The Prime Directive, used in four out of five Star Trek-based series, prohibits Starfleet personnel from interfering with the internal development of alien civilizations. This conceptual law applies particularly to civilizations which are below a certain threshold of development, preventing starship crews from using their superior technology to impose their own values or ideals on them.
One of the more difficult aspects of teaching is complying with a “Prime Directive.” We’re much more Kirk than Spock. The very nature of how we’ve chosen to teach through Hickory Arts is dependent upon thinning our skin and going the personal, proverbial extra mile.
It’s always difficult for us to see talent misdirected, swept up by scams or stage-mom’d to a pulp. We’ve learned the hard way that a prime directive-reaction is often the only choice that’s left, but certainly, in our eyes, a last resort.
We trust and believe strongly in autonomy and indie-artistry and in a cookie-cutter world, it’s a rare quality to find these days. Artist development is on your terms, demonstrating your taste and leadership skills as someone who is confident and comfortable in your own shoes.
Although we’re candid about do’s and don’t’s, we make it a point to keep a very tight lip about the ultimate choices folks make. We very much respect the personal journey we’re all afforded by God. That is the essence of any indie artist. John Lennon believed the pain of the artist is fed by the freedom of the artist.
We’ve been know to produce $3K music videos, engineer and publish records for amateur Artist Development students we believe strongly in—no charge. It’s an enormous cost (both time and money) we gladly choose to incur because of the natural charm, talent and genuine thirst some students possess for pursuing an independent music career as a singer/songwriter and “Everything Artist.” It’s what we do.
We’ve encouraged students we absolutely adore working with to part with us, at our expense, and pursue other avenues when there’s a competing interest or philosophy. We believe it’s not fair to any student for any studio to be encouraging that student fundamentally in one direction while being pulled in another.
It’s definitely important to work with others throughout the course of your career, but not when there’s competing perspectives. One producer at a time. There’s a reason for one director per any given theatre production. You don’t want three different doctors prescribing three different drugs when the combination does more harm than good.
The idea is to try to give all the information to help others to judge the value of your contribution; not just the information that leads to judgment in one particular direction or another.Richard P. Feynman
We’re so proud of the folks we have the privilege of working with at Hickory Arts. Notice we didn’t and won’t say “our students.” We’re here to help these folks get from point A to point B, whatever that may be; tiny or big steps; workshops or private sessions; a place to create. They deserve all the credit and glory. It’s all about encouraging that personal motivation and incentive to grow at something meaningful to you.
Don’t be blinded by ambition and consumed with a self-destructive, big-city dream. The time and money you’d spend in Nashville or L.A. could yield you several Indie albums and a catalog of music in your own backyard. We produce records and videos and know the costs involved. We started Hickory Arts so folks can make a name for themselves on their own terms without suffering the needless, bottomless pitfalls of (insert big-city stereotype here).
Star: a person lacking experience at each state of his or her career.Yevgeniy Dodis, rephrasing Audrey Hepburn
The world is a much smaller place, now. We challenge dusty, predictable “I’m moving to New York City to be an actor”-ideas from a place of potential, much like a parent, who cares deeply for and wants to see their kids make the most of their resources, learn from others’ mistakes and make the best, informed decisions. Our loyalty to developing artists and our belief in their potential transcends any financial, social or political interests of our own, more than we’re able to communicate.
Trying to make everyone happy can get messy. Doing the right thing and assertiveness are seldom rewarded, and for the right reasons, shouldn’t be. We never nor will we ever wipe our hands clean of anyone. Life’s too short. Skipping arm-in-arm along the yellow brick road is another story. It’s apples and oranges. People disappoint. It’s in the handbook. Not everyone agrees on the means by which to achieve artistic goals. Everything else is a symptom of that.
