, here’s the practical breakdown: if you sing the lyrics in your video, the publisher (often the songwriters’ or label’s rights holder — for 'LIKEY' that’s typically JYP and associated publishers) controls that. YouTube usually processes covers through Content ID: your video might stay up but get monetized by the rights holder, or it could be blocked in some countries. If you put the lyrics on-screen as a lyric video, that’s a different beast — printing/displaying full lyrics often needs explicit permission (a sync or print/lyric license) and many publishers won’t allow it without a deal. If you want to stay safe: 1) Check the platform’s music policy tool (YouTube has one) and see how covers of 'LIKEY' are treated. 2) Use a licensed backing track or record your own arrangement — but remember that a video still needs a sync license in many places. 3) For distribution and monetization, services like DistroKid offer cover-song licensing for audio on streaming platforms (not always for video sync). 4) If you're serious, contact the publisher or use a licensing service (Easy Song Licensing, Lickd for video-friendly tracks). I once uploaded a cover and got a Content ID claim redirecting ad revenue to the label — not the end of the world, but not what I wanted either. So weigh how much you care about monetization vs exposure, and maybe start by posting short clips on TikTok/Instagram where platform licenses tend to be broader — but avoid posting full lyric overlays unless you’ve cleared them. Hope that helps — and I’d love to hear your take or the cover if you make one!

I still get chills when that opening synth hits in 'Feel Special'—it's one of those K-pop tracks that made me dive into credits like a tiny detective. If you want the exact lyricist names, the single-source truth is the official credits: check the CD booklet, the label's press release, or the credits shown on Melon/Apple Music/Spotify. In Korea, the Korea Music Copyright Association (KOMCA) database will list the lyricists and composers verbatim, and that’s usually the cleanest way to see who wrote what. As for who owns the rights, think in two parts: the song (composition/publishing) and the recording (master). For 'Feel Special' by 'TWICE', the master recording rights are held by the record label that released the song—so JYP Entertainment typically owns the master for their releases. Publishing (the lyrics and composition) belongs to whoever the songwriters assigned their rights to—often the writers themselves plus whatever publisher handles their catalog. Many K-pop songs have publishing administered by the label’s in-house publisher or by partner publishers overseas, and performance royalties are collected through KOMCA. If you need the exact legal names for licensing, pull up KOMCA or the album credits—those will tell you who to contact for mechanical, performance, or synchronization licenses.

I get a little giddy whenever someone asks about 'Likey' lyrics — it's one of those songs I still hum on the subway. If you want an English translation, the easiest starting point is the official 'Likey' upload on Twice's YouTube channel: toggle the CC/subtitles and often you'll find English subtitles or auto-translated captions. I always compare those with the song’s listing on Spotify or Apple Music because their lyric features sometimes include official translations too, and seeing the synced words while the song plays makes everything click. For deeper, fan-driven translations I head to Genius first. The line-by-line annotations on Genius often point out cultural references and alternate readings that official subs skip. I also love Color Coded Lyrics for K-pop — it gives Hangul, romanization, and multiple English translations side-by-side, which is gold when you're learning nuance. If I want raw Korean text to feed into a translator, I grab the original from Melon or Naver Music and then run it through Naver Papago; it’s usually better with Korean than generic machine translators. My ritual: watch the video with YouTube captions, open Genius for notes, and skim Color Coded for clarity. It’s a small ceremony that turns a three-minute earworm into something I can actually sing along to in Korean and English. Sometimes translations differ wildly — that’s a feature, not a bug. Fans interpret slang, tone, and even emojis differently, so I like to cross-check a couple of sources. If you’re picky about accuracy, look for community consensus on Reddit threads or fan sites, and if you want to practice singing, pull up the romanization too. Happy belting out the chorus next time it comes on; it’s impossible not to smile.

I get a little giddy every time 'LIKEY' comes on, because it's one of those songs that captures this bright, nervous kind of crush so well. At the surface, the title 'LIKEY' is playful — it's basically taking the English verb 'like' and turning it into a catchy noun/adjective, with a wink toward social media: you want people to 'like' your photos, your smiles, your vibe. In Korean, the lyrics mix bold, bubbly lines with moments of insecurity, so the mood flips between "look at me" and "please notice me." That tension is exactly the point. If you parse a few recurring ideas, you’ll see: the singers talk about wanting to show themselves (posing, smiling, posting), being obsessed with small details about the person they like, and feeling oddly silly or clumsy because of their feelings. Lines that mean something like "I like everything about you, even the little things" or "Why am I acting like this?" are typical — the Korean captures subtle shyness (like "내가 왜 이래" = "Why am I like this?") while the English hook punches the poppy, shareable vibe with lines like "got me likey." For me, it’s both a modern love song and a snapshot of young life where romance and online image blend together. I always end up dancing along and checking my phone like a goof, which tells you how well it works.

