Paul Resnikoff is the Founder and Publisher at Digital Music News. He specializes in the intersection of publishing and media, focusing on themes related to arts and entertainment, music, finance, and trading. His insights and expertise have been featured in prominent outlets including EIN Presswire and NewsBreak.
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Paul Resnikoff's coverage heavily emphasizes press releases and data citations, indicating a preference for fact-based articles. He predominantly covers the content & publishing industry with an emphasis on the music sector, focusing on topics such as royalties, music streaming platforms like Spotify and SoundCloud, and financial aspects of the music industry.
When reaching out to Paul, consider providing factual data or exclusive insights into developments in the music industry. Press releases that highlight significant changes in royalty structures or updates from major players like Spotify may also be well received. Additionally, offering expert commentary backed by reliable data could help capture his attention. As he does not specify a geographic focus, global perspectives on these topics are likely to be of interest to him.
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The National Music Publishers' Association (NMPA) and its SONGS Foundation tossed another splashy golf gala this week at Riviera Country Club.
By: Paul Resnikoff
Billionaire hedge-funder Bill Ackman and his Pershing Square have now proposed a $64 billion+ deal to acquire Universal Music Group (UMG)
In the wake of the Wireless Festival shutdown, more industry voices are questioning whether re-platforming Kanye West was the right move.
AIxchange partners with BUMA/Stemra, AFEM, CAPASSO, SAMPRA to promote ethical AI music attribution and creator consent.
By: Paul Resnikoff
CD Baby launches 'Stages Selects,' a full-service support program for indie artists led by Molly Neuman, focusing on holistic career growth.
By: Paul Resnikoff
The music industry faces data overload, but effective CRM use, workflow audits, and team buy-in offer hope for streamlined growth.
Qobuz, a high-res music streaming platform, is rapidly growing by attracting ex-Spotify users, offering higher payouts, and human curation.
New York City lights up with major music industry events this week: A2IM Indie Week, the Music Investor Conference, and New York Music Month.
Irving Azoff's Global Music Rights (GMR) was noticeably absent from recent Phonorecords V proceedings. So what happened?
Why are major streaming platforms so intent on removing GMR from the Phonorecords V mechanical rate-setting process?
