Opera Disrupter: Haus of Shmizzay
(New York, NY) - There are a few opera world provocateurs these days, but no one hits like Haus of Shmizzay on Instagram. Online research tells us that he’s a classically-trained tenor James Smidt, who’s studied at both the University of North Carolina School of the Arts' A.J. Fletcher Opera Institute and University of Maryland's Maryland Opera Studio, the latter for his master's degree in opera performance. In addition to being a voice teacher - the focus of our December 2023 chat - he's an in-demand speaker and one of opera's more excitingly unpredictable English-speaking voices on IG, with receipts from grateful and succeeding artists (client testimonials and work wins speak for themselves). In March 2024, Smidt was invited to work with Staatsoper Stuttgart artists and more. And, of course, the memes that never stop giving everything. He managed to see 600 students during his first year of official Haus operation, and attributes his studio's success to "exceptional talent as a teacher" and "talent as a promoter, personality, and yes, shit stirrer." Adding: "The girls came for the tea and stayed for the technique."
Last fall, after admiring his online maximalism, as well as the real value expressed regarding voice and technique, this opera lover, fan and layperson reached out to see if James would like to be featured as an opera world innovator; he’s challenging a vocal status quo that perhaps needs challenging (like we challenge prevailing business of opera models as antiquated and inefficient). Fortunately, James agreed, and we taped a hilarious Zoom interview right before Christmas.
Two things to note: 1) we paid for James’ hour as we would for a voice lesson; he’s an in-demand teacher, so we appreciate his understanding of time and money; 2) it’s taken us several months to make this interview live due to our own, corporate job demands. We deeply appreciate James’ patience while we were day job overwhelmed.
We presented the paragraph below to James ahead of time via email and then let him run with it on Zoom, our Q&A below (edited for clarity):
We’d love whatever background and forward-looking thoughts you'd like to share on Haus of Shmizzay's brand experience (for students/clients), its origin story, and any backstory on HoS's delicious branding/naming.
We've watched and rewatched your stories comparing singers from the past with those of the present, singing the same pieces. This lay person is loving it, but still shaken by what we're hearing. Although we're not qualified to speak to the quality of anyone's voice, technique et al, we're wondering if we've gotten it all wrong - along with the opera-going public. Has the business of opera (perhaps?) accepted and amplified a standard of singing inferior to standards in place 50+ years ago? Please expand on this, especially for those readers who may not be familiar with your thoughts on this topic.
You're obviously in demand as a voice teacher, we've become fans of openings posted on your IG stories and then filled almost immediately. In addition to the freely offered testimonials all over your Instagram account and in the comments, and without giving away your IP, what tangible intangibles are you able to guarantee every first timer who books a lesson? Alternatively, how do you work with regulars over time? Do you work on rep that comes from the management side, from the teacher-client/student journey or perhaps a combination of both? Or is progress plotted and measured in another way entirely?
This is a long read. But in addition to the irreverence and valuable insights, James’ Haus of Shmizzay entrepreneurial know-how and how-to make this one of OI’s favorite interviews. Thanks for your time and trust, James. JBM
OI: Thanks for joining us today. Could you tell us about your transition from a working artist to your current path?
HoS: Before the pandemic hit, I was actively performing and making progress as an artist. However, I found myself questioning what my future in the operatic industry would look like. I realized that the traditional path for performers didn't align with my long-term goals. In the fall of 2019, I made the decision to take a break from auditions and dedicate a year to exploring other possibilities that genuinely interested me. Unfortunately, my plans were derailed by the events of March.
OI: How did your journey evolve during the early days of the pandemic?
HoS: During that first year of the pandemic, I continued my studies and, for fun, started giving voice lessons to friends. However, in 2021, something unexpected happened. While I was at a rave, I bumped into a friend who had a highly successful Instagram account with thousands of followers. I mentioned my small group of voice students, which wasn't even an official studio at that point. He suggested that I turn Instagram into a virtual venue for my studio. This idea intrigued me, even though the space was already flooded with voice lesson accounts due to the pandemic, some of them appearing somewhat desperate.
