As communities across America prepare to commemorate 250 years of national history, anthems like "God Bless the U.S.A." will resonate at various events, from fireworks displays to local parades, ballgames, and backyard gatherings. Lee Greenwood, the song's creator, penned the track over four decades ago while on a demanding tour schedule.
Greenwood has performed the song throughout the United States and globally for service members abroad, noting he has never tired of it. However, he points out a significant issue: while AM/FM radio stations generate revenue from broadcasting his recording, the artists and musicians involved in its creation receive no payment. He explains that a radio company can play "God Bless the U.S.A." countless times, selling advertising based on each play, yet avoid compensating the performers. This situation, he clarifies, is not due to any agreement signed by the artists but rather a legal loophole that Congress has left unaddressed for approximately a century.
The Core Issue of Uncompensated Work
Greenwood emphasizes his appreciation for radio, acknowledging its long-standing role in his life and career. He clarifies that his advocacy is not aimed at penalizing local stations or stifling community voices. Instead, it seeks to compel the largest broadcast corporations in the United States to adhere to a fundamental principle followed by nearly every other platform: if music is used to generate profit, its creators deserve a share of that income.
He frames this as a core American ideal: fair compensation for work that generates value. Drawing an analogy, he asserts that just as a farmer is paid for crops or factory workers for their products, those who create recorded music should also be compensated. While the men and women who produce recordings generate significant value, AM/FM radio has benefited from a "free pass" since the early days of broadcasting. Major broadcasting corporations continue to exploit this loophole, attracting vast audiences with others' work, accumulating billions in advertising revenue, and leaving performers unremunerated.
Greenwood contends this is not a free market system but rather a governmental favor extended to one industry at the expense of working musicians. He attributes the loophole's persistence to the radio industry's extensive lobbying efforts, which spend millions to prevent congressional intervention.
For Greenwood, the issue extends beyond his personal royalties, as he acknowledges his own success. He highlights the plight of session players, studio musicians, and backup vocalists—individuals whose names often remain unknown but whose work is integral to recordings. These working professionals, he argues, deserve to be paid for their contributions, having historically received no compensation from AM/FM radio plays.
Addressing Industry Claims and Global Impact
Radio companies often argue that playing music provides artists with "free advertising," boosting record sales and concert ticket revenues, thereby settling any debt. Greenwood counters that even if this were true, it would not justify using recordings without compensation. He points out that all other platforms that feature his recordings—including Spotify, SiriusXM, YouTube, and internet radio—pay for this right. Only traditional AM/FM radio, he notes, utilizes artists' music without payment.
The impact of this loophole extends internationally. Because the United States does not compensate performers for radio plays—a practice shared with countries like Cuba, Iran, and North Korea—other nations frequently withhold royalties already earned by American artists, amounting to hundreds of millions of dollars annually. Furthermore, due to the lack of artist compensation in the U.S., the European Union is reportedly considering withholding an additional $287 million from American artists each year.
The American Music Fairness Act
A bipartisan legislative proposal, the American Music Fairness Act (AMFA), aims to rectify these issues. Sponsored by Senator Marsha Blackburn (R-TN) and Congressman Darrell Issa (R-CA), the bill seeks to require large radio corporations to compensate artists. It is described as a narrowly tailored measure that would allow independent and local broadcasters to play unlimited music for a modest daily fee, while the most powerful radio corporations would finally be required to fulfill their financial obligations.
Should the American Music Fairness Act become law, Greenwood asserts that American broadcasters would begin paying artists, and international entities that have withheld royalties due to the loophole would also commence payments. He believes the European Union's proposal to withhold further funds would then become obsolete.
A Legacy of Advocacy and Future Prospects
This struggle for artist compensation is not new. Decades ago, Frank Sinatra galvanized artists to appeal to Congress to close the radio loophole, but their efforts did not succeed. Greenwood expresses his determination to complete the work Sinatra began, and he voiced appreciation for the current President's capacity to achieve legislative goals.
During his first term, President Trump signed the Music Modernization Act, which addressed fair compensation for artists in the streaming era. Greenwood views the American Music Fairness Act as the unfinished component of that legislative effort. He believes President Trump has the ability to guide this bill to passage, succeeding where previous administrations have not.
Greenwood concludes by reiterating the foundational American principle that hard work merits reward. He suggests that closing this century-old loophole, which has left artists uncompensated, would be a fitting tribute as the nation celebrates its 250th anniversary, finally allowing the creators of America’s soundtrack to share in the value of their contributions.
