January 2, 2:50PM
www.examiner.com
Interview with Grateful Dead's Bill Kreutzmann - Part 2
by The Dead Examiner, Shawn Perry
For the first installment of our exclusive interview with the Grateful Dead’s Bill Kreutzmann, we discussed current projects including the Hawaii Blue Moon New Year’s Eve Tour, which concludes tonight, Saturday, January 2, at the Akebono Theater on the Big Island . We also got into his own three-piece band, BK3.
This time, Kreutzmann talks about an ongoing collaboration with New Orleans musician Papa Mali and general love of jamming with other players.
We also spoke about the 2009 Dead tour with Phil Lesh, Bob Weir and Mickey Hart — which grew out of gigs the group did in support of electing President Barack Obama.
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Tell me about your work with Papa Mali.
It’s completely different than BK3, but just amazing. It’s its own kind of music. Malcolm (Papa Mali) is a real New Orleans guy and he has that feeling. I also wrote a handful of songs for that particular thing.
I saw some video on your web site.
Those are some of the live shows. I’m about to change that and put up some BK3 real soon. I’ve been mixing a mix of shows, and I’m going to put it up for people to listen to.
Earlier this year, of course, you joined Bob Weir, Phil Lesh, Mickey Hart, Warren Haynes and Jeff Chimenti for the Dead tour. The tour grew out of gigs you played for President Obama.
I thought if we went to all the trouble to get together and go out for the president, then why don’t we just get together and do a tour. Everybody seemed to like that idea. And that’s what we did.
Did you get to meet President Obama?
Yeah, we met him the night of the inauguration. We played at Penn State first and earned a lot of money for his campaign. Pennsylvania always used to go Republican, I think. This time, they went Democratic and we think had a little bit to do with that — getting younger people out to vote. It does feel a little strange. For so many years, the Grateful Dead were apolitical and to back this fellow and then I hear him change his tune after he’s been in Washington for awhile. I can kind of feel him morphing toward old politics. I’m heard him say the words “nuclear power,” and I’m hearing him say the words — he’s said this and he’s always been mistaken — “clean-burning coal” and there is no such thing.
Political euphemisms?
Yeah. I read his second book. His biggest concern was that he was going to be manipulated and succumb to this political juggernaut that lives in Washington and become like them. And I’m hearing a little of that and it’s sad. I get into why Garcia never wanted to back any politicians. He really knew inside that they all have to play this game.
Anyway, I did get to meet him. It was a lot of fun and I got to give him a big hug and Michelle a big hug. They’re both from Hawaii. He’s coming back over here for Christmas. Oahu is going to be insane with him over there. I’ll be glad to be on Kauai, not that island.
Are there any plans for more Dead shows in the foreseeable future?
I don’t really know about that one. That one is always the mystery question (laughs). I don’t know, it just depends on how those guys are feeling after their Furthur tour. If they want go back with us, that’d be great. If not, you know, I’m into doing a lot of new stuff.
I’ll be real honest with you. Toward the end of the Dead tour, I was getting kind of bored with the music because it was kind of formulized. That why I work with these other bands now. I can be totally free and I’m encouraged to be that way. The musicians like that.
Malcolm paid me the biggest compliment when we were listening back to the basic tracks. He said, “Guys are gonna think you’re from New Orleans.” Actually I am. My mother was born in New Orleans. And if Mom’s from New Orleans, so are you (laughs). I really get into that music when I hear it and I like to play it.
How would you describe it? Is it Cajun? Jazz?
Yeah, maybe between the Meters and the Neville Brothers. I did this little festival here awhile ago in Yosemite, what they called Las Tortugas. It was a small and really cool thing — about a thousand, maybe 1,200 people. They have all these cabins around and people put up tents, just before the weather gets cold in the Sierras.
Dumpstaphunk was playing Friday night. I got there Friday afternoon and they invited me to sit in for the last four songs. It really went well. I’d never played with those guys before. It was just like I had been there forever. They had a real cool drummer and we sat real close to each other. We sat so close I couldn’t use my left side cymbal, so I started using his (laughs). We had a wonderful time. It just took me back to playing New Orleans music. In a place I like to be.
