"Artists have really never had any representation on Capitol Hill, because it's not the nature of the artist to join together and make a unified presence. Those days kind of died in the '60s"
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Crow’s line lands like a backstage confession about power: artists don’t lose in Washington because the system is unbeatable; they lose because they don’t behave like an interest group. The phrasing “it’s not the nature of the artist” is both a shrug and an indictment. It romanticizes the lone-wolf mythology of creativity while quietly naming its price: no seat at the table when policy gets written. In a town that runs on coalitions, campaign checks, and disciplined messaging, “unified presence” is the real currency, and artists tend to spend theirs on individuality.
The second sentence does the heavier cultural work. “Those days kind of died in the ’60s” invokes the era when musicians were imagined as a mass civic force - protest songs, benefit concerts, draft-era moral urgency, a shared enemy you could put on a poster. Crow’s “kind of” is telling: it acknowledges that the myth of the ’60s is partly nostalgia, partly marketing, but it also points to how the industry and the culture fragmented afterward. Radio splintered, audiences atomized, labels consolidated, activism became branding, and celebrity politics turned into a solo act.
Subtext: artists want representation without becoming what they distrust. Lobbying requires compromise, repetition, and institutional loyalty - the very things that can feel like creative death. Crow isn’t just mourning a lost golden age; she’s describing why the arts keep getting treated as a luxury line item rather than a constituency. In politics, being right is optional. Being organized isn’t.
The second sentence does the heavier cultural work. “Those days kind of died in the ’60s” invokes the era when musicians were imagined as a mass civic force - protest songs, benefit concerts, draft-era moral urgency, a shared enemy you could put on a poster. Crow’s “kind of” is telling: it acknowledges that the myth of the ’60s is partly nostalgia, partly marketing, but it also points to how the industry and the culture fragmented afterward. Radio splintered, audiences atomized, labels consolidated, activism became branding, and celebrity politics turned into a solo act.
Subtext: artists want representation without becoming what they distrust. Lobbying requires compromise, repetition, and institutional loyalty - the very things that can feel like creative death. Crow isn’t just mourning a lost golden age; she’s describing why the arts keep getting treated as a luxury line item rather than a constituency. In politics, being right is optional. Being organized isn’t.
Quote Details
| Topic | Art |
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