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Singer-songwriter Lee Greenwood (R) introduces US President Donald Trump during a rally to kick off the Great American State Fair on the National Mall on June 24, 2026 in Washington, DC.
(Photo by Andrew Harnik/Getty Images)
A Hollow Song For a Hollow President
Lee Greenwood's "God Bless the USA" promotes a version of patriotism that gets reduced to signing a blank check for whatever our leaders choose to do, but his isn't the sole patriotic ballad to chose from.
Jul 02, 2026
After musician after musician pulled out from President Donald Trump’s “Freedom 250” concert, he was left with Lee Greenwood, an opera tenor, a couple of military bands, and Kash Patel’s girlfriend. The anthem that made Greenwood a star, “God Bless the USA,” was written in 1985 during the height of the Cold War. It begins with the specter of loss—“If tomorrow—all the things were gone, I’d worked for all my life/ And I had to start all over with my children and my wife.” Then the wounds disappear before they’re felt: “I’d thank my lucky stars to be living here today/ Because the flag still stands for freedom and they can’t take that away.”
Ronald Reagan made the song his campaign theme while launching a new age of American inequality by systematically busting unions and cutting taxes for the wealthiest. Greenwood treats layoffs and the resulting toll on ordinary lives as a mere inconvenience. As the refrain shifts from violins and a church organ to a military march, he repeats, “I’m proud to be an American, where at least I know I’m free/ And I won’t forget the men who died who gave that right to me.”
Honoring those who died resonates powerfully. Those who risk taking bullets to defend our country deserve respect for their service and sacrifice. Yet this gives us no special grace over citizens of other lands. And doesn’t answer the question of whether or not it was necessary to put them in harms way to begin with. Because Greenwood says nothing about what freedom might demand of us, it becomes just an empty phrase, blessing all that our leaders may do, no matter how arrogant or destructive.
We were defending freedom in this view, when supporting dictators from Chile’s Augusto Pinochet to the Iranian Shah whose brutal rule laid the groundwork for the current theocracy and the war of choice that we hope has now finally ended. We’re supposedly defending freedom now as Trump cozies up to dictators like Russia's Vladimir Putin, Turkey’s Recep Erdoğan, and Saudi Arabia’s Mohammed bin Salman, and while Immigration and Customs Enforcement agents grab innocent people off America’s streets. When Greenwood sings, “There ain’t no doubt I love this land. God Bless the USA,” he never suggests what qualities of justice would redeem the love he declaims.
Hard as it is, we’re stronger for engaging the difficult questions about who we’ve been as a country and who we want to be.
Greenwood wrote the song after we invaded the 95,000-person country of Grenada, wanting to reflect “the spirit of America being proud.” Reagan made it his campaign theme, and Greenwood has been singing it at Republican rallies and conventions ever since. Trump calls it “the greatest hit of all time” and sold a “God Bless the USA Bible,” (printed in China) that contains the song. Because Greenwood says that just living in America makes us free, his version of patriotism gets reduced to signing a blank check for whatever our leaders choose to do. It’s a perfect match for this or any president who seeks to erase all limits on their power.
But Greenwood’s isn’t the sole patriotic ballad to choose from. The late Waylon Jennings’ “America” reached No. 6 on the charts the year “God Bless the USA” first came out. Written by Sammy Johns, the song affirms connection to native soil, as Jennings repeats, “America, America,” slowly and tenderly as if to a woman he loves; then admits, softly, “You’ve become a habit to me.” But he also makes tough demands—recounting his own history as an Anglo yeoman “from down round Tennessee,” then continuing, “But my brothers/ Are all black and white/ Yellow too/ And the red man is right/ To expect a little from you/ Promise and then follow through/ America.”
In a similar vein, “America the Beautiful” writer Katherine Lee Bates celebrated “purple mountain majesties,” but actively opposed America’s imperial adventures, so added lines like “God mend thine every flaw/Confirm thy soul in self-control/Thy liberty in law!” Bruce Springsteen’s whole career has been about honoring the courage and dignity of ordinary Americans, from “The Promised Land” celebrating those with “dreams that break your heart,” to “The Rising’s” portrait of 9/11 firefighters, to the “Streets of Minneapolis” chorus, “Singing through the bloody mist, we’ll take our stand for this land.”
Hard as it is, we’re stronger for engaging the difficult questions about who we’ve been as a country and who we want to be. Patriotic ballads don’t have to be political manifestos. But the best celebrate our diverse and contradictory land and acknowledge that true greatness does not flow like automatic grace. Rather, it’s fulfilled through honoring common responsibility and connection.
