White Rabbit by Jefferson Airplane Songfacts. This was written by Grace Slick, who based the lyrics on Lewis Carrolls book Alice In Wonderland. Like many young musicians in San Francisco, Slick did a lot of drugs, and she saw a surfeit of drug references in Carrolls book, including the pills, the smoking caterpillar, the mushroom, and lots of other images that are pretty trippy. She noticed that many childrens stories involve a substance of some kind that alters reality, and felt it was time to write a song about it. Slick got the idea for this song after taking LSD and spending hours listening to the Miles Davis album Sketches Of Spain. The Spanish beat she came up with was also influenced by Ravels Bolero. Slick wrote this song and performed it when she was in a band called The Great Society with her first husband, Jerry Slick. The Great Society made inroads in the San Francisco music scene, but released just one single, Somebody To Love written by their guitarist, Jerrys brother Darby Slick, before calling it quits in 1. Grace moved on to Jefferson Airplane, and the group recorded both White Rabbit and Somebody To Love for their first album with her, Surrealistic Pillow. The songs were the breakout hits for the band, with Somebody To Love reaching 5 US and White Rabbit following at 8. The Great Society Version of White Rabbit was released in 1. Conspicuous Only In Its Absence credited to The Great Society With Grace Slick, a live recording of a show at The Matrix in San Francisco. This version runs 6 0. Indian stylings before Slicks vocals appear. NECNGw66wAdZGC_1_a/Peter-Rabbit-Movie-Trailer-2018.jpg' alt='Peter Rabbit The Movie High Quality ' title='Peter Rabbit The Movie High Quality ' />White Rabbit by Jefferson Airplane song meaning, lyric interpretation, video and chart position. 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This is used in the stage production The Blue Man Group, and appears on their 2. The Complex. Music is a big part of the show, which features three blue guys engaging the audience with a combination of comedy, percussion, and sloppy stunts. They got a lot of attention when they were used in ads for Intel. This was used as the theme song for a 1. Go Ask Alice. Slick claimed to Q that the song was aimed not at the young but their parents. She said Theyd read us all these stories where youd take some kind of chemical and have a great adventure. Alice in Wonderland is blatant she gets literally high, too big for the room, while the caterpillar sits on a psychedelic mushroom smoking opium. In the Wizard of Oz, they land in a field of opium poppies, wake up and see this Emerald City. Peter Pan Sprinkle some white dust cocaine on your head and you can fly. This was one of the defining songs of the 1. Summer Of Love. As young Americans protested the Vietnam War and experimented with drugs, White Rabbit often played in the background. Did the band ever get sick of this song Grace Slick answered this question in a 1. Melody Maker when she replied I can play around with a song on stage without ruining it. We stopped doing White Rabbit for a couple of years because we were getting bored with it. I like it again and we included it last year cause it was the year of the rabbit. The Airplane was frequently found giving free concerts around the Haight Ashbury area of San Francisco. They shared a large house with several musicians during the psychedelic 6. Grace Slick was always a radical thinker, rejecting daddys money. She once appeared on The Smothers Brothers Comedy Hour made up in blackface, causing a big controversy. The line in this song, go ask Alice, provided the title of a 1. The book was a diary of a young girl in the 1. Her name is never given, and the diary is suspected to be fictional despite being promoted as true. The anonymous author is likely Beatrice Sparks, the books editor. This capped off Jefferson Airplanes set at Woodstock in 1. They took the stage at 8 a. The Who that started at 3 a. According to Grace Slicks autobiography, the album name came when bandmate Marty Balin played the finished studio tapes to Jerry Garcia of The Grateful Dead, whose first reaction was, Sounds like a surrealistic pillow. Slick says that she loves the fact that the phrase Surrealistic Pillow leaves the interpretation up to the beholder. Asleep or awake on the pillow Dreaming