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A Critical Essay Exploring the Recurring Themes in the Music Videos of…

- - - - Relationship between the lyrics and the visuals: 'If you love me let me go', in the context of the music video, could be talking about a person in bad health who simply wants to die but keeps trying to be saved by the people around them (doctors, family, friends, etc.)
      - Relationship between the music and the visuals: Brendon is struggling against the surgeons with the beat of the song. The video is also cut to the beat at multiple points. At the end, when Brendon dies and we can hear the heat monitor and heartbeat slowing down, the video fades out to white - like the 'white light' described when people die.
      - The demands of the record label will include the need for lots of close-ups of the artist: Brendon is the protagonist of the video, and he is lip syncing to the song throughout.
      - At least two types of video: The video is narrative-driven (as evidenced by it being part of a trilogy) but it is also performance-based as Brendon, the lead singer, is lip syncing.
    - - There is a lot of black, which has connotations of death and disease.
        
        In fact, for the most part the video is quite unsaturated and even appears to be black and white in some places. (1:53) This lack of colour can be related to lack of life and a person coming closer to death.
        
        At 1:53, above the water the screen is saturated. Under the water, the screen is not. This could be another metaphor, colour = life, lack thereof = death.
      - Brendon is placed in a coffin - this obviously is linked to death.
        
        They are putting nails into the coffin; perhaps this is resemblant of the idiom 'the final nail in the coffin. https://dictionary.cambridge.org/dictionary/learner-english/the-final-nail-in-the-coffin 'an event that causes the failure of something that had already started to fail'
      - The heartbeats failing and the heart monitor flatlining is connotative of death.
  - - - There are many unsaid meanings for death. First is the white light at the beginning, along with the heart monitor flat-lining and the failing heartbeat from This Is Gospel.
        
        Then, Brendon is standing in a cloudy but white and bright area while the sounds of gates open; Heaven's entrance, where one may arrive after death, is often depicted atop clouds with golden gates.
        
        There are a lot of skeletons surrounding Brendon.
        
        At the end of the video, Brendon is bathed in grim light and we can hear heavy gates open as well as people screaming. This is likely symbolic of hell, where it is believed that some people go after death.
    - - Relationship between the lyrics and the visuals; throughout the video we see Brendon turning into a demon. A lot of the greedy-sounding lyrics 'if it feels good ... it must be mine' and 'i see what's mine i take it, finders keepers losers weepers' are similar to the Christian demon Mammon, the demon of wealth, who also symbolises greed. 'Snatch your chains and mace your eyes' symbolises wrath - the demon of wrath is Satan.
      - Relationship between the music and the visuals: The hard cuts and dark lighting are representative of the rock genre of the song.
      - The demands of the record label will include the need for lots of close-ups of the artist: Brendon is the protagonist of the video, and he is lip syncing to the song throughout.
      - Intertextual references: The music video is the third part in a music video trilogy. However, it was created second.
        
        It is also titled 'Emperor's New Clothes' , which is a short story written by Hans Christian Anderson centering around a vain emperor.
      - At least two types of video: The video is narrative-driven (as evidenced by it being part of a trilogy) but it is also performance-based as Brendon, the lead singer, is lip syncing. The video is also conceptual as its basis (heaven, demons) is abstract and not proven to be reality.
  - - - Andrew Goodwin
        
        At least two types of video: The video is a narrative as well as a performance video.
        
        The demands of the record label will include the need for lots of close-ups of the artist: Brendon is lip syncing to the song throughout and we can also see the other band members playing their instruments.
        
        Relationship between the music and the visuals: The video is cut to the beat.
        
        Relationship between the lyrics and the visuals: At the climax of the video's story, Mary is revealed to be the one who killed Brendon's character. After this discovery, as Brendon's character watches her be taken away to be punished, he sings 'there's nothing wrong with just a taste of what you've paid for', suggesting that Mary has earned her retribution.
        
