There really is a lot of movement going on out there in the world of psychedelic and entheogen research. It's surprising how dramatically things are changing but how quiet this research still is. Brown probably covers this information better than anyone with his Catch the Buzz column, and has been called "the altered statesman."
What he's best known for is his in-depth and intelligent interviews with consciousness visionaries. He is the author of at least 8 books, many of which are compendiums of his interviews with everyone from Deepak Chopra and Allen Ginsberg to Terence McKenna and Jerry Garcia. His web site, Mavericks of the Mind, is like a hall-of-edge-of-everything wisdom that you don't mind getting lost in because you can't stop learning about the meaning of life and human consciousness.
To give you a taste, and because it's germaine to much of what Beyond the Will of God is all about, read a snippet from Brown's interview with Garcia. This gives you an idea about how thought-provoking he is, and how disarming he seems to be in getting his subjects to really open up with their ideas. We've strayed so far from trying to legitimately understand the mind over the past 20 years or so. It's a good thing David Jay Brown is still on the case. If you don't believe me, read this.
Excerpt of Jerry Garcia Interview:
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?
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.
David: Joseph Campbell, the renowned mythologist, attended a number of your shows. What was his take?
Jerry: He loved it. For him it was the bliss he’d been looking for. “This is the antidote to the atom bomb,” he said at one time.
David: He also described it as a modern-day shamanic ritual, and I’m wondering what your thoughts are about the association between music, consciousness and shamanism.
Jerry: If you can call drumming music, music has always been a part of it. It’s one of the things that music can do – it can transport. That’s what music should do at it’s best – it should be a transforming experience. The finest, the highest, the best music has that quality of transporting you to other levels of consciousness.
David: Do you feel sometimes at your shows that you’re guiding people or taking people on a journey through those levels?
Jerry: In a way, but I don’t feel like I’m guiding anybody. I feel like I’m sort of stumbling along and a lot of people are watching me or stumbling with me or allowing me to stumble for them. I don’t feel like, here we are, I’m the guide and come one you guys, follow me. I do that, but I don’t feel that I’m particularly better at it than anybody else.
For example, here’s something that used to happen all the time. The band would check into a hotel. We’d get our room-key and then we’d go to the elevator. Well, a lot of times we didn’t have a clue where the elevator was. So, what used to happen was that everybody would follow me, thinking that I would know. I’d be walking around thinking why the fuck is everybody following me? (laughter) So, if nobody else does it, I’ll start something – it’s a knack.
You can read the entire interview at his web site, HERE.