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January 3, 4:13 PM
www.examiner.com
Interview with Grateful Dead's Bill Kreutzmann - Part 3
by The Dead Examiner, Shawn Perry
In the first and second installments of our exclusive interview with the Grateful Dead’s Bill Kreutzmann, we touched on a number of recent activities (you’ll have to read the installments for details).
For our third installment, we go back a bit, first catching up with the Rhythm Devils, then even further back to the 60s and 70s. Kreutzmann speaks benevolently about working on Jerry Garcia’s first solo album. He also expresses his views about two of the most talked-about and controversial events in rock and roll — Altamont and Woodstock.
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I recently received the Rhythm Devils' Concert Experience DVD you did with Mike Gordon and Steve Kimock a couple years ago.
That was a really nice project.
Anything over the horizon for more Rhythm Devils projects like this?
Mickey and I are probably going to get together and plan some Rhythm Devils for 2010. This is between you and me in a way because I haven’t talked to Mickey about it yet, but I’d like to use my trio as sort of the backbone. And I’d to love have Joan Osborne — this is my dream band — on vocals too.
I remember seeing her perform with you a few years ago.
I love Joan Osborne. I thought she did really well with the band. I’ve ran into her since and she’d love to play with my trio, so I think we should just combine them. We have a lot of material that we worked out from the first Rhythm Devils. Those songs are good; they just need to be redone.
I’ve always found it interesting with you and Mickey Hart where he provides the color and embellishments, and you more or less drive the train. How did that develop?
It’s just in our personalities. We each have completely different personalities. I think it developed that way. We just kept playing. That’s more the way I like to play and he plays the way he likes to play. We got away from doubling the drum set because we thought that was so redundant. Why have two drum sets? There’s potential for so many sounds. For this last Dead tour, we really got down on that.
We would go to rehearsal at ten in the morning and rehearse until at least twelve or one — just Mickey and I on Rhythm Devils stuff. The rest of the band would come in at around one or so and we’d go until about six. We spent a lot of days in there and that really helps. We define who’s going to play what part so that it’s complimentary instead painting so many colors until it turns black.
There were times when you were the only drummer in the Grateful Dead. Did you have to radically adjust your style?
I did. The first gig (without Mickey Hart) — and they released that show (editor’s note: the February 19, 1971 show at the Capitol Theater in Port Chester, NY gig was released in 2007 as the double CD Three From The Vault ) — I was hearing another drummer who wasn’t there right then and I had to fill it out more. That’s when I played by myself in the early 70s and then the band took a complete break. Then Mickey and I got back together again.
That’s really when the concept of the Rhythm Devils took shape.
Yeah. We got tighter and we got better. We got away from just having two drummers playing the same thing. That never works. It doesn’t make it a better sound, to have two identical drummers playing. So we tried to be different and be complimentary.
During the early 70s, the Grateful Dead were extremely active in the recording studio. I could spend all day asking you about the sessions, but…
…I wouldn’t remember them all anyway (laughs).
One record that stands out has just you and Jerry Garcia, which was his first solo album (Garcia). Do you remember anything in particular about making that one?
I do. It was really fun and free. He would just have a few musical ideas — he would be on the piano and I was in an isolated drum booth. We talked back and forth. He’d start an idea and I would just come up with a rhythm for it. The whole time we’re doing this in the studio — we did this for a few days, coming up with original ideas of his and working them out — Hunter would be in the control room writing words and verses. We wrote some of the best Grateful Dead tunes during those sessions with just Jerry, me and Hunter. Garcia even played bass on it (laughs). I got a really great, big drum sound and it was fun.
I just listened to the remaster this morning and it’s a beautiful record.
Isn’t it fun? It’s amazing, it still sounds good to me too. That’s the thing about music — it can hold its gem-like quality if it’s good upfront.
I was watching the DVD that came with the recent reissue of the Rolling Stones’ Get Yer Ya’s Ya’s Out!, and at the very end, there’s a clip of you and Garcia chatting with Mick Jagger.
You’re kidding me...really?
It looks like you’re at a heliport of some kind, probably in San Francisco.
You know what that is, that’s Altamont.
Yeah, that’s what I thought. Just before the Stones flew to Altamont?
They were going to fly in before us, and then we were going to fly in.
Had you canceled at that point?
We hadn’t canceled anything yet. Jagger hadn’t gone to the show yet and we were just sitting there talking. Then he got on the helicopter with his guys and they went over there. We went afterward and saw all the horribleness going on. We said, “We can’t do this.” After the guy got killed, I was in such a bad place.