        Intertextual references: The setting of this music video is an abandoned church, the same church from their 2005 music video for I Write Sins, Not Tragedies.
        
        The fire in Brendon's eyes at the end of the video could be a possible reference to Michael Jackson's thriller video where the supposedly good character is revealed to be evil with something akin to demonic cat eyes.
        
        The aesthetic of the video is referencing the steampunk sci-fi subgenre, which involves aesthetic design surrounding steam-powered technology from the 1800s.
      - Semiotics
        
        The cobwebs, dusty tophat and closing of the door symbolises the 'death' of the past and subsequently moving on from it.
        
        This is supported by the fact that the album that The Ballad of Mona Lisa belongs to, Vices and Virtues, is the band's first album since the departure of former band members Ryan Ross and Jon Walker.
        
        The old-style aesthetic also represents an era gone-by.
        
        There is a contrast between the colour black and the rest of the colours; this could be symbolic of separation between the dead and the living, especially the kind of separation that Victorians attempted to create at their funerals.
      - The multiple steps seen throughout the video are steps taken at Victorian funerals in order to ward off spirits and help the living.
- - - - Intertextual reference: "Build god and then we'll talk" is a quote from Chuck Palahniuk's book Choke. https://www.songfacts.com/facts/panic-at-the-disco/build-god-then-well-talk
      - Video demonstrates genre characteristics: The video cf 'emo'/'rock' music themes ; the woman is committing adultery, as is the mime.
      - Relationship between the lyrics and visuals: 'what a wonderful caricature of intimacy' (sarcastic); the mime mimes a proposal to the woman and he also mimes sex for a living.
      - Relationship between music and visuals: Video is cut to the beat.
    - - The sepia and black and white filters used give an old-style feeling. THis might relate to the idea of miming; even in 2007, when the video was released, miming was a relatively old practice.
      - The mime's sad makeup (downturned lips, raised eyebrows) could be symbolising his sadness in multiple scenes.
  - - - Intertextual reference: The title is a reference to a line in the film Closer. "Lying is the most fun a girl can have without taking her clothes off, but it's better if you do."
      - Video demonstrates genre characteristics: The song is about infidelity, and rock music often deals with such.
      - Relationship between music and visuals: Video is cut to the beat.
      - At least two types of video: The video is narrative-driven (as evidenced by it being part of a trilogy) but it is also performance-based as Brendon, the lead singer, is lip syncing.
  - - - Intertextual reference: The video is inspired by D’Angelo’s ‘Untitled (How Does It Feel). Same background, single shot, nude male, stops before pubic area.
      - Relationship between the lyrics and visuals: The song is about a man in a casual relationship with a bisexual woman; at 2:39 two women come into frame and start making out, then fawning over Brendon.
      - Relationship between music and visuals: Video is cut to the beat. Chorus beat kicks in as Urie crashes the wedding.
      - The demands of the record label will include the need for lots of close-ups of the artist: Brendon lip syncs throughout the whole video and is not wearing a shirt.
      - References to the notion of looking (sexual treatment of the female body): The women are only wearing bras when they make out, and Brendon is at the centre of them. This is a common issue in the media (sexualisation of wlw - women loving women as well as sexualisation of women in general).
        
        Possibly the male gaze, but perhaps not from a purely heterosexual male view (as Urie is pansexual).
    - - Brendon's (and the two other women) state of nudity is representative of the sexuality in the song.
        
        It also could be representative of the concept of baring yourself, not only physically but emotionally, in a relationship. This could be the case as the song is about more than just a casual relationship.
- - - - Relationship between lyrics and visuals: 'back to the street' = there is a parade around the street. 'nine in the afternoon' there is a background character holding a clock with the arrows indicating 9 o'clock
      - Relationship between music and visuals: music is cut to the beat. There are clapping sounds when the people are clapping, and we can see people playing instruments when we hear the coordinating sounds.
      - The demands of the record label will include the need for lots of close-ups of the artist: There are several shots of all band members - especially Brendon as the lead vocalist.
      - References to notion of looking: television,
      - Intertextual references: The music video is majorly inspired by The Beatles. Their soldier-esque clothing references Sgt. Pepper’s Lonely Hearts Club Band. Different room colours are like The Beatles’ movie Help!. The animal costumes are like The Beatles’ I Am the Walrus. When the band are running away from a crowd of screaming girls, they are referencing A Hard Day’s Night.
        
