"Much as I cared for Joseph Kennedy, he was a classic example of that person in the arts with lots of brains and drive but little taste or talent"
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Swanson’s dagger lands with the elegance of someone who built a career on poise and understands exactly how power circulates around “the arts” without necessarily coming from them. She opens with affection - “Much as I cared” - not to soften the blow, but to legitimize it. The compliment functions like a backstage pass: she’s not an outsider sniping at the rich; she’s someone who knew Joseph P. Kennedy well enough to separate personal warmth from aesthetic judgment.
The line is really about a recurring Hollywood type: the financier-patron-producer who treats culture as an arena for conquest. “Brains and drive” are conceded because they’re undeniable, and because Swanson is diagnosing a mismatch rather than indulging in pure insult. The poison is in the second half: “little taste or talent.” Taste is the currency that decides what gets made, what gets funded, what gets pushed into the spotlight; accusing someone of lacking it is a charge of cultural vandalism. Talent, meanwhile, is the thing Kennedy couldn’t buy, only borrow, and Swanson implies he never quite understood the difference.
The subtext is also gendered and classed. A male power broker can be celebrated for ambition alone; Swanson, a woman whose work was constantly appraised as “tasteful” or “vulgar,” flips the hierarchy and judges the judge. It’s a quiet assertion of artistic sovereignty: money can enter the room, but it doesn’t get to declare what’s good.
The line is really about a recurring Hollywood type: the financier-patron-producer who treats culture as an arena for conquest. “Brains and drive” are conceded because they’re undeniable, and because Swanson is diagnosing a mismatch rather than indulging in pure insult. The poison is in the second half: “little taste or talent.” Taste is the currency that decides what gets made, what gets funded, what gets pushed into the spotlight; accusing someone of lacking it is a charge of cultural vandalism. Talent, meanwhile, is the thing Kennedy couldn’t buy, only borrow, and Swanson implies he never quite understood the difference.
The subtext is also gendered and classed. A male power broker can be celebrated for ambition alone; Swanson, a woman whose work was constantly appraised as “tasteful” or “vulgar,” flips the hierarchy and judges the judge. It’s a quiet assertion of artistic sovereignty: money can enter the room, but it doesn’t get to declare what’s good.
Quote Details
| Topic | Sarcastic |
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