Professional Documents
Culture Documents
“White Rabbit”
Grace Slick: 1960s2010s
Music Player
“White Rabbit”1967
Grace Slick / Jefferson Airplane
In addition to the Alice in Wonderland elements
of the “White Rabbit” song, another influence on its “White Rabbit”
construction was the music of jazz musicians Miles Grace Slick / Jefferson Airplane
Davis and Gil Evans, and in particular, their 1960 1967
album Sketches of Spain.
One pill makes you larger
Prior to Slick’s writing “White Rabbitt,” she had And one pill makes you small
listened to the Davis / Evans album for hours, later
And the ones that mother gives you
saying that the bolero they used in parts of their
music – a form of slow, crescendobuilding Don’t do anything at all
Latin/Spanish dance music – was especially Go ask Alice
appealing. When she’s ten feet tall
Music Player
“Somebody To Love”1967
Grace Slick / Jefferson Airplane
“Somebody to Love,” although not written by
Slick, also has a couple of zingers in its lyrics,
including its opening lines — “When the truth is
found to be lies / And all the joy within you dies.”
Slick’s delivery of lines like these proved forceful
and riveting, distinguishing her as one of the era’s
lead female voices. And as the group’s songs rose
on the charts, Jefferson Airplane’s fortunes began
to soar. It didn’t hurt that in May 1967, Look
magazine, then a widely read national biweekly,
did a feature piece on the band, titled, “Jefferson
Airplane Loves You,” which included five pages
about the group and a lead photo of Slick on the
contents page with a glowing review, as follows:
1967 magazine ad touting Jefferson Airplane’s “Surrealistic
Pillow” album and the new single, “White Rabbit.”
“Look into those bluegray eyes. Hear that
voice, that intent, wailing, uninhibiting,
grabbing voice. You will rock, you will
forget who you are. Six young people built
Jefferson Airplane, but this girl, Grace
Slick, is the one who makes it fly. And
when it soars on her airborne voice,
something electric suffuses you, traps
your mind, jerks you into feeling. Call
what happens Love Rock, the San
Francisco Sound, and know that it cannot
exist without you. To find out why, take
off on a flight to remember, Jefferson
Airplane Loves You, page 58.”
The Look magazine piece helped send
Jefferson Airplane to the front of San
Francisco music scene. There, they became a
lead group among those offering the “love
rockpsychedelic” sound. Also that month, the Grace Slick gets top billing on Look's contents page, May 1967.
group appeared as musical guests on CBSTV’s
The Smothers Brothers Comedy Hour.
Meanwhile, “White Rabbit” and the group’s album were being touted in trade magazine ads. “Millions
read about it in ‘LOOK,” explained RCA in its ad copy (above left). “Their Surrealistic Pillow” album is
now Top 10… ‘Pillow’ features their current Top 10 single, ‘Somebody to Love.’ Now, a second great
single from the same sensational album: ‘White Rabbit’.”
In June 1967, Jefferson Airplane played on the
second evening of the “Monterey Pop Festival” in
Monterey, California. That month, they also
performed on Dick Clark’s American Bandstand
TV show, then located in California. By July,
“White Rabbit” had climbed into the Top Ten on
the music charts. In September Surrealistic Pillow
was released in the UK in a somewhat different
form, as the group’s fortunes continued to rise.
By June 1968, Slick and Jefferson Airplane
had also appeared on the cover of Life magazine,
one of seven rock groups featured in a multipage
spread on “The New Rock.” Robin Richman, the
Life reporter who wrote the story, would observe
of the group generally, and Slick in particular: “…
They all share a compassion for people and they’re
reaching out directly with their music. The
difference is mainly in their style, they will use
whatever device seems appropriate. Any musical
or literary form from the oldest to the newest is
possible. So Grace Slick of the Jefferson Airplane
has a way of commenting on society, using
metaphor and allusion – like Joyce – to get her
ideas across…” Slick at the time, along with Janis
Joplin, was marking new territory in the rock
June 1968: Grace Slick & mates from rock group, Jefferson world’s maledominated hierarchy, where very
Airplane, featured on Life magazine cover. few women had become leaders of rock bands.
Music, Drugs & Politics
On the national political scene, meanwhile, the
convulsive year of 1968 produced a series of
shocking developments – a year in which Dr.
Martin Luther King and Robert F Kennedy had
been assassinated; sitting president Lyndon
Johnson, mired in the Vietnam War, shocked his
party by refusing to seek a second term; and the
nation watched a riotous Democratic convention
in Chicago as protesters and police clashed in
prime time. Amid the tumult, Republican Richard
Nixon, was elected President that November.