        The Beatles are heavily linked to drug culture, having taken drugs such as cannabis, LSD, cocaine, heroin and various stimulants.
      - At least two types: conceptual, performance & other
    - - The white vignette around the pink-themed, psychedelic dream sequences suggests the hazy nature of taking hallucinogens.
        
        There is a black vignette around the other sequences - black's negative connotations could lead to the inference that, in this video, Panic! are implying that the world is less happy/colourful when not under the influence.
      - The psychedelic nature of the dream sequences is resemblant of hallucinogens.
    - - The title came from our drummer, Spencer Smith—we were high and he was like, “Yeah, I don’t know what time it is but it feels like nine in the afternoon.” https://genius.com/4064541
  - - - Relationship between the lyrics and the visuals: the song is about Brendon's experience with the music industry, and the video details that.
      - Relationship between the music and the visuals: Video is cut to the music. Brendon is lipsyncing.
      - The demands of the record label will include the need for lots of close-ups of the artist: Brendon's muppet is in the video heavily, as is Brendon in some clips.
      - References to the notion of looking:
      - Intertextual references: Though not modelled after anything in particular, muppet Brendon could be paying homage to pop-culture puppets like the Muppets and Sesame Street characters.
        
        At 0:57 muppet Brendon can be seen on magazine covers referring to Rolling Stone (seen as 'Rolling Sown'), Spin (seen as 'Spun'), billboard (seen as 'billedboard'). Brendon's drug-related endeavours are documented on TMZ inspired news outlet 'TMZzz'.
      - At least 2 types: Narrative, performance and concept
    - - Shots follow of him being severely hungover with bottles of alcohol and cigarettes surrounding him; Brendon has become addicted to these drugs.
        
        Brendon throws up multiple times through the video, displaying how much and long the drugs were getting to him.
        
        Brendon is surrounded by almost a dozen bottles of alcohol at 2:00. Shortly after, he engages in BDSM sex with a man and a woman with him as the one being controlled; this could be representative of Brendon trying to overcome the amount of pain that his drug-fuelled lifestyle causes.
        
        At 2:21, human Brendon appears in puppet Brendon's reflection and says 'what is wrong with you?!'. It is not uncommon for drug users to know that their lifestyle is not healthy to themselves. Human Brendon reaches through the mirror and throttles puppet Brendon. Puppet Brendon then flushes his cocaine down the toilet.
    - - Colouring
        
        The 'normal' colouring - at the beginning and near the end when Brendon overcomes his drug addiction - is resemblant of, well, normality. Especially when Brendon is on the beach writing the lyrics to Hey Look Ma, I Made It, the colours could have connotations of inner serenity.
        
        The 'not normal' colouring (e.g. the neons) begin just after Brendon signs up to his record label. This is resemblant to the line 'I'm a hooker selling songs and my pimp's a record label'. Therefore, the irregular colouring could be representing the darker times of Brendon's life.
        