With democracy profoundly threatened, we need true patriotism more than ever. We can choose a patriotism of blind adulation. Or we can embrace the songs that demand the most of us.
An earlier version of this piece appeared in The Fulcrum.
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After musician after musician pulled out from President Donald Trump’s “Freedom 250” concert, he was left with Lee Greenwood, an opera tenor, a couple of military bands, and Kash Patel’s girlfriend. The anthem that made Greenwood a star, “God Bless the USA,” was written in 1985 during the height of the Cold War. It begins with the specter of loss—“If tomorrow—all the things were gone, I’d worked for all my life/ And I had to start all over with my children and my wife.” Then the wounds disappear before they’re felt: “I’d thank my lucky stars to be living here today/ Because the flag still stands for freedom and they can’t take that away.”
Ronald Reagan made the song his campaign theme while launching a new age of American inequality by systematically busting unions and cutting taxes for the wealthiest. Greenwood treats layoffs and the resulting toll on ordinary lives as a mere inconvenience. As the refrain shifts from violins and a church organ to a military march, he repeats, “I’m proud to be an American, where at least I know I’m free/ And I won’t forget the men who died who gave that right to me.”
Honoring those who died resonates powerfully. Those who risk taking bullets to defend our country deserve respect for their service and sacrifice. Yet this gives us no special grace over citizens of other lands. And doesn’t answer the question of whether or not it was necessary to put them in harms way to begin with. Because Greenwood says nothing about what freedom might demand of us, it becomes just an empty phrase, blessing all that our leaders may do, no matter how arrogant or destructive.
We were defending freedom in this view, when supporting dictators from Chile’s Augusto Pinochet to the Iranian Shah whose brutal rule laid the groundwork for the current theocracy and the war of choice that we hope has now finally ended. We’re supposedly defending freedom now as Trump cozies up to dictators like Russia's Vladimir Putin, Turkey’s Recep Erdoğan, and Saudi Arabia’s Mohammed bin Salman, and while Immigration and Customs Enforcement agents grab innocent people off America’s streets. When Greenwood sings, “There ain’t no doubt I love this land. God Bless the USA,” he never suggests what qualities of justice would redeem the love he declaims.
Hard as it is, we’re stronger for engaging the difficult questions about who we’ve been as a country and who we want to be.
Greenwood wrote the song after we invaded the 95,000-person country of Grenada, wanting to reflect “the spirit of America being proud.” Reagan made it his campaign theme, and Greenwood has been singing it at Republican rallies and conventions ever since. Trump calls it “the greatest hit of all time” and sold a “God Bless the USA Bible,” (printed in China) that contains the song. Because Greenwood says that just living in America makes us free, his version of patriotism gets reduced to signing a blank check for whatever our leaders choose to do. It’s a perfect match for this or any president who seeks to erase all limits on their power.
But Greenwood’s isn’t the sole patriotic ballad to choose from. The late Waylon Jennings’ “America” reached No. 6 on the charts the year “God Bless the USA” first came out. Written by Sammy Johns, the song affirms connection to native soil, as Jennings repeats, “America, America,” slowly and tenderly as if to a woman he loves; then admits, softly, “You’ve become a habit to me.” But he also makes tough demands—recounting his own history as an Anglo yeoman “from down round Tennessee,” then continuing, “But my brothers/ Are all black and white/ Yellow too/ And the red man is right/ To expect a little from you/ Promise and then follow through/ America.”
In a similar vein, “America the Beautiful” writer Katherine Lee Bates celebrated “purple mountain majesties,” but actively opposed America’s imperial adventures, so added lines like “God mend thine every flaw/Confirm thy soul in self-control/Thy liberty in law!” Bruce Springsteen’s whole career has been about honoring the courage and dignity of ordinary Americans, from “The Promised Land” celebrating those with “dreams that break your heart,” to “The Rising’s” portrait of 9/11 firefighters, to the “Streets of Minneapolis” chorus, “Singing through the bloody mist, we’ll take our stand for this land.”
Hard as it is, we’re stronger for engaging the difficult questions about who we’ve been as a country and who we want to be. Patriotic ballads don’t have to be political manifestos. But the best celebrate our diverse and contradictory land and acknowledge that true greatness does not flow like automatic grace. Rather, it’s fulfilled through honoring common responsibility and connection.
With democracy profoundly threatened, we need true patriotism more than ever. We can choose a patriotism of blind adulation. Or we can embrace the songs that demand the most of us.
An earlier version of this piece appeared in The Fulcrum.