OI: We all remember that. It became interesting to watch them evolve or disappear entirely once we started going back into the world. How did your friend’s suggestion influence your online presence?
HoS: It pushed me to get online in some form. Despite the saturation of voice lesson Instagram accounts at the time, I saw the potential in creating a unique space for my studio.
“I liked the idea of creating a collective identity, something more significant than just a standard voice teacher studio. So, I decided to go with “Haus” and “Shmizzay,” as a playful spin on my surname.”
OI: Can you tell us about your journey into producing online content?
HoS: Initially, I hesitated to start producing online content and had some reservations about it. But eventually, I thought, "Okay, fuck it." I really wanted to express myself authentically and embrace an anti-establishment attitude that I've always had. Initially, I didn't have a name for my account, and it had a rather unappealing Italian name. Then, I had an epiphany inspired by "House of Gucci," "Haus Gaga," and "House of Maus." I liked the idea of creating a collective identity, something more significant than just a standard voice teacher studio. So, I decided to go with "Haus" and “Shmizzay,” as a playful spin on my surname.
OI: How did you develop your brand and content strategy?
HoS: At first, I wasn't entirely sure where to take it. I started the Haus of account in the fall of 2021 but didn't do much with it during the initial year, not even for the first eight months. I posted some content, but it didn't gain much traction due to the challenging algorithms and the crowded space with thousands of online voice teachers. However, things changed when I discovered the power of memes in the spring of 2022. Even then, I didn't have a voice studio; I occasionally worked with friends but hadn't officially offered my services or advertised them. My Instagram account was more of a technique and aesthetic account with very few followers.
OI: What sparked your transition into memes?
HoS: There was this moment. It was due to a picture that was circulating, with one of the British princes covering his ears while jets flew over, and it struck me as wildly amusing. It was at this point that I thought it’d be hilarious to turn common annoyances faced by singers into memes. It was a bold move for me because I’d never made a meme before. However, the response was incredible, so that was a turning point.
OI: Could you elaborate on your involvement with the Opera America controversy?
HoS: Sure. During that summer, someone approached me and shared a controversial email from Opera America's list serve. They felt that it needed to be brought to the attention of more people but didn't want to publish it themselves. I read it and was appalled by its transphobic content and the overall attitude it represented within the industry. So, I decided to post it, turned off comments to avoid unnecessary discussions, and just presented it as it was. The post gained a lot of attention, and that's when I found myself increasingly involved in young artist advocacy.
OI: This was an important moment, a conversation that opera needed and still needs to be having. So how did your online presence evolve from there?
HoS: After that experience, I just continued creating memes and content. My followers grew rapidly during that summer and fall, and I became more recognized in terms of online advocacy within the young artist community.
OI: Must tell you that we really like how this worked out, in terms of positioning yourself. Could you walk us through the transition from your previous career to becoming a full-time teacher?
HoS: Towards the end of 2022, I made a significant decision. I decided to fully commit to teaching and began to focus more on it. I took the leap to quit my job and dive headfirst into teaching. I opened my calendar, started taking on more students, and things really took off. It happened so quickly that it's almost surreal. I didn't have a detailed plan; it was more about following my instincts. My main goal was to become a teacher in New York, and from there, everything else fell into place.
OI: Goals matter! How did your teaching progress in terms of your (brand) strategy?
HoS: To be honest, my approach has been quite spontaneous. I didn't have a grand master plan. It's been about adapting and making decisions on the fly. I knew I wanted to teach in New York, and that was the guiding principle. Things got busy in the first few months of 2023, and I was fully booked, working with some talented singers and making pretty good money. However, something remarkable happened this past fall (2023). I can't pinpoint exactly why, but my teaching career really took off. I've been booked solid for the last four to five months, with a schedule filled two months in advance. It's been consistent for the last two quarters or so.
