"What Irving did was look at what songwriters were earning historically and offer them a premium," said Barry M. Massarsky, an economist who specializes in music publishing..."He believes he can carve out a higher value for those songs from radio and pay less in administration fees, so that ultimately the songs would make more money than they have from ASCAP or BMI."
New Venture Seeks Higher Royalties for Songwriters
New York Times, October 29, 2014
"I recently spoke with Massarsky from his office in New York City about copyrights, licenses and royalties within the current music industry and got his views on the music and the artists whose interests he works to protect."
Editor’s Mix Interview Series: Massarsky Consulting Inc.’s Barry Massarsky
Editor's Mix, June 7, 2013
"Kicking off a semester of decorated speakers, Barry Massarsky addressed Belmont students of the Curb College of Entertainment and Music Business about the economics of today’s music business transactions."
Barry Massarsky 1.9.13
Towermix.com, January 17, 2013
"'Soul Man' got 5,645 spins on the radio -- an average of 15.5 times a day -- last year, and 'Hold On, I'm Comin'' hit the airwaves 3,387 times, or 9.3 times daily, according to the office of Barry Massarsky, an economist who works with the record industry."
Recording artists and radio stations fight over royalties, air play and spin
Cleveland Plain Dealer, June 13, 2010
"'Nothing increases the value of an artist's catalog than death ... an untimely death,' says Barry Massarsky, a music industry economist and consultant."
Michael Jackson's Money Machine
Forbes, October 27, 2009
"'Marty figured out how to generate more publisher performance royalties for each play on radio than what was previously earned by the original publisher,' said Barry Massarsky, a music industry consultant who has done work for Sony/ATV and its competitors."
Turning Music Into Dollars at Sony/ATV
New York Times, August 22, 2009
"'Sony/ATV's really started to gain greater value in recent years,' Barry Massarsky, a music industry consultant who has done work for Sony/ATV and its rivals, told The Times. 'I'm very bullish on its prospects.'"
Jackson Assets Draw the Gaze of Wall Street
New York Times, July 20, 2009
"Industry consultant Barry Massarsky said he expects any one of the three remaining major labels would likely be willing to distribute a new album from Jackson. "They're not afraid of anything but failure, and they're always looking for the next greatest hit," he told Reuters, adding that Jackson could follow a path similar to that taken by Mariah Carey, who found success at Universal Music after her highly publicized fallout with EMI Group Plc."
Bahrain label says Michael Jackson plans new album
Reuters, April 19, 2006
"Barry M. Massarsky, a music industry economist and a consultant for SoundExchange, predicted that total revenue from satellite radio alone would increase by six to 10 times over the next five years. 'Based on our research from August 2004,' he said, 'forecasts for satellite radio revenues alone eclipse $2 billion by 2008 and $3 billion by 2010.' Current revenue estimates for satellite radio are about $300 million for 2004, he said. Most of the money comes from subscription fees."
Satellite, Internet radio royalties add up for musicians
New York Times, December 31, 2004
"In spring 2001 Barry Massarsky '81 was facing an enviable problem. The boutique consulting practice he'd started up in 1992 to serve the music industry on questions of copyright had bloomed into a thriving business. He had found a vibrant, rewarding niche market that did nothing but grow. And he had built up a strong, diverse base of clients who appreciated and relied heavily on his expertise, providing a steady stream of engagements. The problem was that even though he delegated specific tasks to his network of outside consultants, the demand was outpacing Massarsky's capacity. And demand was increasing."
Theme and Variation, page 46
Cornell Enterprise, Spring 2003
"One industry economist, Barry M. Massarsky, a consultant in Manhattan, said songwriters and their estates had hired him to decipher just how they are being paid. As a rough example, he said, a song played on a major New York radio station might bring the writer who created the work and the publisher who exploits its value $160 each a play and perhaps 10 times as much on television, a far rarer occurrence."
A Quest for Relief (Plop, Plop! Fizz, Fizz!), Monetarily
New York Times, April 29, 1997