View Full Version : Grateful Dead understood Entrainment

Dick Allgire
2007-Jan-26 Fri, 23:03
I ran across this interview with Jerry Garica. Many times I saw 12-thousand people and the band having the same thought and arriving at the same conclusion at the same instant. Quite a few times I saw the weather seem to fall in synch with the band. At an outdoor concert at the peak of a song called "Looks Like Rain" the rain started to fall and ended at the conclusion of the song. Jerry Garcia singing "But who can the weather command?" And a gust of wind blowing things across the stage at that moment.

In this interview Jerry explains entrainment. It is not remote INFLUENCING. You don't MAKE it happen. You ALLOW it to happen. It is a difficult concept, but Jerry got it.

He also pretty well defines "closed local loops." Ever greater fields. The musician and his instrument, the band, the band and the audience.


Rebecca: How do you feel about the fact that you enjoy such a divine-like status in the eyes of so many of your fans?

Jerry: These things are all illusions. Fame is an illusion. I know what I do and I know about how well I do it, and I know what I wish I could do. Those things don't enter my life, I don't buy into any of that stuff. I can't imagine who would. Look at David Koresh. If you start believing any of that kind of stuff about yourself, where does it leave you?

David: What about the subjective experience a lot of people talk about that there's a group-mind experience that occurs at your shows?

Jerry: That's been frequently reported to me. In fact, even more specifically of direct telepathic connection of some kind.

Rebecca: Do you experience that yourself?

Jerry: I can't say that I do, because I'm in a position of causality. So, I don't look at the audience and think, I'm making them do what I want them to do.

Rebecca: I'm thinking of it more as a spontaneous non-causal experience which is being mediated by something greater than either yourself or the audience.

Jerry: You might think of it as a kind of channeling. At the highest level, I'm letting something happen - I'm not causing it to happen. We all understand that mechanism in theGrateful Dead and we also know that fundamentally we're not responsible.

We're opening a door, but we're not responsible for what comes through it. So in that sense, I can't take credit for it. We're like a utility, like a conduit for life-energy, psychic energy - whatever it is. It's not up to us to define it or to describe it or to enclose it in any way.

Rebecca: It's rumored that the Grateful Dead can control the weather, can you shed any light on this? (laughter)

Jerry: (laughter) No. We do not control the weather.

Rebecca: You've heard those rumors though ?

Jerry: I've heard them, of course. Sometimes it seems as though we're controlling the weather.

Rebecca: But that is synchronicity?

Jerry: It's synchronicity, exactly.

Rebecca: So what is the relationship dynamic like between you and the audience when you're on stage?

Jerry: When things are working right, you gain levels - it's like bardos. The first level is simply your fundamental relationship to your instrument. When that starts to get comfortable the next level is your relationship to the other musicians. When you're hearing what you want to and things seem to be working the way you want it to, then it includes the audience. When it gets to that level, it's seamless. It's no longer an effort, it flows and it's wide open.

Sometimes however, when I feel that that's happening, that music is really boring. It's too perfect. What I like most is to be playing with total access, where anything that I try to play or want to happen, I can execute flawlessly - for me that's the high-water mark. But perfection is always boring.

Rebecca: I've heard that musicians using computer synthesizers are complaining that the sound produced is so perfect that it's uninteresting, and that manufacturers are now looking to program in human error.

Jerry: Right. I think the audience enjoys it more when it's a little more of a struggle.

David: What is it that you feel is missing in that case?

Jerry: Tension.

David: Tension between what and what?

Jerry: The tension between trying to create something and creating something, between succeeding and failing. Tension is a part of what makes music work - tension and release, or if you prefer, dissonance and resonance, or suspension and completion.

Glenn B. Wheaton
2007-Jan-28 Sun, 01:18
Aloha Dick,

I will have to dig up some of the concert recordings for the Grateful Dead and get a better idea of their music and effects. Way back when I was more of a Sabbath fan, or T-Rex, or Slade. I am not sure why but I have a Grateful Dead gap. I just seemed to go from Vanilla Fudge to Black Oak Arkansas and the Ozark Mountain Daredevils in a blink. It also seems what Jerry is saying is exactly how we would define Entrainment. I think the Evolution goes from Entrainment to Entanglement. My recent thoughts have all been dealing with the difference in what Dean Radin considers Entanglement and what we refer to as Entrainment. I think that Entanglement is the culmination of Entrainment.

By this I mean that Entanglement is a result and not a cause. Jerry's comments seem to be very advanced in his understanding.

Let me listen to some of their music (Grateful Dead) and ponder the effects. Am I too old to become a Dead Head?


Dick Allgire
2007-Jan-28 Sun, 16:42
Hi Glenn,

Don't listen to any albums. They were not able to do it in a studio. Only some live recordings sort of capture it, but not well. I'll bring a CD or DVD over and we'll have some absinthe and you might get a hint.