Nixon had campaigned as a lawandorder
candidate, also blaming the Democrats for a reign
of permissiveness in the 1960s – or as some
characterized it, an explosion of sex, drugs, and
rock ‘n roll.
In his first few months as president in 1969,
Nixon proposed toughening drug enforcement
laws, with legislation sent to Congress for review
and hearings. The baby boomer counterculture by
this time was exploding, and with it drug use. In
August 1969 the giant Woodstock musical festival
was held in upstate New York, where many
famous rock musicians performed, including
Jefferson Airplane, Janis Joplin, Jimi Hendrix and Sept 24, 1969: Time magazine features “Drugs and the
dozens of others. Young” as its cover story and an emerging national issue.
I
n September 1969, Time magazine featured “Drugs and
the Young” as its cover story, with a long piece inside the
magazine titled, “Pop Drugs: The High as a Way of Life.”
In that article, the writers noted varying statistics about
youth drug use, pointing out, for example, that at the
August 1969 Woodstock music festival in upstate New
York, “some 90% of the 400,000 participants openly
smoked marijuana [bringing] the youthful drug culture to
a new apogee.” Time also noted that cultural references to
drugs and drug use were cropping up everywhere. “Rock
musicians use drugs frequently and openly,” said Time,
“and their compositions are riddled with references to
drugs, from the Beatles’ ‘I get high with a little help from
my friends’ to the Jefferson Airplane’s ‘White Rabbit’
(‘Remember what the dormouse said: Feed your head’)….”
It would not be the last time that the Beatles’ music,
“White Rabbit,” and other rock music would be singled out
for its purported influence on the rising drug culture.
The Nixon Administration, meanwhile, initiated
“Operation Intercept,” a surprise antidrug measure
announced by the President on September 21, 1969 aimed
at disrupting the flow of Mexican marijuana coming into
the U.S. The program resulted in a near shutdown of
August 1969: Grace Slick at Woodstock.
border crossings between Mexico and the U.S., as brief
inspections were conducted on every vehicle crossing into
the U.S. After a few weeks of complaints from Mexican officials and travelers, the inspections were
abandoned as the Nixon Administration declared it had achieved its objective. Some months later, in
May 1970, the Jefferson Airplane would release a song titled “Mexico,” written and sung by Grace Slick,
that was essentially a rant against the Nixon border operation. The song received little radio air play,
and was banned in some states, but it did manage to reach No. #102 on the music charts, just under the
Billboard Hot 100.
A ‘Mickey’ for Nixon
Aborted White House Plot
In April 1970, Grace Slick had designs on “slipping a mickey” into Dick Nixon’s tea at a White
House reception – the mickey, in this case, a tiny pill of LSD. But the plan never hatched. The
President’s daughter, Tricia Nixon, had planned a tea party for alumni of Finch College, the New
York girls’ finishing school she had attended. Grace Slick, too, had attended Finch some 10 years
earlier. But when Slick went to Finch, she was enrolled under her maiden name, Grace Wing.
Tricia had invited all of the Finch alumni to the White House tea party, and Grace Slick received
an invitation.
ladies did attend the tea that day.
But had Grace Slick shown up that day by herself, she just might have made it into the White
House. Getting close enough to the President’s tea, however, even if he had been there, was
another matter altogether. She was carrying some 600 micrograms of LSD that day. In any case,
her intent, it appears, was not to “poison the guy,” she would later say, but rather, to send him
into a bit of embarrassing trippy behavior.
___________________
Sources: “Abbie Hoffman Barred From White House Tea,” New York Times, April 25, 1970; Sally
Quinn, “Abbie Left at The Gate,” Washington Post/Times Herald, April 25, 1970, pp. E1E2; and Marc
Myers, “She Went Chasing Rabbits,” Wall Street Journal, April 29, 2011.
September 18, 1970: Headline from the Deseret News (Las Vegas) for Associated Press story reporting on Vice President Spiro
Agnew’s speech before 1,200 Republicans at fundraising dinner at the Sahara Hotel in Las Vegas, Nevada.
