The International Bluegrass Music Association has struck a deal to allow its members to attend the Summer NAMM show in Nashville at no charge, and without registering as a NAMM member. To take advantage of this option, you need to register through IBMA by June 12.

After June 12, IBMA members can register to attend for $25.

The Summer NAMM show runs from July 17-19 at the Nashville Convention Center, the same site as the annual IBMA World of Bluegrass event in the Fall. It is hosted primarily for the sake of music retailers with manufacturers of all sorts of music gear and services exhibiting their wares.

NAMM also hosts a myriad of educational seminars over the weekend, and the whole event offers the same sort of networking opportunities in the wider musical instrument, sound reinforcement and recording worlds that IBMA conference does in the bluegrass community.

To register through IBMA, contact Jill Crabtree by email or phone (888-438-4262). The space alloted to IBMA members is limited, so get your registration in soon if you would like to attend.

Last July we told you about a new magazine that was planned to start publication in the Fall. Due to an unfortunate chain of circumstances, not least the severe state of the US economy, Ron Malec’s proposed Jerusalem Ridge Magazine, intended as a means of preserving traditional bluegrass and mountain music, will not go into publication.

Several prototypes of the magazine were made available at the 2008 Jerusalem Ridge Festival and they were picked up very quickly as souvenirs. However, interest did not translate into an adequate number of subscribers and Malec’s proposals had to be reviewed.

An open letter of explanation has been posted on the ‚Äòmagazine’s’ website, and those have sent money for a subscription are invited to submit a claim for a refund.

“It is with great sadness, regret and humility that I write this message to those of you who, in good faith, subscribed to the Jerusalem Ridge Magazine, and have been looking forward to, and have patiently waited for news about it’s publication. Unfortunately, I must definitively inform all of you that JRM will not be published.

The concept for JRM grew out of my 7+ years involvement with Campbell Mercer, and his tireless efforts on behalf of the fledgling ‘Monroe Brothers Bluegrass Foundation’ and the Jerusalem Ridge Celebration. It was my vision that a publication that was dedicated solely to the traditional bluegrass music movement and it’s devotion to preserving the legacy of Bill Monroe and the music he gave us was not only necessary, but would finally give a voice to those who have worked so hard to keep Bill’s dreams. vision and legacy alive and growing for generations to come. I did then, and still do, believe in and support all that Campbell and his loyal friends and followers have accomplished to date, in spite of the many obstacles that have challenged their resolve.”

Read Ron’s full letter online.

Interestingly, so many inquiries about the proposed publication have been directed towards The Jerusalem Ridge Festival organizers that a message about Jerusalem Ridge Magazine appears on their website as well.

Undeniably, songwriters are suffering from the changes the music industry is undergoing as a result of digital technology, especially the internet. With income streams drying up or rapidly changing, a solution needs to be found for the songwriter.

Bruce Warila, at the Music Think Tank blog, offered his ideas in a recent blog post.

Noting that the songwriter’s royalty stream is drying up thanks to file sharing, the consumer cost of music decreasing, etc., Warila presents an idea that may have some merit, though I think are still a few kinks to work out.

What seems to make sense would be to enable songwriters to sell future options where bidders purchase (today) the right to pay a set price (determined by the songwriter) in the future. Songwriters would auction these future payment rights along with all the rights and income streams legally attached to the song. Buyers would be obligated to make future payments (prices predetermined by the songowner and most likely escalating) at set intervals. Buyers would lose all rights, including the right to perform (if I had it my way), if a payment was missed. It even seems like this could be done on either an exclusive or non-exclusive basis.

If a song is a dry wellhole, the purchaser simply ceases to make payments. If a song is a gusher, the purchaser happily makes every payment on time.

If you read his entire post, he seems to be eyeing the artist’s income from merchandise sales as a possible source of revenue. The problem I see is that even if a song isn’t a “gusher” the artist won’t want to loose the right to perform a song they’ve previously recorded. I do understand his thinking that songs are an important building block in an artist’s career.

His solution would rescue the artist from needing to make a large payment on the front end, and only compensate the songwriter largely, if the song was successful. How do you tie a song’s success to t-shirt sales though? Perhaps their is another way?

If you are in the business of writing songs, it might be worth your time to at least read the article and think about your options.

Every year IBMA hosts a three day event called Leadership Bluegrass. Leadership Bluegrass provides an opportunity for disparate members of the community, such as artists, engineers, label reps, etc., to all gather together for three days, in Nashville, to learn from each other and brainstorm about the future of the bluegrass music industry.

One of this year’s attendees was kind enough to write us with a copy of a paper he wrote summarizing his experience at Leadership Bluegrass.

Danny Clark attended the event, wrote this paper, and received 3 credit hours toward his Recording Industry Major at MTSU. The specific course he applied these credits toward is entitled Individual Problems in the Recording Industry.

Danny also wished to express his thanks to Stephanie Taylor, assistant professor of music business at MTSU, for her help in gaining university credit for his Leadership Bluegrass experience.

Here’s Danny’s report.

In March of 2009 I participated in an intensive informative program put on through the International Bluegrass Music Association. For three full days I was actively involved in Leadership Bluegrass. The goal of Leadership Bluegrass is to bring together musical insiders and to create a musical think tank.

There were many themes discussed in Leadership Bluegrass, topics ranged from using cloud computing to further my online marketing potential, to the advantages and disadvantages of having my own publicity and marketing team. The three day course was broken down into hour increments of concentrated information. Every hour a new guest speaker talked about their daily job routine and how I can use their insightful concepts to increase my job potential. Guest speakers included Grand Ole Opry General Manager Pete Fisher, Bobby Cudd who has worked for Marty Stuart and Ricky Skaggs, Dan Keen of ASCAP, professional musician Del McCoury, and many other remarkable presenters.

Leadership Bluegrass was a useful resource that will help further my livelihood in Bluegrass music. The intensive three day program kept me informed and updated on current trends in Bluegrass and Country music. I have gained an immeasurable amount of musical knowledge thanks in part to IBMA’s Leadership Bluegrass. I feel more prepared to tackle the everyday problems that surround a young industrialist musician.