When I was younger, barely able to write my own name, I was obsessed with Eiffel 65’s ‘I’m Blue (da ba dee)’ music video. I would ask my older sister to play it on repeat to the point of sending everyone but me in the household to the brink of meltdown. Years later my niece would have a similar obsession with Psy’s ‘Gangnam Style’ — sending me into meltdown.
Music videos are magic; they have the power to catapult a song so far into the zeitgeist that they become collectively tattooed into the deepest parts of our subconscious. And it’s been this way since The Buggles’ ‘Video Killed the Radio Star’ first aired in the early hours of August 1, 1981, on an obscure new program called MTV. It was Music Television’s first video, and with it the game forever.
But is the golden era of music videos over? Does anyone actually care about music videos anymore? In the age of TikTok, do we even have the attention span?
For an insider’s perspective, we caught up with Millie Sykes — a stylist, content creator, and performance artist who has worked as a music video stylist for the likes of Clypso, Amy Shark, and Guy Sebastien, to name just a few.
PTV: Hey Millie, how would you describe your style, and what inspires it?
Millie: I’ve previously described my style as a Studio 54 party… on Mars… in the year 3042. This still feels about right. Mostly, I’m inspired by film and the art of drag.
Music videos have evolved so much since the days of Rage and MTV — how do you feel about the current video landscape and how you and your work fits into it?
Honestly, it’s tough. Artists can gain notoriety and clout on social media platforms but that doesn’t necessarily equate to money. Platforms like TikTok are awesome for artists who enjoy creating in that medium but become a minefield for those who don’t naturally take to sharing online.
As a stylist, most of the best music videos I’ve worked on still have pretty tight budgets, and as a digital creator, I’m often required to create video content for brands when I’d generally rather shoot stills.
We’ve swapped MTV for algorithms, but I think the basic premise still remains — there are a handful of people at the top making big bank and a lot of people working incredibly hard to make ends meet for the love of the job.
What is it about music videos that intrigues you personally, and why are they important for the culture at large?
I think there is an immense amount of creative freedom and space to play when it comes to music videos. They don’t have to make sense, they don’t have to follow a narrative arc per se. They’re a super unique medium for visual artists and we need forms of storytelling that exist somewhere between ‘content’ and cinema.
Do you think we will ever see a time when the concept of ‘music videos’ is viewed as a relic of a past era?
Perhaps only when a giant asteroid wipes out humanity. Until then, I think video content — and by extension music videos — is here to stay.
Do you have any favourite videos that spring to mind?
Big budget — Romain Gavras’ video for ‘Gosh’ by Jamie XX. I remember watching it for the first time with friends and we stopped mid-conversation to just watch in silence. Incredible track, incredible vid.
Low budget — Bjork riding around the Manhattan projects on the back of a truck in ‘Big Time Sensuality’ is testament to the fact that sometimes an engaging performance is all that is needed.
Have you always been a ‘creative’ person?
I have, but I think it wasn’t until my early-mid twenties that I really felt an affinity with the term ‘artist’.
The artist’s road is never an easy one — there is so much self-doubt and uncertainty that accompanies any creative pursuit — were there times you felt like giving it all up, or self-doubt creeping in, and if so, how did you deal with that?
I think the best way in which I’ve learnt to deal with self-doubt is to cultivate a relationship with myself that exists outside of my productivity and creative output. Learning to love and value the person I am when all of those things are stripped away. Also, understanding that I create because it is a part of who I am. Any successes or wins that come from that are a wonderful bonus, but they are not the guiding force behind why I do what I do.
OK, now for something a little more positive — the flip side to the peril of the artist’s journey is the possibility of living your dream; doing what you love and calling it a job. That’s a pretty cool thing not a lot of people get to experience. How do you feel about it all?
For me, monetising the thing I love has allowed me to be my own boss and work to my own schedule which I acknowledge is an immense privilege. I feel incredibly fulfilled when I’m working project to project in a creative capacity, but I also know a lot of artists who would prefer to separate their income stream from their creative output. I think it’s up to the individual what works best for them.
What’s your advice for anyone striving to ‘make it’ in a creative field, or any field where the odds seemed stacked against you for that matter?
If there is something you know you want to do, break the process down and focus on the present moment. Things can feel really daunting when you’re laser-focused on that end goal. Shifting your focus to being about what it is you can do just today — and that might be as simple as sending an email — has helped me to deal with the anxiety around the long-term picture. Also, trust yourself and interrogate whether your decisions are being guided by fear. If they are, maybe it’s time to take a little step outside of that comfort zone.
Is there anything in the above questions I missed that you’d like to add?
I’d just like to tell everyone to rock on! And if you need to rock off for a little bit, that’s OK too.
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