OI: That’s everything, happy that your “spontaneous” approach converted to being booked. Going back to 2022, could you share more on what life looked like before moving into teaching full-time?
HoS: My previous day job was interesting; it was sort of the dream survival job for artists in New York. I connected with a temp agency, and they often sent me for corporate receptionist roles. I had about a year and a half of experience working as a receptionist, which seemed somewhat incongruent with having a master's and postgraduate degree in music. It was amusing to go for jobs that didn't even require a bachelor's degree when I had such extensive musical qualifications. Nonetheless, I persevered and finally landed a position at (a large, well-known private equity firm). It turned out to be a perfect fit for me because, essentially, I was a glorified houseplant. My daily routine involved sitting at a desk, answering just two phone calls a day, sending three emails, sipping coffee, and building my Instagram presence. It provided a full-time salary for what was essentially spending time building my Instagram world, which set me up perfectly for the transition into teaching. I had fortunately had a salary that allowed me to ultimately make the leap and say, "Okay, let’s build this studio."
OI: Stars aligning. Now that you’ve successfully built an IG world, are you also active on TikTok? Is that something you've considered expanding onto?
HoS: Honestly, I'm not on TikTok, and it's not something I'm particularly interested in. No shade to my TikTok friends, but I find the voice teaching content and the overall TikTok platform to be somewhat annoying. The endless 30-second loops of mindless content can be a bit overwhelming. While there is some valuable content there, especially in other niches, I've noticed that the voice content produced on TikTok, even by some big accounts, doesn't align with my preferences. The culture of TikTok doesn't resonate with me either. I'm 30 years old, and it's just not my cup of tea. Frankly, I barely grasp how Instagram works (laughs). Also, the idea of diving into a whole new platform is a bit daunting for me. Social media, in general, has been a valuable tool, especially as my teaching schedule became busier in 2023. I use it to share stories and updates, but creating content, especially on TikTok, isn't my passion. It has primarily served to gain visibility and attract students to my studio. It's a useful tool for advocacy and raising awareness, but I've come to realize that I need to reduce the amount of social media in my life. If I were to share my screen time usage, you'd probably see why (laughing).
OI: Could you share the story behind your distinctive Instagram filter choice?
HoS: Oh, the infamous Instagram filter (laughing)! To be honest, I'm not even sure what the filter is called. You see, I always had this habit of using goofy-looking filters when I recorded videos of myself. I'd often watch those videos and think, "Oh my God, I look terrible. I can't post this." It's just typical self-criticism. So, I would deliberately choose the goofiest and ugliest filters I could find because they added a level of absurdity to my videos. These videos usually contained some sharp criticisms, and I liked how the absurd filters made me look.
OI: Could you expand on that?
HoS: Well, part of it was to deflect any potential negative comments. I knew people would likely say things like "He's a clown," "He's a fraud," or something along those lines. So, by making my platform more absurd and making it clear that I don't take myself too seriously, I felt like I had the upper hand. It was a way of saying, "What can you say about me? I don't really care." As for the specific filter I've been using, it's called something like "bambola star." Honestly, my goal for 2024 is a bit comical—I'm thinking about taking that filter to a plastic surgeon and getting it done in real life (laughs). But perhaps I'll save that idea for when I hit 40 and decide that it's time for a "refresh” (laughing).
“Opera, like any art form, has a history of evolving trends, aesthetics, and priorities. I’m personally dissatisfied with the current aesthetic landscape of opera. ”
OI: I recently had a conversation with a friend, and he had some thoughts about your impact, namely that you might be hurting people's ability to make a living in opera. I disagreed and pointed out that most of your critiques on Instagram are directed at the top-tier performers, as you are a voice teacher offering a unique perspective through social media. He seemed to understand my point, but I also emphasized that if the world's top opera singers can't handle criticism or scrutiny, maybe they should reconsider their careers. Your content has genuinely impressed layperson-me, especially in terms of comparing past and present techniques in opera. So, how would you explain your approach to people who may not be familiar with your account? What is your teaching style, and what are you trying to bring back or highlight?