We were playing the Carousel Ballroom (aka Fillmore West) for three nights. We had just played one night before that — that (Altamont) was an afternoon thing. We were to come back for a show that night, Saturday night, and then Sunday night. I called (Bill) Graham and said, “I’m canceling.” And he said, “Oh you can’t do that to me” and gave us hell. He pry didn’t pay us for the three days; we pry had to argue about that a lot.
It was really an emotional event. When we were sitting there at the heliport after Mick left to do his thing with the Stones, the drummer Mike Shrieve (from Santana) got off the helicopter and he’s got blood from his nose. Different musicians were coming back and it had turned into a street fight, not a musical event.
Do you think if the Dead had played Altamont, things might have turned out differently?
I don’t think things would have turned out differently. I think we could have been involved in a worse event. What really goes down in life is this energy that exists in certain places. The way that gig started off was with the ex-road manager (Sam Cutler) from the Rolling Stones, to get them to play and all that stuff. It was never done with upfrontness. The vibe of that was really bad for some reason. All of the stuff leading up to it was like, “don’t do this gig,” you know? Male egos being what they are, you know, “keep going, keep going, keep going…damn, if it ain’t a miserable trip…” It was just a bad thing from the very beginning. And it culminated in that guy’s death.
Four months before Altamont, you played Woodstock. Portions of your performance have finally been released, but everything I’ve read and heard says it was a disastrous gig for the Dead.
We had a really hard time playing there. Our sound guy was just crazy. The wiring wasn’t right. We were getting shocks off the microphones. It was just really hard. We had a lot of things that were facing us. But it was just good to be there and relate to people, off-stage even. It didn’t matter how the gig went particularly. It was the togetherness of everybody being there.
In the Woodstock movie, you see Justin my son, who is now a filmmaker, being carried off by my wife at the time to the helicopter. He’s just this little bundle of joy in her arms. And it’s 1969.
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January 5, 3:06 AM
www.examiner.com
Interview with Grateful Dead's Bill Kreutzmann - Part 4
by The Dead Examiner, Shawn Perry
In the first and second installments of our exclusive interview with the Grateful Dead’s Bill Kreutzmann, we covered a number of recent activities the drummer has been involved with (you’ll have to read the installments to find out). In the third installment, we went back in time and got into some milestones in the Grateful Dead’s history.
For the fourth and final installment, we finish up our history lesson with some insight into Neal Cassady, jam bands, life in Hawaii and the drummer's involvement with various causes and movements to protect the world's oceans.
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During the course of your life, you’ve interacted with some pretty heavy literary and folk figures. I read that you once met Aldous Huxley when you were a kid.
I did. He came to my school. I went to prep school for one year in Arizona. It was called Orme.
Later on, of course, you got to know Ken Kesey, Allan Ginsberg, Neal Cassady.
I got to know Cassady really well. He befriended me, it was amazing. A lot of people were afraid of him, but something about the guy was like totally intriguing to me (laughs). He had so many facets and he could everything going. He defined the multi-tasker. He could do so many things — drive the bus, smoke a cigarette, talk to three different people and keep the conversation going.
I heard something about an Electric Kool-Aid Acid Test movie in development. I wonder who’s playing Cassady.
There’s one actor I always think about. He’s a good actor, but my mind is blank. Johnny Depp, I don’t think he looks the part, but if he read up on it, he’d pry give it a good shot. He plays characters really well.
Steve Parish is supposedly making a movie based on his book. Have you heard anything that?
(Laughs) No. I couldn’t think of a worse idea, but that’s OK. You read his book, Shawn…
I did. And I interviewed Steve a couple of years ago.
He’s a wonderful guy, but a lot of stuff in that book wasn’t true. The stuff about me wasn’t true (laughs). Rock Scully’s book has the same problem. There’s a lot of stories in there.
So much has been written about the Grateful Dead. I certainly don’t have to tell you about the band’s influence. You almost single-handedly launched what is now a thriving jam band scene.
I love that. That’s why I’m excited today to play with all these young musicians. Most of them are younger than me. Some are the same age. I’ve played with a couple of oldies but goodies like myself. The younger cats are just the most fun. They have all the energy. I love that.