Making love The adjective Surrealistic leaves the picture wide open. This song is heard multiple times in the movie The Game with Michael Douglas. It demonstrates the madness Douglas feels as he is being manipulated by forces he cant control. In the film Fear and Lothing in Las Vegas, there is a scene where Dr. Gonzo is in a bathtub and this song is playing on a tape player. In an effort to end his life, Gonzo implores Raoul Duke to put the tape player in the tub When White Rabbit peaks. Instead of doing as instructed, Duke throws a grapefruit at Gonzo and unplugs the tape player. Grace Slick said in Q magazine that she wrote this song, on a funny looking upright piano with about eight keys missing. The singer added I took acid and listened to Miles Daviss Sketches of Spain album for 2. The UK version of the album didnt include this track. Who Framed Roger Rabbit Blu ray 2. Anniversary EditionWorks been kinda slow since cartoons went to color. But Ive still got it. Reviewed by Kenneth Brown, March 1. Disney is keenly aware of the appeal and reach of its catalog, down to the best and worst films under the Mouse House banner. Titles like Cinderella and Peter Pan arrive separately and to great fanfare, while other titles shuffle onto shelves en masse, sans the red carpet treatment afforded their Platinum and Diamond Edition brethren. Last year, it was The Aristocats, The Rescuers, The Rescuers Down Under, Pocahontas, Pocahontas II Journey to a New World, The Tigger Movie and Lady and the Tramp II Scamps Adventure, all of which released in a single week in August. This year the mois du jour is March, and the releases include Robert Zemeckiss Who Framed Roger Rabbit the fan favorite odd man out in the March 1. Movie Collection Blu rays The Hunchback of Notre Dame and The Hunchback of Notre Dame II, Mulan and Mulan II, and Brother Bear and Brother Bear 2. Atlantis The Lost Empire and Atlantis Milos Return were originally set for March 1. And, once again, the deluge is another hit or miss affair, with a classic live actionanimation hybrid, three solid or at least decent animated features and a near unbearable batch of direct to video misfires. And so at last we come to that classic Who Framed Roger Rabbit, director Robert Zemeckis and executive producers Steven Spielberg and Kathleen Kennedys nutty, riotous, still slick sendup of 1. Hollywood noir. When it was released in 1. Innovative and wildly funny, it boasted all ages appeal, a smart script and a rare, never since replicated gathering of dozens of Golden Age animation icons from rival studios. Mickey Mouse and Bugs Bunny join each other for a sky dive Donald and Daffy Duck face off in a spittle slinging round of dueling pianos Goofy, Betty Boop and Yosemite Sam, by no small miracle, share a scene. Even some twenty five years later, the majority of audiences still havent quite seen anything like it. Although, for gamers, Wreck It Ralph certainly comes close. Yes, the seamlessness between the animation and live action footage isnt nearly as seamless as it once seemed, and yes, the word innovative doesnt apply so well anymore. But for sheer zaniness, clever nods, big laughs and even bigger heart, Who Framed Roger Rabbit is a tried and true blast from Disneys past that just might surprise you. Hollywood, 1. 94. King of cartoons R. K. Maroon Alan Tilvern, of Maroon Cartoon Studios, hires a private detective named Eddie Valiant Bob Hoskins to tail Jessica Rabbit voiced by Kathleen Turner, the vivacious wife of bankable animated star Roger Rabbit voiced by Charles Fleischer, and find out if shes having an affair. Problem is, Eddie hates toons. Has ever since a still at large toon killed his brother. He eventually agrees to follow Jessica, though, only to discover shes not only having an affair, but having an affair with Marvin Acme Stubby Kaye, owner of the world famous Acme Corporation. But when Acme turns up dead, Roger becomes the prime suspect. On the run from the notorious Judge Doom Christopher Lloyd, a merciless lawman who condemns and executes rogue toons on sight, Roger begs Eddie to help prove his innocence, a request Valiant reluctantly obliges. Now the small time P. I. has to prevent Doom from uncovering Rogers whereabouts, locate Acmes missing will and solve a murder, a tough case to crack that leads him to the last place hed ever willingly