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The White Rabbit is a fictional and anthropomorphic character in Lewis Carroll's 1865 book Alice's Adventures in Wonderland.
He appears at the very beginning of the book, in chapter one, wearing a waistcoat, and muttering Oh dear! Oh dear! I shall be too late! Alice follows him down the rabbit hole into Wonderland.
Alice encounters him again when he mistakes her for his housemaid Mary Ann and she becomes trapped in his house after growing too large. The Rabbit shows up again in the last few chapters, as a herald-like servant of the King and Queen of Hearts.
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White Rabbit is a song written by Grace Slick and recorded by the American rock band Jefferson Airplane for their 1967 album Surrealistic Pillow.
It draws on imagery from Lewis Carroll's 1865 book Alice's Adventures in Wonderland and its 1871 sequel Through the Looking-Glass.
It was released as a single and became the band's second top-10 success, peaking at number eight on the Billboard Hot 100. The song was ranked number 478 on Rolling Stone's list of the 500 Greatest Songs of All Time in 2004, number 483 in 2010, and number 455 in 2021 and appears on The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
White Rabbit was written and performed by Grace Slick while she was still with The Great Society. Slick quit them and joined Jefferson Airplane to replace their departing female singer, Signe Toly Anderson, who left the band with the birth of her child. The first album Slick recorded with Jefferson Airplane was Surrealistic Pillow, and Slick provided two songs from her previous group: her own White Rabbit and Somebody to Love, written by her brother-in-law Darby Slick and recorded under the title Someone to Love by the Great Society.
The Great Society's version of White Rabbit was much longer than the more aggressive version of Jefferson Airplane. Both songs became top-10 hits for Jefferson Airplane and have ever since been associated with that band.
More information: Jefferson Airplane
White Rabbit is one of Grace Slick's earliest songs, written during December 1965 or January 1966. It uses imagery found in the fantasy works of Lewis Carroll -1865's Alice's Adventures in Wonderland and its 1871 sequel Through the Looking-Glass- such as changing size after taking pills or drinking an unknown liquid.
Slick wrote the lyrics first, then composed the music at a red upright piano she had bought for US$50 with eight or ten keys missing -that was OK because I could hear in my head the notes that weren't there"- moving between major chords for the verses and chorus. She said that the music was heavily influenced by Miles Davis's 1960 album Sketches of Spain, particularly Davis's treatment of the Concierto de Aranjuez (1939).
She later said: Writing weird stuff about Alice backed by a dark Spanish march was in step with what was going on in San Francisco then. We were all trying to get as far away from the expected as possible.
Slick said the composition was supposed to be a slap to parents who read their children such novels and then wondered why their children later used drugs. She later commented that all fairytales read to little girls have a Prince Charming who comes and saves them. But Alice did not; she was on her own in a very strange place, but she kept on going and followed her curiosity -that's the White Rabbit.
A lot of women could have taken a message from that story about how you can push your own agenda. The line feed your head is about reading, as well as psychedelics feed your head by paying attention: read some books, pay attention.
Characters Slick referenced include Alice, the White Rabbit, the hookah-smoking caterpillar, the White Knight, the Red Queen, and the Dormouse.
More information: Louder Sound
Slick reportedly wrote the song after an acid trip.
For Slick, White Rabbit is about following your curiosity. The White Rabbit is your curiosity. For her and others in the 1960s, drugs were a part of mind expansion and social experimentation. With its enigmatic lyrics, White Rabbit became one of the first songs to sneak drug references past censors on the radio.
Even Marty Balin, Slick's eventual rival in Jefferson Airplane, regarded the song as a masterpiece. In interviews, Slick has related that Alice in Wonderland was often read to her as a child and remained a vivid memory well into her adulthood.
In an interview with The Wall Street Journal, Slick mentioned that, in addition to Alice in Wonderland, her other inspiration for the song was Ravel's Boléro. Like Boléro, White Rabbit is essentially one long crescendo. The music combined with the song's lyrics strongly suggests the sensory distortions experienced with hallucinogens, and the song was later used in pop culture to imply or accompany just such a state.
The song was first played by the Great Society in a bar in San Francisco in early 1966, and later when they opened the bill for bigger bands like the Grateful Dead. They made a series of demo records for Autumn Records, for which they were assisted by Sly Stone.
Grace Slick said: We were so bad that Sly eventually played all the instruments so the demo would sound OK. When Slick joined Jefferson Airplane later in 1966, she taught the song to the band, who recorded it for their album Surrealistic Pillow.
White Rabbit is in the key of F-sharp which Slick acknowledges is difficult for guitar players as it requires some intricate fingering.
More information: Far Out Magazine
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