You get to work out of Hawaii these days. I read that you and Garcia talked about moving there once the Dead packed it in.
That was our dream. But unfortunately I was the only one who got to keep the dream.
I know you and him did some diving over there.
We both got certified in 1985 at a place called Jack’s Dive Locker. My girlfriend just went over there last month and I dove with her.
When you’re diving — and you obviously have this great love of the ocean — as a drummer do you find inspiration in the rhythm of the sea?
I find inspiration and rhythm in everything. Really I do. And I find inspiration in the really quiet moments. I have a place here, it’s five acres. In the morning, sometimes it’s so quiet, you can’t believe it. You just hear the yellow birds sing.
Is that when you work on your art? I saw some of it on your web site.
That’s digital art. I haven’t done that for awhile. I’m actually painting — I like painting. I’m painting with acrylics right now. I turn it up loud, go into my studio and just go for it.
I also understand you’re an avid gardener.
I am. I have a bunch fruit right now. I got grapefruits like crazy and avocados and coconuts. It was a really big mango season, which has been over for awhile. The winter time here is when the fruit comes out.
Before we go, could you tell me about some of the environmental causes and charities you’re involved with?
You hit it on the head when you said I’m a lover of the ocean. That’s putting it mildly. I work with a couple of groups in particularly. One’s called the Sea Shepherd group. Paul Watson is the captain and head of that group and they fight the Japanese whaling boats in the Antarctica. It’s real serious stuff. You can get hurt doing what they do. They have guys from all over the world who are real into it, they get physical and all that stuff. They can handle it on the high seas. And they stop the Japanese from killing whales down in the Antarctica.
It’s illegal to kill them anyways. There’s a whaling moratorium, but the Japanese don’t pay attention to it nor do the Norwegians. So Paul goes down there and chases these boats. They can’t pursue whales when they’re being chased by at high speed by these boats. Their boats go 50 miles an hour. They’re big factory ships and that’s really fast for a boat on the ocean, believe me. They can outrun Paul a little bit, but they can’t hunt when they’re doing it. So they save a bunch of whales each year.
This year, because of people like myself and other folks, they’ve gotten enough money that they’ve got another boat now. They couldn’t ever keep up with the amount of fishing boats that would go down and attack whales. Now they’re going to have a better chance with a second boat.
The other one is headed up by Ric O’Barry to save the Japanese dolphins (SaveJapanDolphins.org). I help those guys too and they had pretty good success this year. They had a wonderful movie called The Cove. It was at about 17 or 18 independent film festivals. One of them was the Sundance — it won Best Documentary there.
And I’m in some surfing groups too.
Are you a long boarder?
Yeah, I have a seven-footer I use. I don’t really like using really long boards because they don’t turn fast enough. I use a combination of a long board with three fins so I can stay in the wave real deep (laughs).
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New Holiday Release by Bill Kreutzmann
Title: Woven Fish
Medium: Giclée on Canvas ~ Editions Size: 85
Print Size: 18” x 24”
Pre-Release Price for the first 30 Collectors:
$575.00 Unframed
Regular Opening price: $625.00 Unframed
Taken from patterns and colors of the Hawaiian sun and sea, Woven Fish is Bill Kreutzmann’s latest limited edition print created just in time for the holidays
Click Here to Purchase |
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JoAnn Kuchera-Morin demos the AlloSphere, an entirely new way to see and interpret scientific data, in full color and surround sound inside a massive metal sphere. Dive into the brain, feel electron spin, hear the music of the elements ... |
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An Urgent Alert for Dolphins
Posted: 12 Oct 2009 07:59 PM PDT
By Richard O’Barry,
Campaign Director, Save Japan Dolphins Coalition
Dear Friends of Dolphins:
I’m in London now, promoting the opening of The Cove movie here.
But I need your help to stop the Broome Shire Council from backing down from their courageous action in suspending their sister-city relationship with the town of Taiji.
Broome’s Shire Council voted to cut ties with the remote fishing village after seeing the feature documentary “The Cove,” which exposed Taiji’s role in the yearly slaughter of more than 20,000 dolphins and porpoises off the shores of Japan. I personally thanked Broome for this action.