HoS: It's true that criticisms about the decline of opera have existed for centuries. However, objectively comparing the way people sing now to past decades, such as the 1970s, 1950s, or even further back, reveals differences. I'm not passing judgment, just acknowledging these differences. Opera, like any art form, has a history of evolving trends, aesthetics, and priorities. I'm personally dissatisfied with the current aesthetic landscape of opera. Some aspects, like vibrato, vowels, legato, projection, and harmonic frequencies, are not mere matters of opinion. These qualities have been valued differently throughout history. My goal is not to change the minds of those who love the contemporary opera aesthetic; I respect their preferences. Instead, I aim to create a space for those of us who have been on the sidelines or within the industry, offering a different perspective on what opera should sound like.
In my studio, I work with a diverse group, ranging from seasoned professionals performing worldwide to aspiring professionals at YAPs. My objective is to carve out a space for singing and making operatic music that has substantial historical precedent, along the lines of “hey, I have a different idea of what this should sound like,” and “there is a vast historical precedent for this being a valid way to sing or to make operatic music.”
“Admittedly, I often phrase things in a way that’s meant to be a little incendiary, because nothing markets like controversy. And at the end of the day, I’m running a business, and very well, I might add.”
Many people in the business say that it’s so critical to listen, right? If you go back and look at the dawn of recording, when they started doing records, singers at the time said, "Thank God," because future generations would be able to listen back to hear what would’ve taken a horse and buggy for three hours to the theater to experience live. That people would be able to learn how this goes so easily. Unfortunately, that didn't happen. In my opinion, today, most singers are often actively discouraged from listening to singers of the past and imitating or trying to recreate what they did. I remember this specifically, at least in my experience. “How they sang was dangerous.” Or “it doesn't work that way; things have changed, blah, blah, blah,” just a bunch of rubbish.
At the conservatory level, I experienced a kind of almost anti-old-world pedagogy, and everybody was so concerned with the science, spectrographs, muscle functions, and allegory. It would be like going to art school to learn how to paint, and rather than learning how to paint, you're expected to learn, diagram and label all the muscles of the hand and do mathematical calculations on color theory. Instead of just picking up a freaking paintbrush and learning the strokes?
Basically, what I'm trying to do with these comparisons is not fundamentally shame, bully, or make singers feel bad about their singing. In fact, I went out of my way, at least at the beginning, to only select singers who were at the absolute top, who would never see what I was posting online. Of course, they probably do (see everything) now, but unfortunately, I've got that infamy going. But I never posted on their videos individually, and I’ve never sent them messages with my thoughts. I'm just presenting in a “here is this" way, directly. Admittedly, I often phrase things in a way that’s meant to be a little incendiary, because nothing markets like controversy. And at the end of the day, I'm running a business, and very well, I might add.
But the essential point of it is to really carve out room and let other people know who share these ideas that those ideas are, A, still valid, and B, that there's a whole community of people who want to see opera start to embody some of these musical and aesthetic characteristics again. That I'm sorry are just literally not happening really at all, but certainly not on a major level in the same way that they used to, you know? And that's what I hear all the time from singers, especially when I'm working with these singers who are singing at the Met or are singing at Deutsche Opera or singing at Santa Fe or any of these big programs that are usually 10 years older than me, you know, 15 years older than me, and coming to me for my vocal advice. They say, "The reason I came is because I was reading your stuff, and it's like this. I've been in these spaces, and this is what I've always thought. This is what I've always heard in my own singing that I don't like. And everyone says, 'Oh, it's fine, it's fine, it's fine,' and they're like, 'I'm sitting here like nobody will help me figure out how to do this.'"
