I want to annoy
And I'm going to enjoy it
Merely cause we're bored
Merely because we're bored
Cause all you do is hope
You're all f*cking hopeless
And it's the Lord of the Flies all over again
It's the Lord of the Flies all over again
Now who holds the shell
Will be Caesar
You can even have it written on your T-shirt
Now who holds the show
Will be Caesar
You can even have it written on your T-shirt
Here we go
King of the hopeless will fall
We're gonna knock down the walls
Sing in the Caesar with force
We're gonna knock down these doors
I've heard it all before
And I chose to ignore it
There's someone at your door
There's somebody at your door
Prepare for the test
You'll all get infested
Now it's the Milgram device all over again
It's the Milgram device all over again
Now who holds the shell
Will be Caesar
You can even have it written on your T-shirt
Now who holds the shell
Will be Caesar
You can even have it written on your T-shirt
Here we go
King of the hopeless will fall
We're gonna knock down the walls
Sing in the Caesar with force
We're gonna knock down the walls
We're gonna knock down these doors
Hey Caesar
Yo Coco
Hello Geezer
Hey Mama
Can you fly?
Yep
I thought Robins could fly
Whatever
Huh?
We're gonna knock down the walls
King of the hopeless will fall
We're gonna knock down the walls
Sing in the Caesar with force
We're gonna knock down the walls
Knock down the walls
King of the hopeless will fall
Knock down the walls
Sing in the Caesar with force
Knock down the walls
I'm going to enjoy it
The first music video I have chosen to analyse as part of my planning is 'Caesar', by an upcoming British musician releasing under the band name of I Blame Coco, and featuring artist Robyn. Before even watching the accompanied video, the music allows us to interpret the songs message and grasp the same themes and ideas that are portrayed within the official edit. It's upfront, powerful lyrics and pulsating beats conveys thoughts of bleak imagery, although to the brim with fight and attitude. These perceptions are included in the music video itself with the use of sterile colours, obscure items of iconography and oodles of energy from both vocalists throughout.
The video starts along with the music and begins at the sight of somebody's face, whose identity appears to be unknown and is begging to be questioned, as their hair hides any recognisable features. This already enforces a sense of mystery and enigma within the first few seconds. A cold and somber atmosphere is also present, as a strong wind is evident when the girls hair is blown, and her hand is seen tightening what seems to be a coat, enhancing this icy feel. At 0:04, we are then shown an establishing shot of a towering industrial building, with the dreary skies behind again enforcing a melancholy mood. The shake of the camera as it films gives us the sense of voyeurism and that we are looking up at the establishment as an onlooker ourselves which helps us relate our understanding throughout the video. The soft chimes in the intro of the song, and lack of other sounds, also creates a feel of desertion and correlates well with the image of what could be seen as an abandoned building. A short clip of a spinning wheel is next shown, suggesting child-like connotations when attached to the music, and the absence of other movements supports previous claims. The girl who was first filmed at the start of the video is then shown as a close-up, and with her face now evident, most would be able to realise she is the lead singer. The camera centres on her eyes, and lead with anticipation, zooms out to properly reveal her face which can portray many meanings from her expression. Her squinted eyes and furrowed brows convey anger and antagonism, although the running mascara at the same time suggests grievance an
d distress from Coco, providing a sense of vulnerability yet reinforcing the mystery evident earlier. Although out of focus, we are also able to notice the lively actions of people in the foreground, which brings us to believe she is an outsider and at contrast to all the happenings behind her.
Once the music kicks in to rhythm with a powerful but haunting bassline, the pace in editing begins to quicken. We are also greeted with many an intertextual reference, in implication of Julius Caesar, whose name is the song title and is a main focus point within the lyrics. Caesar was a famous Roman military leader in very early years, and played a great part in our history. The sight of weaponry and armour worn relates to these times, and this heavy use of iconography correlates well with his mention in the song. The first shot seen conveying this is at 0:11, where we notice the hand of somebody in grip of what is thought to be perceived as a sword. This could be symbolised as a sign of rebellion and suggests that havoc is taking place. Next is a shot of their feet, wearing trainer boots, and a second shot of the carrier's weapon as it is dragged across the floor. This style of shoes were quite obviously not worn in the era of Julius Caesar, and so instead clashes their clothing with inclusions from contrasting centuries altogether. The rough and rugged look to the boots also enforces the aforementioned idea of rebellion. These similar shots continue throughout the entire sequence, although their faces are rarely noticeable (excluding Coco and Robyn), and is solely focussed on various other parts of the body. This once again ignites an ongoing thought of suspicion and secrecy. The video is also dominated by greys, blacks and whites, and this lack of colour enhances the gloomy mise en scene intended.