Now, under intense pressure from the Japanese government, the Shire Council of Broome is considering reversing its position. Don't let them do it! http://www.care2.com/go/z/e/AFQGz/zJVq/bSq13
Our sources indicate that the suspension is a key reason why the dolphin kills have been halted. If the Shire Council reverses, the killing is likely to resume. We need your help today as the hearing is scheduled for Tuesday in Australia! http://www.care2.com/go/z/e/AFQGz/zJVq/bSq13 We were able to stop the dolphin slaughter at least temporarily -- but we must keep the pressure on!
Tell Broome: Stand strong against dolphin slaughter! http://www.care2.com/go/z/e/AFQGz/zJVq/bSq13 |
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Wednesday, October 12, 2009
Twang Dang Doozie By Michael Corcoran
Awards for selflessness should be passed around to the organizers of the Twang Dang Doodle. Those guys (and girls) personify what has made Austin the city everyone is proud to call home. When the Threadgill’s portion of Save KUTAustin’s awareness-raising Twang Dang Doodle was rained out, Joe Ables lent out his Saxon Pub for a full day of music. A group of people, worried about changes at a radio station they knew helped build and define Austin as a music icon, stood up and did something about it. They organized artists, no small feat in itself. They put on a night of spectacular music. They celebrated the magic that is Austin music and raised money to keep KUT an Austin original, shining bright on the horizon.
Among the many highlights at the Saxon was Papa Mali’s set, featuring Bill Kruetzmann of the Grateful Dead on drums. “They did about four Dead songs, with Papa Mali singing just like Jerry (Garcia) and the place just went nuts,” said former Steamboat owner Danny Crooks, who booked most of Twang Dang Doodle. “It was packed and everyone in the place was jumping up and down.” Thanks guys. For protecting what we in Austin have foolishly come to take for granted. |
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Monday, September 28, 2009 ~ Press Release
Bill Kreutzmann with Papa Mali
Papa Mali will be performing at the Austin City Limits Music Festival in front of his hometown crowd on Oct. 3, 2009. This will be his second appearance at the event which drew a crowd of over 218,000 fans last year and was ranked #5 on Billboard’s top festivals of 2008. This time around, Papa has pulled out all the stops and invited his musical compatriot Bill Kreutzmann (Grateful Dead, BK3) to play drums on the set. Performing alongside Papa and Bill will be longtime Papa Mali drummer Robb Kidd (look for some double kit action), Matt Perrine (Bonerama) on sousaphone and Matt Hubbard (Willie Nelson and Friends) on keyboards, harmonica and trombone. A surprise guest wouldn’t be out of the realm of possibilities. This year’s ACL fest will also feature Pearl Jam, Dave Matthews Band, Beastie Boys, Kings of Leon and numerous other monsters of the scene.
Papa Mali, Bill Kreutzmann and Matt Hubbard will then head directly into the studio to record their new CD along with Reed Mathis (Tea Leaf Green) on bass. The sessions will be made up almost entirely of new material that has been co-written by Robert Hunter (Grateful Dead and Bob Dylan lyricist) and Papa Mali. The new CD is expected to be released in early 2010. Papa Mali featuring Bill Kreutzmann’s next gig will be October 31 and November 1 at the Las Tortugas Festival in Yosemite National Park. If you are looking for something to do on Halloween, come get your freak on in one of the most striking locations in the country. |
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Wednesday, September 16, 2009
Japan Gets Its First Chance to See The Cove
By Coco Masters / Tokyo, Time.com)
September heralds the six-month dolphin-hunting season in Taiji, a small seaside town in Japan's southwestern Wakayama prefecture. And residents are sensing the attack on them has also begun. The Cove — a U.S. documentary with the air of a spy thriller that has been called "advocacy filmmaking at its best" since its release on July 31 — depicts Taiji's centuries-old tradition of killing dolphins with an unflinching eye on the sometimes gruesome process. The documentarians, led by photographer turned director Louie Psihoyos and dolphin trainer turned activist Richard O'Barry, have stirred both international outcry and acclaim at film festivals from Sundance to Seattle with their footage of the slaughter that takes place every year in a remote cove in Taiji.