In one midSeptember 1970 speech before 1,200 Republicans at a $100aplate fundraising dinner
at the Sahara Hotel in Las Vegas, Nevada — a speech carried over radio and TV throughout the state —
Agnew singled out the lyrics of several songs he claimed were part of a cultural “brainwashing” then
taking place, leading youth into drug use. From the Beatles, he quoted the lines: “I get by with a little
help from friends / I get high with a little help from my friends.” Of the song, Agnew said, “it’s a catchy
tune, but until it was pointed out to me, I never realized that the ‘friends’ were assorted drugs.” He also
mentioned several other songs, including “White Rabbit,” quoting the lines: “One pill makes you larger,
and one pill makes you small / And the ones that mother givers you don’t do anything at all.” Other
songs Agnew mentioned in his speech were “Eight Miles High” by the Byrds, “The Acid Queen” by The
Who, and “Don’t Step on the Grass, Sam,” by Steppenwolf.
“These songs present the use of drugs in such an attractive
light,” Agnew said, “that for the impressionable, turning on
becomes the natural and even approved thing to do.” He called it a
form of “brainwashing.” In too many of the songs, he said, “the
message of the drug culture is purveyed… [A]t its worst, it is
blatant drug culture propaganda…” Agnew also mentioned the plot
line of one popular film at the time without mentioning the title
(“Easy Rider”), in which the film’s two heroes were, according to
Agnew, “able to live a carefree life off the illegal proceeds of
drugs.”
Agnew’s critique brought a swift reaction from many in the
entertainment industry and even a few public officials. One retort
to Agnew came from Nicholas Johnson, a minority Democrat at
the Federal Communications Commission (FCC). Johnson cited a
number of rock songs that had negative messages on drug use,
including songs by Steppenwolf (“The Pusher”), Canned Heat
(“Amphetamine Annie”), The Rolling Stones (“Mothers Little
Helper”) and others. Other rock music, Johnson noted, lamented
the problems of war or environmental degradation. On the other
The Reading Eagle, Reading, PA. hand, some advertising from establishment pillars such as the
Ford Motor Co., used drugevocative expressions in their TV
pitches, as in Ford cars that would “blow your mind.” Johnson
argued that more attention be paid to the constant barrage of drug and pharmaceutical TV advertising
— i.e., pills to sleep, to wake up, to feel calm, to feel excited, to conquer anxieties, etc. Others believed
that trying to interpret musical lyrics for their meaning was something of a fool’s errand, a highly
subjective enterprise, with varying outcomes. Exactly what was it that Perry Como had in mind when he
sang “climb aboard the butterfly” in the 1949 song “A Dreamer’s Holiday?”
Still, the AgnewLinkletterNixon attack on rock
music had a bit of a chilling effect on the airing of “White Rabbit”
songs perceived to be lauding drug use. In fact, the An AntiDrug Interpretation
FCC would later send a public notice memorandum
to broadcasters urging them to become aware of At least one writer has offered the view
music “tending to promote or glorify the use of that “White Rabbit” could be interpreted as a
illegal drugs.” And Nixon himself would speak to a song that discouraged drug use. Here’s that
group of some 70 radio broadcasters who attended view from Terence Towles Canote, writing at
a day long “White House Conference on Drugs For the blog, A Shroud of Thoughts:
the Radio Industry” in October 1970.
“…On the surface, ‘White Rabbit’ would
In his remarks to the broadcasters, Nixon
appear to be a song advocating drug use.
assured them he had no intention of telling them
what songs to play or not play, or how to program Indeed, in making the comparison between
their broadcasts, but he would “appreciate” their Lewis Carroll’s works and the effects of
cooperation on the matter of songs that promoted psychoactive drugs, it would seem to be
drugs. Dean Burch of the FCC also addressed the encouraging their use. That having been said,
group, and noted the commission would look I have often thought the song could also be
favorably on stations that aired antidug messages. interpreted as discouraging the use of
Some of what the Nixon Administration was psychoactive drugs, whether Grace Slick
advocating in terms screening songs for drug meant it as such or not. From the very
messaging appears to have resulted in broadcasters beginning the song emphasizes the mind
and program managers pulling music off the air altering effects of such drugs, “One pill makes
and/or preventing it from airing. you larger/And one pill makes you small.”