Whenever I dig into a title that’s as generic as 'Pulling Strings', I take a detective’s approach because multiple works can share that exact name. First, identify the medium — is it a song, a book, a film, or maybe an episode? For a song, the writer is usually credited as the songwriter(s) and the publishing company owns the publishing rights; the record label typically owns the master recording. For a film or TV episode, the screenwriter is credited as the writer, while copyright and distribution rights are generally held by the production company or studio unless those rights were sold. I normally check three quick sources: the credits (liner notes, end credits, or the cover), databases like IMDb for film/TV or AllMusic/Discogs for music, and the official copyright registry in the relevant country (in the U.S., the Copyright Office). Performing rights organizations such as BMI, ASCAP, SESAC, PRS, or SOCAN are great for song publishing info — they list songwriters and publishers. If it's a book, WorldCat and the publisher’s imprint will tell you the author and current publisher. So, when someone asks ‘Who wrote ‘Pulling Strings’ and who owns the rights?’, the right reply is: it depends on which 'Pulling Strings' you mean. Once you pin down the medium and edition or release year, you’ll be able to find the credited writer(s) and the rights owner(s) — publisher/label/studio — in those places I mentioned. I love this kind of sleuthing; it’s like following crumbs to the source and always feels satisfying when everything clicks into place.

Whenever 'Likey' comes on my playlist I can’t help but sing along—except when I confidently belt a totally different line than the actual lyrics. The title itself is the most notorious culprit: lots of listeners hear 'Likey' as 'I like you' or 'I like ya', which is understandable because of the way the chorus leans into a breathy, upbeat delivery. Other frequently misheard bits are quick ad-libs that sound like plain English words—'baby' and 'maybe' get swapped all the time, and fast consonant runs in the verses become things like 'look at me' or 'look at you' in people’s heads even if the original Korean syllables are different. Cause-wise, it's a cocktail: mix of mixed-language lyrics, compressed pop production, backing vocals, and that breathy pop timbre. Non-Korean speakers especially latch onto familiar English fragments and reshape the Korean syllables into something that fits their ear. My little trick is to check the official lyric video or a clean translation while listening on low volume; the difference between hearing a word in isolation and hearing it in context is wild. Fandom threads and subtitled covers are also a goldmine for clearing up these fun mishearings, and honestly, half the joy is sharing a laugh about what we thought they said versus what was actually sung.

I never expected to get this curious about MV subtitles, but it's a small obsession of mine now. For 'Likey', the official music video on the group's channel doesn't show on-screen lyrics painted into the video itself the whole way through like a lyric video would. What you usually get is the polished MV with visuals and occasional text overlays for stylistic reasons, not a continuous line-by-line lyric subtitle. That said, YouTube often offers closed captions (CC) — sometimes official, sometimes autogenerated — so if you click the CC button and check the settings you might find Korean captions or an auto-translated English track. If you want the cleanest lyrics experience, I start by looking for a separate 'lyric video' upload or an official audio upload that explicitly says 'lyrics' in the title. Streaming services like Spotify and Apple Music also include synced lyrics now for many K-pop tracks, which is handy when the MV itself doesn't. Fan uploads and community translations will fill in gaps too, but be mindful they can have mistakes. In short: the official MV for 'Likey' typically doesn't include embedded, on-screen lyrics throughout, but there are official subtitle tracks and separate lyric uploads you can use — and the CC/autotranslate features are a decent fallback if you need quick translations.

I was poking around the liner notes of an old CD the other day and that exact question popped into my head — who actually owns the lyrics to 'Demons'? For most commercially released songs the short story is that the people who wrote the words (the songwriters) own the copyright in the composition, and their music publishers administer those rights. That means if you want to reproduce the lyrics, print them on merch, or use them in a film you usually need permission from the publisher (and often to negotiate with the record label for the master recording if you want the actual recording). In practice, for a track like 'Demons' the rights are split into two camps: the composition (lyrics and melody) and the sound recording (the recorded performance). The composition is owned by the songwriters and their publishers; the master is owned by the record label that released the track. To find the exact legal owners, I go to the performing-rights organizations — ASCAP, BMI, SESAC, PRS, etc. — or check the album credits and the U.S. Copyright Office records. Those sources will list the writers and the publishers who control the lyric rights. If you’re trying to license anything (cover, sync in a video, print lyrics on a website), start with the publisher listed in those databases. For lyric display specifically, there are services like LyricFind and Musixmatch that have licensing deals, and for synchronization you’ll need to talk to the publisher directly. I learned this the hard way when I tried to use a chorus in a student film and ended up having to rework the scene — less dramatic, but a good lesson in copyright paperwork.