Earlier this week, the town decided to release 70 of the roughly 100 dolphins from the previous week's catch. But Taiji fishermen aren't the only ones bowing to international pressure. Tokyo International Film Festival (TIFF) chairman Tom Yoda announced on Sept. 16 that the festival will screen the film, after previously rejecting it for TIFF's official selection (the festival starts next month). Having come under fire for initially rejecting the documentary, Yoda said the reasons for rejecting or accepting films aren't generally discussed, as the festival receives more than 700 entries each year. No film festival has a moral obligation to accept a film, but TIFF's slogan of "Action! For Earth" raised more than a few eyebrows when the widely lauded eco-documentary didn't make the cut. In the end, Yoda said, the festival "decided to take The Cove due to international attention worldwide."
For dramatic effect, The Cove casts Taiji's dolphin hunt as one town's dirty secret. The reality, however, is that Japan culls about 20,000 dolphins across the nation every year. To those in Taiji and other areas where dolphin hunting is permitted, the global reaction to The Cove has a whiff of the enduringly contentious whaling debate (Japan has hunted whales in the name of science for decades despite environmentalists' ire). The new wave of criticism of dolphin hunting that has been spurred by the film has many fishermen and local bureaucrats rolling their eyes over what they interpret as a another bout of foreign outrage at a practice that is legal, regulated and culturally acceptable in Japan, where dolphin meat — like whale — is eaten in the regions where it's hunted.
Meanwhile, the people of Taiji, pop. circa 3,400, believe they have been unfairly singled out. While Taiji has a 400-year history of whale and dolphin hunting, its fishermen catch less than 20% of Japan's yearly dolphin quota. Iwate prefecture catches the most of any area, bringing in a total of 11,070 dolphins in 2006 and 10,218 in 2007. But even those figures are well below the prefecture's legal limits, and Taiji fishermen also hunted about half their limit in 2006 and 2007, averaging about 1,430 dolphins a year. In response to The Cove, town-council chief Katsutoshi Mihara told the Yomiuri Shimbun newspaper, "I don't understand their way of pushing their own values."
Almost all the dolphins caught in Japan are sold for meat near the towns where they're caught, and only 1% — a few dozen — are sold live to aquariums. Masashi Nishimura, manager of the Japan Fisheries Association's international section, who also works with environmental issues, says most Japanese people don't know much about the dolphin hunts. "I don't think it's a big topic here," he says. "As long as [their killing] is humane, dolphins are like other animals to us." The most humane technique, according to Nishimura, would be to use high-tech machines to minimize the animals' suffering. The most common hunting methods, however, are oikomi, a process illustrated in the film in which fishermen chase dolphins into shallow water and surround them with a net, and tsukimbo, in which dolphins are killed individually by harpoon. Taiji is the only place in Japan to recently practice oikomi.
Killing dolphins for meat is a cultural issue on both sides of the debate. While cute and often anthropomorphized, dolphins, unlike some whale populations hunted by Japanese fishermen, are not endangered. The film editorializes that the statues and images of whales and dolphins in Taiji purposefully hide the town's dark secret of killing the animals. But the Japanese have a history of venerating and praying for animals that die for the well-being of humans and sometimes erect statues and hold festivals to comfort the animals' souls. What might be considered macabre or inappropriate by Western standards is a way of life — and a perspective on nature — for the Japanese people. Shigeki Takaya, who is in charge of the whaling section of the Far Seas Fisheries division at the Fisheries Agency, says dolphins are a "resource, just like fish. Killing animals in any way is bloody, unfortunately, just like slaughtering cows and pigs."
One of The Cove's central points, however, is not as open for cultural interpretation. Dolphin meat — like whale — contains high levels of mercury, and at its highest instances, the concentration of methyl mercury in bottlenose dolphin meat is 32 times the limit set by Japan's Health Ministry. School children in Taiji eat dolphin, like the rest of the town's population. Junichiro Yamashita, who years ago raised national awareness of dolphin meat's health risks as Taiji's local assemblyman, was interviewed for the film along with current assemblyman Hisato Ryono. But Ryono, who was touted as a hero on the mercury issue in the documentary, told a local television station that he was informed his interview would be used in a film on "international contamination of the oceans," not for the Cove project. He has requested that the filmmakers edit out the parts in which he appears.
As for the Japanese public, they will have the chance to make up their own minds about the film — if The Cove is released in theaters after the festival. Whether the acclaim will be as great as it has been at other festivals remains to be seen. But for the filmmakers, a few dolphins freed and a screening at TIFF might just be reward enough.
— With reporting by Yuki Oda |
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