From Your Site Articles
Paul Rogat Loeb is the author of "Soul of a Citizen: Living with Conviction in Challenging Times" (2010) and "The Impossible Will Take a Little While: A Citizen's Guide to Hope in a Time of Fear", named the #3 political book of 2004 by the History Channel and the American Book Association. See www.paulloeb.org
After musician after musician pulled out from President Donald Trump’s “Freedom 250” concert, he was left with Lee Greenwood, an opera tenor, a couple of military bands, and Kash Patel’s girlfriend. The anthem that made Greenwood a star, “God Bless the USA,” was written in 1985 during the height of the Cold War. It begins with the specter of loss—“If tomorrow—all the things were gone, I’d worked for all my life/ And I had to start all over with my children and my wife.” Then the wounds disappear before they’re felt: “I’d thank my lucky stars to be living here today/ Because the flag still stands for freedom and they can’t take that away.”
Ronald Reagan made the song his campaign theme while launching a new age of American inequality by systematically busting unions and cutting taxes for the wealthiest. Greenwood treats layoffs and the resulting toll on ordinary lives as a mere inconvenience. As the refrain shifts from violins and a church organ to a military march, he repeats, “I’m proud to be an American, where at least I know I’m free/ And I won’t forget the men who died who gave that right to me.”
Honoring those who died resonates powerfully. Those who risk taking bullets to defend our country deserve respect for their service and sacrifice. Yet this gives us no special grace over citizens of other lands. And doesn’t answer the question of whether or not it was necessary to put them in harms way to begin with. Because Greenwood says nothing about what freedom might demand of us, it becomes just an empty phrase, blessing all that our leaders may do, no matter how arrogant or destructive.
We were defending freedom in this view, when supporting dictators from Chile’s Augusto Pinochet to the Iranian Shah whose brutal rule laid the groundwork for the current theocracy and the war of choice that we hope has now finally ended. We’re supposedly defending freedom now as Trump cozies up to dictators like Russia's Vladimir Putin, Turkey’s Recep Erdoğan, and Saudi Arabia’s Mohammed bin Salman, and while Immigration and Customs Enforcement agents grab innocent people off America’s streets. When Greenwood sings, “There ain’t no doubt I love this land. God Bless the USA,” he never suggests what qualities of justice would redeem the love he declaims.
Hard as it is, we’re stronger for engaging the difficult questions about who we’ve been as a country and who we want to be.
Greenwood wrote the song after we invaded the 95,000-person country of Grenada, wanting to reflect “the spirit of America being proud.” Reagan made it his campaign theme, and Greenwood has been singing it at Republican rallies and conventions ever since. Trump calls it “the greatest hit of all time” and sold a “God Bless the USA Bible,” (printed in China) that contains the song. Because Greenwood says that just living in America makes us free, his version of patriotism gets reduced to signing a blank check for whatever our leaders choose to do. It’s a perfect match for this or any president who seeks to erase all limits on their power.
But Greenwood’s isn’t the sole patriotic ballad to choose from. The late Waylon Jennings’ “America” reached No. 6 on the charts the year “God Bless the USA” first came out. Written by Sammy Johns, the song affirms connection to native soil, as Jennings repeats, “America, America,” slowly and tenderly as if to a woman he loves; then admits, softly, “You’ve become a habit to me.” But he also makes tough demands—recounting his own history as an Anglo yeoman “from down round Tennessee,” then continuing, “But my brothers/ Are all black and white/ Yellow too/ And the red man is right/ To expect a little from you/ Promise and then follow through/ America.”
In a similar vein, “America the Beautiful” writer Katherine Lee Bates celebrated “purple mountain majesties,” but actively opposed America’s imperial adventures, so added lines like “God mend thine every flaw/Confirm thy soul in self-control/Thy liberty in law!” Bruce Springsteen’s whole career has been about honoring the courage and dignity of ordinary Americans, from “The Promised Land” celebrating those with “dreams that break your heart,” to “The Rising’s” portrait of 9/11 firefighters, to the “Streets of Minneapolis” chorus, “Singing through the bloody mist, we’ll take our stand for this land.”
Hard as it is, we’re stronger for engaging the difficult questions about who we’ve been as a country and who we want to be. Patriotic ballads don’t have to be political manifestos. But the best celebrate our diverse and contradictory land and acknowledge that true greatness does not flow like automatic grace. Rather, it’s fulfilled through honoring common responsibility and connection.
With democracy profoundly threatened, we need true patriotism more than ever. We can choose a patriotism of blind adulation. Or we can embrace the songs that demand the most of us.
An earlier version of this piece appeared in The Fulcrum.
From Your Site Articles
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