The U.S. music business and its artists are leaving millions of dollars on the table in neighboring rights. That must change The music industry has faced many well-covered challenges during the two decades where the business has shrunk some 50%, so it’s surprising that many U.S. artists are either unaware or indifferent to a steady stream of revenue from global neighboring rights. In 1961, the Rome Convention established an internationally acknowledged performer’s right to “equitable remuneration,” thus creating a new royalty stream for artists known today as neighboring rights. When a recording is broadcast, played in public or streamed, it generates income, or neighboring rights, for the artist, session musicians and the label. This differs from the song copyright that generates royalties for composers. For example, when the Beatles version of “Yesterday” is played on the radio, John Lennon, Paul McCartney and publisher Sony/ ATV receive publishing royalties. However, neighboring rights royalties are also paid to Lennon, McCartney, George Harrison and Ringo Starr as the featured artists and EMI Records as the owner of the recording.