But if you are really honest to God like the contemporary aesthetic landscape of opera, I have no interest in taking that away from you. I'm not really interested in converting those people. My interest is in creating room for those of us who have been somewhat sitting on the sidelines or in the business. Half of my studio is actively singing professionally in houses around the world in principal roles or in YAPS…basically from aspirant professionals to the highest of the high. What I seek to do with that (group of people) is to start carving out room in this kind of aesthetic world of opera, to say “hey, actually, I have a different idea of what this should sound like,” and “there is a vast historical precedent for this being a valid way to sing or to make operatic music.”
OI: OK, so it seems like your approach to teaching is really resonating with your students, based on what I’m seeing in your IG stories; your students seem to be having these amazing lightbulb moments. They’re realizing that they can sing better, they seem to feel better about their abilities, saying that they are happier overall. Plus, they seem to be landing work, which is telling. How do you feel about that?
HoS: I'm very fortunate. Teaching voice is unique because it requires time—real progress takes about six months to a year. Most of my students have only been with me for about a year or less, so we're just scratching the surface. I'm not at the point in my career where I can claim to have built many voices from the ground up. I've certainly helped people make substantial progress, and that's undeniable. But I can't take credit for creating these voices; they were already good. I'm just enhancing what’s already there. Time will tell if I truly have the knack for building voices from scratch. What's crucial is reframing vocal development. It’s about everyone’s relationship with their voice and treating singing as their artistic discipline.
OI: That’s real.
HoS: Exactly. Many young singers are frantically chasing gigs, thinking, “If I’m not hired by 30, I’m done.” They come to me believing they're on the brink of success and just need that final push. I always tell them, “I can’t guarantee professional success. I’m not in the industry, and those in hiring positions don't particularly like me. Be cautious about putting my name on your resume. What I can guarantee is that you’ll sing better if you put in the work and time.” That’s all I can offer.
“Time will tell if I truly have the knack for building voices from scratch. What’s crucial is reframing vocal development. It’s about each individual’s relationship with their voice and treating singing as their artistic discipline.”
OI: You mentioned what you’re able to guarantee your students—that they will sing better. But you obviously can't promise success. When singers come to you, what’s that process like? Do people say: "I'm doing this role; can you help me with it?" Or perhaps "I think my voice fits this repertoire." Or even "my manager and I have plotted this path, etc." How does it play out?
HoS: That's a great question. For my professional singers, many of them just want to vocalize. They come in for their 15 minutes of high-intensity vocal cardio training, like a HIIT class for their voice. It's the smart ones who focus on vocalizing. Of course, we work on repertoire too, especially for upcoming debuts.
For singers in the budding professional or pre-professional stages, those who are still in the critical first ten years (ages 20 to 30), I try to give as much as I can. However, I can’t build a voice with one lesson every three months. For those who work with me regularly, I do prescribe repertoire.
A significant conversation we have is about what repertoire can realistically market them. The industry, influenced by the German fach system, is very restrictive about what singers can sing. Historically, 100 to 150 years ago, everyone sang everything. There are recordings of light sopranos singing dramatic soprano repertoire. I try to ignore these industry constraints as much as possible when prescribing repertoire.
For example, I’ve given many lyric sopranos "Pace, pace mio Dio," which is typically a more dramatic role, but the aria itself is very lyrical. Many lyric sopranos, like Eleanor Steber, have sung it beautifully. I prescribe repertoire based on historical practices, around the 1950s, not today’s market-driven approach.
Singers often ask for the most marketable pieces. I give my opinion, but also suggest they seek advice from others. I focus on vocal development as an artistic journey, not a commercial package. The idea of fitting into a specific market slot - “what's my little slot,” or “what's my little package” - can be very destructive to good, proper vocal development.
OI: Given the realities of being a busy and in-demand singer, which is a lovely place to be, they’re still human beings, not machines. What kind of thoughts or advice would you give opera singers who feel like they may be running out of steam by mid-season?