go Toontown. Toontown is an unruly culmination of every comically violent, physics defying stunt the cartoons of our childhoods delivered with unapologetic abandon. Eddie has good reason to despise it and its residents, and many a viewer will too. Roger and his animated cohorts arent a lovable bunch most of them arent even that likable but thats the point. On screen, toon madness is hilarious. Off screen, its id run rampant, and it takes a lot for Eddie and, by extension, his real world ilk to warm up to such loony lunacy. Eddie comes around, of course. You may not. If you get the joke, though, and more importantly enjoy the joke, the films sharp satire, endless one liners and countless references and cameos will be a real treat. Roger is annoying but thats precisely the point. The toons are insufferable but, again, thats the point. The magic lies in the manner in which the toons are deployed, or rather hurled, into Eddies path. Who Framed Roger Rabbit is Zemeckis love of classic cartoons and the full fury of his imagination unleashed, and the lengths to which he and writers. Jeffrey Price and Peter S. Seaman go to create a viable world where toons and humans co exist is refreshing. For all its unwieldiness, theres an almost airtight logic to the wholly illogical realm of Toontown and nine tenths of the fun is in watching Zemeckis and his cohorts play in the sprawling sandbox built by Warner Bros., Disney, Universal Pictures, MGM, Paramount Pictures and the likes of Mel Blanc, Friz Freleng, Tex Avery, Max Fleischer, Walt Disney and the Nine Old Men. But Zemeckis passions extend beyond the bounds of Toontown. Hard boiled film noir, tough talking detective stories, the history of Tinseltown, the early studio system. Moreover, studying the roots of Zemeckis career long experiment in blurring the line between animation and reality adds another layer to the experience especially all these years later and another reason to fall in love with everything the director managed to pull off at the very beginning. By the same token, if the film falters, its in its exuberance. Though probably a strange comparison, Roger Rabbit often reminds me of Terry Gilliams Fear and Loathing in Las Vegas, in that Zemeckis so commits to his premise that the results become a stylized assault of theme driven imagery, language and atmosphere. It works as far as Im concerned, but at the expense of emerging as an across the board crowd pleaser. All told, Who Framed Roger Rabbit remains a divisive classic one that will strike some as brilliant, others as mildly amusing, and still others as tiring or downright unbearable. Thankfully, Hoskins, Lloyd, Turner and, yep, even Fleischer at his most unhinged help make Valiants Inferno a terrificly performed, sharply penned, laugh out loud love letter to Old Hollywood and the Golden Age of Animation. Itd be easy to dismiss Roger Rabbits remaster and subsequent 1. AVC MPEG 4 video transfer with a shrug and a coulda, shoulda been better. But separating the inherent source issues from the minor but prevailing encoding issues makes all the difference. Softness, color inconsistencies, saturation mishaps, transparent animation elements watch closely any time Roger or Jessica walk in front of Eddies windows and note the office blinds are visible through the characters, uneven grain, live actionanimation seams and other undesirables abound whenever animated characters are on screen. And yet almost every instance is a product of the original photography and visual effects, nothing more. Even then, none of it amounts to much of a distraction, unless youre the sort who expects every then cutting edge 2. No, the only real issue that haunts the film sticks to the shadows. Literally. At times severe crush, macroblocking, noise and blooming render the shadows a full fledged devils playground keep your eyes peeled when Eddie visits the lounge where Betty Boop works. More disconcerting is the fact that the deepest blacks sometimes exhibit a red or purple tint, leaving darker nighttime sequences worse for the wear. That said, the rest of Disneys presentation is more than commendable. Impressive even. Colors are generally pleasing, primaries have nice punch particularly in Toontown, skintones are satisfying on the whole, grain is intact, contrast is effective and filmic, and detail is often quite rewarding.