"Then, there was Greenpeace, I remember that when they first started out with the boats in the waters, and the guys in the boats between the whales and the boats that will hunting the whales with spear guns"
About this Quote
You can hear the era in the syntax: a half-told memory that still carries the shock of seeing activism turn physical. Rick Danko isn’t delivering a polished slogan; he’s sketching a vivid image - small boats, human bodies, and the blunt machinery of killing - and letting the moral math do the work. That’s the intent: not to debate whaling policy, but to recall the moment Greenpeace made environmentalism impossible to ignore by placing fragile humans into the frame.
The subtext is admiration mixed with disbelief. “Guys in the boats” lands with a plainspoken intimacy, as if the activists are just regular people who decided to be brave on purpose. Danko’s repetition and stumble (“boats... boats that will hunting”) reads like someone searching for the right emphasis, and finding it in escalation: whales, spear guns, collision course. It’s a musician’s way of storytelling - more rhythm and imagery than argument.
Context matters. Danko comes out of the late-60s/70s rock world where counterculture ideals were being tested against real institutions, real money, real violence. Early Greenpeace actions were media theater, yes, but theater with stakes: bodies as barricades, cameras as amplifiers. Danko’s recollection treats that strategy as a cultural turning point. The line captures how a movement went from abstract “save nature” sentiment to a spectacle of conscience, where the only way to make the public look was to stand between the harpoon and the animal.
The subtext is admiration mixed with disbelief. “Guys in the boats” lands with a plainspoken intimacy, as if the activists are just regular people who decided to be brave on purpose. Danko’s repetition and stumble (“boats... boats that will hunting”) reads like someone searching for the right emphasis, and finding it in escalation: whales, spear guns, collision course. It’s a musician’s way of storytelling - more rhythm and imagery than argument.
Context matters. Danko comes out of the late-60s/70s rock world where counterculture ideals were being tested against real institutions, real money, real violence. Early Greenpeace actions were media theater, yes, but theater with stakes: bodies as barricades, cameras as amplifiers. Danko’s recollection treats that strategy as a cultural turning point. The line captures how a movement went from abstract “save nature” sentiment to a spectacle of conscience, where the only way to make the public look was to stand between the harpoon and the animal.
Quote Details
| Topic | Ocean & Sea |
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