HoS: Yeah, I mean, it's hard. Vocal injuries are very normal and have always been normal. However, I do think a lot of vocal injuries today are avoidable with the proper production of the voice. The unfortunate thing is that there is this culture, from the very beginning of a singer's career, even as an undergraduate, of being terribly afraid of injuring their voice and causing damage with their technique. So, the net result is that young singers treat their vocal cords like glass. They sing in a very careful and hesitant manner, and this attitude is ingrained from the start. The unfortunate truth is that the solution lies in the opposite direction. Not to abuse your voice, but like in any sport, you can't expect to become a bodybuilder or learn to play a sport without pushing yourself. You can't avoid ever twisting an ankle or getting hurt, the body recovers.
“I focus on vocal development as an artistic journey, not a commercial package. The idea of fitting into a specific market slot - “what’s my little slot,” or “what’s my little package” - can be very destructive to good, proper vocal development.”
I saw a post from (redacted) discussing the stigma around vocal injuries, and it’s accurate. I work with many students who have had vocal injuries and who are also terrified to tell anyone because they fear judgment. Ending this stigma is crucial. The most important thing to recognize is that the path to a healthy, sturdy voice and recuperation is not caution. If you internalize caution as hesitancy, it becomes dangerous. If you're constantly hesitant and fearful, it will only accelerate your problems.
Rehabilitate yourself, and then learn to think correctly. If you're doing too much, you need to do less. There's a limit to the human voice. Opera singers often perform once and then take two or three days off before the next performance. Yet, you see young singers doing outreach tours with two shows a day for two weeks. It's a lot. Would you play two football games a day for two weeks? You'd be pretty messed up after all that.
With the general commodification of performances, there's more risk. Performers travel from one city to another, sometimes on red-eye flights, to perform roles they haven't coached in a year. Before, you had to take a two-month steamship to cross the Atlantic, so the pace was much slower. Navigating today's fast-paced world is challenging. While I don't have the final answer, approaching vocal injury and fatigue with shame and fear is never productive.
OI: All of this is great to hear, it feels real, so thank you for making yourself so clear. Athletes at every level get injured and rehab their bodies to perform well again. Sure, there is sometimes worry that they may not recover enough, but I feel like opera often tends to attach injury branding to singers in an unhealthy way (tell me otherwise readers, will fight you). So, regarding Broadway singers, is eight shows a week too much?
HoS: It's probably too much. Most of them, in my opinion, are miserable, being treated like cash cows by producers. They are paid reasonably well, for work they're doing, but Broadway probably needs a reality check, too. Even with the rare microphone situation, the fact that we (in opera) must produce sound unamplified is physically taxing. So doing it eight times a week is probably too much for anyone.
OI: We saw in your stories that you’re going to Berlin, and that you’re going to be working with Stuttgart. Would you like to expand on that?
HoS: Yeah, sure. When I started marketing myself, I thought I was kissing any chance of working in industry jobs goodbye, which I really didn’t care about. I don’t work for the industry; I work for singers. I’ve never aspired to be a voice teacher at Juilliard or any institution. From a personal honor perspective, it just hasn’t been a priority for me.
I’d heard good things about Boris in Stuttgart. He has a similar attitude toward opera, focused on centering the singer, not treating them as a utility. I also have students working at Stuttgart. Probably 30% of my studio is in Germany because many singers work there professionally. Long term, I’d like to spend more time in Europe. So, through a turn of events, Boris messaged me, inviting me to Stuttgart, and I accepted. It’s beyond exciting.
It was also a shock that a German institution would want to bring me in as a guest clinician. Some people might think I'm a crackpot, but I'm not out here trying to prove anything. I'll happily make the trip, work with singers in person, and of course meet Boris. It’s just an honor for an institution to work with someone who has a bit of institutional criticism. I suppose we share similar thought. It's going to be about making changes and thinking differently. And I hope it’s the first of many trips. Yeah, I’m super excited about it!