As the sound builds, Coco is made centre of attention and overpowers the sequence, which is natural her being lead vocalist, and we manage to finally get an insight into her character within the video due to this. Her continuous movement of her body and often her fists, angsty facial expressions into the eyes of the camera and spitting of the lyrics conveys an aggression from Coco that is supported by the speed in cuts and editing and proves she is passionate about what she is saying. The words of the song corresponds well with the attitude of hers portrayed; "I want to annoy/And I'm going to enjoy it", she enters with at 0:22, wearing almost a devilish smile. This carefree sensibility suggests an act of defiance from Coco and is proof of the previous ideas of disobedience. Her choice in clothing also encourages these thoughts, dressed as a stereotypical "rebellious teenager", in a t-shirt, short-sleeved denim jacket and boots alike those seen earlier. A Roman-themed headdress is also worn as reference to the times of Caesar, as wreaths of this style are commonly associated with this period.
Although the vocalists outrage appears obvious, the songs actual meaning could be viewed as quite ambiguous. "It's the Lord of the Flies all over again/Now who holds the shell will be Caesar", is exclaimed at 0:40 and provides a second intertextual reference, this time of the classic novel written by William Golding. However with knowledge of the book, this lyric helps us create a general understanding of the story behind the song and video. The novel is about a group of schoolboys who become stranded on a desert island and have to govern for themselves. The boys decide that, as a rule, only one member of the group may be permitted to talk at any given time, and that person is the one holding the conch shell that was discovered on the beach. Therefore whoever had hold of the shell, had the power to talk whilst the rest were made to remain silent and listen to what was said, overruling the group like an emperor - alike Julius Caesar. This is an evident association and allows a greater appreciation of the lyrics, now suggesting that Coco is tired of being controlled and refuses to do what is told. The ru
les given within 'Lord of the Flies' leads to carnage and results with disastrous consequences, so this idea is enhanced in the video, with a strong element of chaos and the recurring sense of rebellion. The first noticeable act of anarchy at 0:57 is shown to coincide with the dramatic opening of the chorus, when one person runs along the hallway, branding a weapon and screaming silently. This is a reminder of the trouble and suggests that turmoil is not far from taking place. The chorus also introduces us to Robyn for the first time, as this is where she len
ds her vocals to the track. She shares the same styling, emotion and frantic movements as Coco, although often avoids eye contact and is filmed to the side or from above. This could suggest a sense of vulnerability. She also repeatedly attempts to cover her face with the hood of her coat, which enforces Robyn's sensitivity and yet again illustrates an enigma, as we are left suspicious.
The short instrumental between the chorus and second verse at 1:19, is accompanied by shots of what appears to be a mellow contrast to the energetic scenes previously. The camera pans as Coco and Robyn sit visibly frozen and awkwardly on a bed, the people surrounding them acting the same way. This could be perceived as though they are in preparation for conflict and waiting for the 'battle' to begin, in reference to Caesar, as both females stand united at 1:35 and movement picks up again with them.
By the time we reach the chorus for the second time round, a new set in scenery is presented, of what is seen to be on a rooftop - the location suggested at the beginning of the sequence. Coco and her companions appear to be starting a revolt, as they jump around with the purpose of causing trouble. They are again dressed in suits of armour and other items of clothing that also suggest "battle" connotations, ephasising the point of rebellion. Most shots are also put in slow motion for this section of the song, which adds to the drama of the music. Coco is se
en raising her arm in the air and threateningly repeats the lyrics, which again gives us the impression that a rebellion has begun and is out to cause chaos, expressed through her aggressive nature. Robyn is however not evident in this scene, and so shots from the previous scenes are instead utilised - as she does play a main focus in this section.
