That does happen. But actually they come here for a much different reason. number one the community aspect of the town. If they are good at what they do, recognize the rules of the town, take their time and be basically a nice person, they are welcomed with open arms and find a LOT of people from their home areas actually already here.

if they have overreaching, unrealistic expectations like everything is going to happen immediately, if they are bulls in china shops, if they are dismissive of the rules and etticates, yeah, they are going to hit some pretty hard walls.

Signing your publishing is a given. That is the incentive for a publishing company working with you. they have established the contacts the careers and often the money to work in this town and in this industry.The songwriter has given up nothing. Publishing is the business side of a song and it is unrealistic to think you are going to keep any of that, to get in the game. That is the cost of doing business and new writers and artists haven't earned anything yet.

As it was put to me once by a very successful writer, "Publishing is something you earn back with success." Renegotiation happens as you prove yourself. you aren't just given the keys to the Kingdom when you haven't earned that. And you have to earn it on the playing field you are going for. They are not going to re-arrange the rules to fit you.
But that is exactly one of the rules people don't realize and it leads them to see "the dark side." It is only the dark side when they go into it with their eyes closed.And dreamers usually have their eyes very closed.

Another aspect of the two cultures is the learning curve. One of the problems the Canadian record companies and publishing companies had for many years was that they were coming to Nashville, New york and Los Angeles with product that worked fine in Canada, but didn't work here because it was behind the times. It was very normal to hear the 'hot Canadian artist' doing songs that sound like 10-15 years ago Nashville and American artists. They had an inabilty to sell product in the states because their product sounded dated.

Coming to Nashville, getting songs from current writers here, working with publishers and label people here, had an updating effect. And you find many of the current Canadian artists are first sent here by their companies to work on their craft here.
That is WHY SOCAN has a house here, and why the head of SOCAN, hit writer Eddie Schwartz, is here instead of in Canada. To help writers and artists get a balance to their knowledge.

And now, more and more of the Canadian product sounds more updated and commercially equal with the marketplace here. And why artists are having more success in this market.

Like every place when it comes to Nashville. Nashville doesn't send for anyone. They all come here. That builds up resentments and I hate that, but it is simply the truth. Now, there are becoming reciprical aggreements with more American writers and artists integrating into the Canadian music scene. It is a market for American product and as Aaron says it is a bit easier to get Canadian cuts, because they are a little more open to listening to outside material. But they are developing the inner cut themselves, which is only right. Everyone wants to be a part of their own product. Just a natural extension of what happens as music, technology and society advances.

MAB