OI: So happy for you, that's beyond. You mentioned that 30% of your studio is in Germany, so this means a lot of virtual lessons. Could you expand on that?
HoS: Oh yeah, OK. About 65 to 70% of my business is virtual. Many singers in New York study with more established teachers here. I have an in-person studio in New York, which is great because there are always people coming through for auditions. I get to see people I work with regularly when they're in town for auditions.
One silver lining of COVID is that it changed how people think about virtual lessons. Before the pandemic, no one was really willing to study virtually. I wouldn’t be where I am today if not for the pandemic, in the sense that singers realized they don’t need to take lessons only with local teachers. If they're interested in someone's perspective, virtual lessons are just as productive. It's much better to study with a good teacher over Skype than a bad teacher in person. The pandemic taught everyone that they can learn from anyone in the world. So, had that not happened, my business wouldn't be where it is today, most of my business is virtual.
OI: Let's go in a different direction. Talk to me about Versace. How did your relationship with this brand begin? It seems so central to your public image and appearance on Instagram. Whatever you’d like to share…
HoS: Growing up, I could never dress how I wanted. It created a lot of anxiety around what I wore, making sure nothing suggested I was different. Even through college, after coming out, I dressed how I thought a conservative society wanted to see me. But I’ve always had an affinity for flamboyant, outlandish costumes and clothes. Whenever I could wear them, like for Halloween or as a joke, I felt powerful. I remember browsing consignment stores, finding vintage pieces. I'm not someone who buys designer clothes to have the latest fashion. I dress to represent myself and how I feel.
My taste leans towards an exuberant, gaudy, dripping with extravagance. No brand captures that love of excess and glamour like Versace. They rose to prominence in response to the minimalist black silhouettes of Armani and Gucci. Once I started making money, I expanded my collection. As you can see, I have this tongue-in-cheek, crash celebrity, C-list celebrity aesthetic. Versace fits that very well (laughing)! It's a new money brand, immediately recognizable and unapologetic. The Greco-Roman aesthetic aligns with everything I love. So, if you're reading this, Versace, sponsor me!
“Before the pandemic, no one was really willing to study virtually. I wouldn’t be where I am today if not for the pandemic, in the sense that singers realized they don’t need to take lessons only with local teachers.”
OI: Completely see it, makes sense. By the way, your recent night at Met Opera was amazing. When you walked in with that whole look (see top photo), it was literally performance art. You totally committed to it. Or when you were in the box and people are taking photos of you and posting on social, tagging you, it was bonkers. In July, I went to see the singer Mylène Farmer in Marseille. People were actually taking pictures of me because they knew me from social as that American fan, the anomaly. A crazy Paris Match moment. I was freaking out, ridiculous. So, I loved it how took it even further!
HoS: That’s a real thing. From a marketing perspective, controversy is great, having a good product is great, and getting testimonials in front of people is great. Singers really need to market themselves like pop stars. This tired image of everyone in the same three-piece navy suit or knee-length dress is outdated. You don't need a designer clothes budget to do this, either. You are artists, be creative! A huge part of the marketing angle is the Lady Gaga effect. Dressing outlandishly can build mystique and aura. Self-expression is great, but from a business perspective, having a unique look associated with you is a huge part of the mystique.
OI: 1000 percent agreed. The optics of your brand are critically important. It’s amazing to see the looks that some opera singers serve. We sometimes feel time-warped back to our evangelical-in-college days. Agreed. The experience an artist is creating includes everything being worn, how they’re wearing it, and/or using it to create a lasting impression. By the way, where are you from originally?
HoS: I grew up in Northern Virginia, Loudoun County, right outside of DC. It was a classic suburban boom of the early 2000s, a “little boxes on the hillside” kind of upbringing.
OI: Thanks for sharing that and well, everything, James. I learned a lot today and I’m so grateful to have the time with you, and for your candor. Any call to action you’d like to close with?
HoS: Don't get bitter, get better.