In June 1970, after 600 people petitioned the These effects become more extreme as the
WFAA radio station in Dallas, Texas to quit playing song proceeds. From growing and shrinking
songs with drug lyrics or face a boycott of their to encounters with white rabbits and hookah
sponsors, Charlie Van, director of programming, smoking caterpillars, the song moves to
withdrew any songs with prodrug lyrics. chessmen telling one where to go. By the last
Elsewhere, Rick Sklar, program director of WABC stanza it would almost seem to be describing
radio in New York city, stated that his station would a bum trip. Logic and proportion have lost all
not play songs dealing with drugs, “because even if
meaning. The White Knight is talking
the song is supposedly antidrug, it tends to glorify
the subject.” backwards, perhaps indicating reality has lost
all coherence. And worst yet, the Red Queen
In December 1970, the Illinois Crime is apparently demanding decapitations. The
Commission issued a list of “drugoriented” rock growing sense of menace in the song is only
songs. Among those on the Illinois list were: “White amplified by its music, which is a gradually
Rabbit,” for “extolling the kicks provided by LSD
and other psychedelics;” “HiDeHo” by Blood rising crescendo. As the song progresses, the
Sweat & Tears, for the “joys of smoking marijuana;” music’s volume grows and with it so does this
“A Whiter Shade Of Pale” by Procol Harum, for impending sense of things gone awry,
lyrics related to the “mindbending characteristics particularly when combined with the lyrics.
of the psychedelics;” and The Beatles’ “Lucy In The Given that the lyrics seem to grow darker and
Sky With Diamonds,” since the initial letters of this more menacing with each stanza, as does the
song’s title formed the word “LSD,” and the song music, I would think that in the end the song
itself “depicts the pleasure of LSD.” But the real
would in the end cause people to stay as far
kicker in the list was “Puff The Magic Dragon” by
Peter, Paul & Mary – the song that mentions little away from psychoactive drugs as possible!…”
Jackie Paper and his imaginary Dragon friend and
playmate, Puff. Yes, that song was listed by the
Illinois commission with regard to “smoking marijuana and hashish”.
In other cases, artists were dropped from record labels. Billboard magazine reported in November
1970 that “MGM Records president Mike Curb has dropped 18 acts who, in his opinion, promote and
exploit hard drugs through music.” At the time, Curb was reportedly alarmed by the drugrelated
deaths of several rock stars.
And yes, around the time of the Nixon Administration’s “drugsandrockmusic” crusade, there
were untimely deaths of prominent rock musicians in which drugs were implicated as the known or
suspected cause. Among the departed were: Alan Wilson, lead singer and composer for the group
Canned Heat, died September 3, 1970 of a barbiturate overdose; rock guitarist Jimi Hendrix, died
September 18, 1970 of suspected heroin overdose; blues/rock singer Janis Joplin, died on October 4,
1970 of suspected heroin overdose; and in the following year, on July 3, 1971, Jim Morrison, lead
singer of the Doors, died in Paris of a an accidental heroin overdose. Meanwhile, Grace Slick, for her
part, had made some effort to offer a word of caution to her listeners, if only in a small way. She wrote
some alternative “White Rabbit” lyrics for a public service radio commercial for Do It Now, a California
organization sponsoring the message, designed to prevent drug abuse. The alternate wording Slick
used for a “White Rabbit” ad were: “One pill makes you larger, and one pill makes you small / But if you
shoot speed, you won’t get there at all, because you’ll be dead.”
Linkletter Names Slick
Some years later, on a 1977 TV show, when drug guru Timothy Leary appeared as an interview
guest, Art Linkletter, who happened to be in the viewing audience, made a long telephone callin
comment on that show attacking Leary and also naming Grace Slick. Leary took the brunt of Linkletter’s
excoriating remarks about leading young people into drugs, but he also blamed others, including Grace
Slick, poet Alan Ginsburg, and Aldous Huxley’s book, The Doors of Perception – “all of whom,”
Linkletter said during his call, “were promoting the glories of drug abuse in what was a drug world.”
Grace Slick also happened to see the show, and as she would later say in her 1998 book, Somebody
to Love?: A RockandRoll Memoir:
“…When I heard Linkletter accuse me, I tried to call the station. I wondered how many celebrities
who’d been paid to pitch alcohol had been accused of the millions of traffic deaths attributable to
alcohol over the years. Probably none. I wanted to talk to the man, to remind him of the more serious
alcohol situation and the hypocrisy associated with it, but the lines [phone lines to the TV show] were
jammed with other people who had their own opinions. I suppose Linkletter’s grief would have
prevented him from really listening to me anyway…”
Grace Slick of the Jefferson Airplane in recording studio.
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Comments to: jdoyle@pophistorydig.com
Article Citation:
Jack Doyle, “White Rabbit: Grace Slick: 1960s1970s,”
PopHistoryDig.com, December 31, 2015.
____________________________________
Sources, Links & Additional Information
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Grace Slick and Janis Joplin, possibly 19691970.
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_________________________________________