A New Visual World: Milo Hume and Gosha Guppy’s “911 (Sex Through WhatsApp)”
“911 (Sex Through WhatsApp)” by Gosha Guppy is not just a song; it’s a cultural phenomenon that’s reshaping the way we think about modern communication and intimacy. The track, with its catchy chorus and playful lyrics, has already begun to alter the vocabulary of its listeners. The phrase “send” has taken on a new life, morphing into “send, send, send,” a testament to the song’s infectious energy. Accompanying this auditory experience is a music video directed by the innovative Milo Hume, who has crafted a vibrant visual narrative filled with dancing grandmothers, sexting mishaps, and a whirlwind of hyperbolized excitement.
The Vision Behind the Video
Milo Hume, a New York City-born filmmaker now based in London, has a unique approach to music videos. He collaborates closely with cinematographer Auden Barbour to create a cinematic world that oscillates between eclectic backdrops, each one propelling the song’s narrative forward. Hume’s vision is to create a cohesive visual experience that mirrors the song’s frenetic energy, and he does so with a level of care that sets his work apart from the typical music video landscape.
In “911 (Sex Through WhatsApp),” Hume captures Gosha Guppy’s undeniable charisma, allowing the rapper to emote freely and playfully. This approach contrasts sharply with many emerging artists who often prioritize a cool, detached persona. Instead, Guppy emerges as a relatable and whimsical character, surrounded by a quirky atmosphere that accentuates his offbeat performance. The result is a series of memorable moments that resonate with viewers, making the video an engaging extension of the song itself.
Subverting Traditional Tropes
The song’s overtly sexual tone is met with visuals that subvert traditional rap music video tropes. Hume leads with humor and creativity, demonstrating that sex, self-awareness, and comedy can coexist within the genre without falling into the trap of judgment or vulgarity. The video exemplifies a refreshing take on intimacy, showcasing a light-hearted exploration of modern relationships through the lens of technology.
Hume’s commitment to maintaining a strong visual aesthetic is evident throughout the video. The diverse shots, while featuring vastly different subject matters, create a cohesive world that complements Guppy’s melodic vocalizations and the punchy production. The visuals play out like an acid-induced dream, filled with washed-out colors, glowing lights, and enchanting characters that guide viewers through Guppy’s journey to “sex through WhatsApp.”
The State of Music Videos Today
In an era where social media has democratized content creation, the music video landscape has become increasingly homogenous. Many videos are produced as an afterthought, often conforming to popular trends rather than pushing creative boundaries. Hume, however, approaches each music video as an independent art project. His meticulous preparation begins with a comprehensive pitch deck, where he investigates every scene with the precision of a scientist and the dedication of a painter.
This commitment to artistry is what makes Hume’s collaboration with Guppy so exciting. Their partnership is a testament to the potential of music videos as a medium for storytelling and artistic expression, rather than mere promotional tools.
Insights from Milo Hume
To delve deeper into Hume’s creative process and his collaboration with Gosha Guppy, I had the opportunity to speak with him about his experiences and inspirations.
Atwood Magazine: What was your first reaction to hearing “911 (Sex Through WhatsApp)”?
Milo Hume: I thought it was a crazy song. Really outside of the box. Both very funny, but also just a genuinely good song. It inspired an overreaction of shock, and I wanted to explore that feeling further.
What separates Gosha Guppy from other artists?
Milo Hume: He’s such an interesting character with a unique story. He takes risks and knows what’s catchy. Plus, he’s genuinely humble, which is refreshing in this industry.
Why do you enjoy making music videos?
Milo Hume: I always wanted to be a rockstar, but I found joy in making videos instead. I love figuring out what a song looks like and creating unique worlds for each project.
What makes a good music video?
Milo Hume: A good music video feels like an extension of the song. It should surprise you while still fitting the music. Ultimately, it’s about how the viewer reacts to it.
The Shooting Process
The shooting process for “911 (Sex Through WhatsApp)” was a two-day adventure, with outdoor scenes filmed around the city and green screen parts shot at All Street Studios. A particularly memorable segment took place at Hume’s grandmother’s house, where she starred as a video vixen. Hume’s grandmother was thrilled to be part of the project, and her genuine excitement added a heartwarming touch to the video.
Hume’s desire to feature older individuals in a rap music video stems from a wish to challenge the objectification often seen in the genre. By placing an older woman at the center of the narrative, he turns traditional expectations on their head, creating a playful and inclusive representation of desire.
Inspirations and Future Projects
Hume draws inspiration from a wide array of sources, including films, graphic novels, and street art. For “911 (Sex Through WhatsApp),” he was influenced by a still from The Truman Show and the striking visuals of Yorgos Lanthimos. His creative process is an ongoing journey of exploration and experimentation.
Looking ahead, Hume is excited about his upcoming short film, So Let’s Go, which will screen at the New York Shorts International Film Festival. He is also working on new music video projects in London, where he hopes to tap into fresh inspiration and create new artistic worlds.
Milo Hume’s collaboration with Gosha Guppy on “911 (Sex Through WhatsApp)” is a testament to the power of creativity in music videos. By blending humor, relatability, and artistic vision, they have crafted a visual experience that resonates with audiences and challenges conventional norms in the genre.