        However, throughout the video, Brendon can be seen performing the song with neons and regular colours surrounding him. The neons are his background and flashes, while he is not bathed in the irregular colours. This could be symbolic of how he is using his irregular past as fuel for his future, and how he can integrate the both for a better tomorrow.
  - - - Relationship between music and visuals: music is cut to the beat.
      - The demands of the record label will include the need for lots of close-ups of the artist: Brendon is the protagonist of the video and is lip syncing throughout. Members Dallon and Spencer can be seen in the cult circle.
      - References to notion of looking: television,
        
        Voyeuristic treatment of the female body: a female body is lying lifeless on the bed behind Brendon in a black corset and stockings - typically 'sexy' clothing.
      - At least two types: conceptual, performance & narrative
      - Relationship between lyrics and visuals:
    - - Brendon is in motel room 111: Spiritually, the number 111 represents a message from the universe presenting opportunity and being on the right path.
      - The mist could symbolise a 'veil' - something separating the spiritual realm from real-life; Brendon drives through this mist as he reaches the cult circle.
      - The Native American headdress was only worn by men who had earned great respect in their tribes. By the woman wearing the headdress, she is implied to be the leader of the cult.
    - - This could be cocaine - Urie has admitted in interviews and a recent music video (Hey, Look Ma, I Made It) that he has done cocaine in the past.
        
        The tire at the beginning is also biographical of Urie's past; he has said that he used to 'set shit on fire', anything that 'wasn't a living thing'. https://www.nme.com/blogs/nme-blogs/panic-at-the-disco-qa-i-want-to-do-this-for-as-long-as-i-can-11771
  - - - The girl in the video gives the boy a drink. This drink is possibly the drugs that MKUltra patients were given; MKUltra patients were often used in each others' experiments.
- - - - Relationship between the lyrics and the visuals: Brendon is sitting inside/outside of a confessional booth as he sings about religious themes. He also makes the prayer motion with his hands when he sings 'say your prayers'.
      - Relationship between the music and the visuals: Music is cut to the beat.The music appears to pick up each time an optical illusion happens.
      - The demands of the record label will include the need for lots of close-ups of the artist: Brendon is seen throughout the video, both as a 'character' and a performer.
      - Intertextual references: the optical illusion aspect of the video is a reference to the video game Monument Valley.
        
        The director of the music video, Norton, who is a fan of Monument Valley, also cited 'Indiana Jones and the Last Crusade' and 'Labyrinth' as inspiration.
      - At least two types: Narrative, performance & other
    - - The low key lighting can be related to the topic of religion that this song (and part of the video) is about. The song, as said by Urie, is about owning up to your mistakes and moving on from them, accepting them as part of who you are.
        
        This low key lighting could be representative of the dark times.
      - Use of the confessional
        
        The confessional is used in some Christian churches for the priest to sit and hear the confessions of those who have come to confess.
        
        In the video, Brendon is both sat inside and outside of the confessional, implying that he is both the priest and the sinner.
      - The prayer hand symbol used throughout is a gesture used in Christianity when praying.
      - Brendon is wearing a rosary at 0:48
        
        Rosary is a style of mental prayer that is based on repetition. (https://christianity.stackexchange.com/questions/1155/what-is-the-purpose-of-a-rosary) This could be considered symbolic of the repetitive nature of the words 'say your prayers' throughout the song.
      - At the end of the video, Brendon finally manages to reach the lady he has been following throughout the illusion-like maze. He also closes the slat in the confessional..
        
        Such acts symbolise closure, and represent the core meaning of the song - coming to terms with your mistakes, your sins, adapting to them and moving on from them.
  - - - The demands of the record label will include the need for lots of close-ups of the artist: Brendon is seen throughout the video lip syncing. both as a 'character' and a performer.
      - Intertextual references: the red robes worn by cult members could possibly be a reference to The Handmaid's Tale as the song is about brainwashing.
        
        Many parts of the video are a reference to Project MKUltra, a series of mind-control experiments conducted at the height of the Cold War by the CIA. LSD and other types of drugs were used in order to determine their effectiveness for torture, mind control and gathering of information.
      - At least two types: Narrative, performance
      - Music videos demonstrate genre characteristics: LA Devotee is classified partly as alternative rock. There are many satanic motifs throughout the video; it is common for rock music to reference religion and the occult, whether scathingly or otherwise.
      - Relationship between the music and the visuals: Music is cut to the beat. Symbols that relate to Panic!'s current symbol flash upon the screen to the beat.
    - - 0:30 person wearing Baphomet-style headdress.
        