We will not testify on the stand as an expert witness only to strengthen your case. We can’t perpetuate anything that contradicts every fiber of our experience and education. There isn’t a professional on earth that should tell a client what he/she wants to hear. The litmus test for us is often whether or not we would forward and recommend a product to our mentors, colleagues, producers or agents. Our any-endorsement is and should only be limited by our disposition. A good doctor would never sanction or nominate a surgery against his better judgement and all the education and experience that requires. Though we’re much lower on the vocational totem pole, we’re no exception.
Tell me I’m clever, Tell me I’m kind, Tell me I’m talented, Tell me I’m cute, Tell me I’m sensitive, Graceful and wise, Tell me I’m perfect – But tell me the truth.Shel Silverstein
Again, we know the time and money and yield over time it takes to write, produce, engineer, master, release and tour an album. A working actor can fall far from The Big Apple-tree. It’s very difficult to fan or support any project if and when the artist expresses any level of frustration and resentment towards that project. We believe strongly in individuality?artists with very different purposes. We can’t say that enough.
How much you are willing to allow our experience to manifest or materialize is up to you. Telling us we’re your go-to mechanic, but only authorizing an oil change when we’re telling you your transmission is shot isn’t exactly a best-case collaborative scenario. We must be trusted and able to do our job to its fullest. Help us help you.
What people need and what they want may be very different. Teachers are those who educate the people to appreciate the things they need.Elbert Hubbard
A personal relationship can strengthen the professional one. We are always willing and eager to personally mentor and produce independent artistry. We like nothing better than to see each artist enjoy and experience their own artistic sovereignty. Studios should only be interested in furthering your career, not the other way around.
The Dalai Lama said our prime purpose in this life is to help others—and if you can’t help them, at least don’t hurt them. There comes a time when perhaps the most important lesson becomes letting go; the proverbial bird pushing the hatchling out of the nest. In the end, a prime directive is a last resort when forfeiting our own dogma is the least we can do to make the most difference.
If you’re not willing to learn, no one can help you. If you’re determined to learn, no one can stop you.Unknown
*Artists should be wary when you’re approached by someone and something unheard of. You benefit from doubt.
Rules of Thumb
1. Never sign an exclusive contract unless it’s a major industry label. Even-so, consult an entertainment attorney or someone with industry experience first. Exclusive actor/agent contracts can tie opportunities behind your back.
2. Never pay to play.
3. Never split or sign over your publishing rights. If others write for you, you can’t split publishing rights on a song you haven’t written. A publisher normally does not split publishing rights. BMI splits with a 200% model. 100% to the Publisher/Label. 100% to the writer(s).
4. Artists are not discovered on the radio. It’s the other way around. Develop your act. Write. Record. Perform. Publish. Build a fan base. Discovery comes later. You can’t manipulate the industry. There is more work for actors and musicians between New York and L.A.
5. A “Producer” incurs costs. If a producer or “Label” approaches you and wants you to sign a contract while expecting you to front the engineering and publishing costs—run.
6. No real label or management company allows a developing artist at a beginner’s level with no experience, history or base to “jump in front of the line” and open for someone like a Tim McGraw.
Clear Channel Basics
If you are not on a label or already on regional radio, they won’t touch you, much like labels don’t accept unsolicited submissions. Clear Channel nor any broadcasting chain are a talent agency or a promotions company. They are a commercial airtime selling business. Shooting for national distribution with an unknown product doesn’t work.
There are cut-out companies that are paid large sums of money to lobby new material to Clear Channel. Clear Channel-owned cut-out companies provide focus groups that test new music on listeners. These Clear Channel-owned cut-out companies then return the desired results from these “focus groups” and the one or two songs a month are then added into national rotation. You could get it done for around $60,000 on a slow month.
Commercial radio isn’t about music. It’s first and foremost a marketplace for advertising. Hence, the mind -numbing sameness of radio stations all across America. Country stations play the same 30 songs all day long. Classic rock stations play the same 3 songs by each artist all day and so on. The point isn’t to present great new music. The point is to play stuff with a wide enough appeal to garner the largest numbers of ears to listen to the commercials.
A label still needs to go through a Radio Promotion Company. One of the largest is Jeff McClusky and Associates.