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In American intellectual property law, the presumption is that all phono recordings are available for broadcast. Composers license their work to ASCAP or BMI, which organizations are thereby empowered to collect the royalties due on those broadcasts on the composers' behalf, and they're supposed to distribute this money back to the songwriters.
Flaws with this process:
(1) The songwriter gets the compensation, no matter how significant the contribution of the performer. A good example is John Coltrane's many incredible performances of "My Favorite Things." When played on the radio, the royalties go to the heirs and assigns of Rodgers and Hammerstein, not Coltrane's.
(2) Actually, it may not make it to the songwriter either. They pay the publisher, who's supposed to hand over a reasonable share of the money to the songwriter. There are way too many cases where the publisher keeps the money-- especially in the early days of rock, where the record companies told the artists they had to sign over their publishing rights to the companies.
(3) ASCAP in particular does a terrible job of noting the presence of lesser known songwriters. They think they're doing their job if they just read the Billboard charts and monitor the top rated radio stations, and give all the money (that hasn't been eaten up in "administrative expenses") to those artists-- another example of concentration of wealth.
They'll probably pay attention if a high profile show like Hannity's uses music like Hornsby's every day. Probably Hornsby's publishing company (which Hornsby is probably savvy enough to own) has spoken to Hannity's production company and made a side deal.
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