        Baphomet is a false god that in the past was associated with the Knights Templar and is now associated with Satanism and the occult. https://www.gotquestions.org/Baphomet.html
      - Dead animals give connotations of the occult as animal sacrifice is common; they are done to appease/give offerings to a deity.
      - The camera and 'recording' symbol could represent how the world is corrupted and we practically watch the torture of young people daily.
      - The chalice that the girl brings forth at 1:13 could be representative of communion wine.
      - 1:19, the symbol of the Church of Satan appears over Brendon's face. (Baphomets head on an inverted pentagram).
      - Animal masks flash across the screen (1:31); animal masks are common in satanic rituals.
      - 1:33 Eye
        
        This eye could be the Eye of Providence (Christian roots) which represents God watching over humanity.
        
        Alternatively, the eye could be negative, representing the Evil Eye, a curse believed to cast misfortune/injury. (Ancient Greek roots).
      - The burning bundle of herbs takes its roots in witchcraft and spirituality in general, as it is believed that they hold the earth's power.
      - The neon colours and shots of LA nightlife, combined with the whole premise of cult behaviours and brainwashing, symbolise the corruption of the city.
      - The boy in the video eventually begins to mouth along to the song. This is representative of the brainwashing that occult and religion culture can impose on young people.
      - The electroshock that the cult members administer on the child could mean several things.
        
        If we look at electroshock therapy in a negative light - for example, in cases of 'gay conversion' - the use of such a thing could be furthering the negative implication that religion and occult culture brainwashes people and tries to make them something that they are not.
      - If the robes are indeed a reference to Margaret Attwood's The Handmaid's Tale, then the red robes could be symbolic of brainwashing (an extension of the lyrics).
        
        If not, the symbolism could simply be that the people in robes highly resemble witches.
  - - - Semiotics
        
        At 1:46 Urie makes a cross sign with his fingers over his mouth. While this may have been simply to censor the word 'god-damn', one could interpret it as an implication that religion silences people. This may be true considering Urie is not fond of religion.
      - Narrative & performance
      - Andrew Goodwin
        
        At least two types of video: The video is narrative-driven (as evidenced by it being part of a trilogy) but it is also performance-based as Brendon, the lead singer, is lip syncing.
        
        The demands of the record label will include the need for lots of close-ups of the artist: Brendon is the ringleader of the circus group, and he is lip syncing to the song throughout. The other band members can be seen playing instruments throughout the video.
        
        Relationship between music and visuals: Video is cut to the beat. Chorus beat kicks in as Urie crashes the wedding.
        
        Relationship between the lyrics and visuals: The song is about a groom overhearing, at his wedding, a waiter and a bridesmaid saying that his wife is cheating on him. He wants to tell them to keep it to themselves, but 'he wants to handle it himself and figure it out with "poise and rationality."' (https://www.songfacts.com/facts/panic-at-the-disco/i-write-sins-not-tragedies) The video takes place at a wedding, and we see the wife kissing another man who isn't the groom.
        
        Video demonstrates genre characteristics: The video contains a lot of 'emo'/'rock' music themes: people who are outside the norm (the groom's family are dressed like 'circus freaks'; the wife is committing adultery.
        
        Video takes place in a church - lyrics have words such as 'whore' and 'god-damn'; also, the groom's family are dressed like people who typically would not be seen in a church. They also perform 'magic' which churches are typically against. Elements which could be seen as anti-religion; rock music is known to challenge religion.
        
        Main singer Brendon Urie himself is not fond of religion and a year before the video was released, 17 year old Urie had decided to leave the Mormon religion that he was raised in/
        
        Intertextual reference: The title is a reference to a line in Shampoo Planet by Douglas Coupland: "What I write are not sins, I write tragedies."
      - High key lighting