(The Jewish Chronicle) Traditional Christmas music was always Christ-centered — from “Joy To The World” to “Little Town of Bethlehem” — but when Jews like Irving Berlin began to dominate the music industry in the 1930s, they removed Christ from Christmas — judaizing and subverting it by replacing Christ with American pop culture and holiday consumerism — turning it into ironic kitsch:
The fact that the most beloved Christmas songs were written by American Jews is not an anomaly if you understand Jews….So why not invent the American Christmas too?
The most glittering example is “White Christmas” by Irving Berlin, and his story is typical. His childhood name was Israel Beilin and he was born in Siberia, the youngest son of Moses, a cantor. Their home was burnt down by anti-Jewish arsonists when Israel was four or five. Berlin’s biographer, Jody Rosen, believes Israel’s earliest Christmas memories were of pogroms, which tended to reach a pitch during Christian festivals.
The family moved to America and Irving Berlin – now renamed after an English actor and a German city, said a wag – grew up on the Lower East Side of New York City.
He left school to become a busker, a singing waiter, and a songwriter at Tin Pan Alley where, in an act of chutzpah and subconscious fear, he turned himself into the perfect American. He wrote God Bless America, which became his adopted homeland’s anthem; Easter Parade; and White Christmas. When asked how a Jew could write a song about Christmas, he replied, “I wrote it as an American”. I’m not sure that is true.
“The two holidays that celebrate the divinity of Christ — the divinity that’s the very heart of the Jewish rejection of Christianity — and what does Irving Berlin brilliantly do?” wrote Philip Roth, Berlin’s most canny observer, in Operation Shylock. “He de-Christs them both! Easter turns into a fashion show and Christmas into a holiday about snow… He turns their religion into schlock. But nicely! Nicely! So nicely the goyim don’t even know what hit ’em ….”
Even in America, Jews were excluded from so-called respectable professions. The established population had no interest in the new mass culture and the way was clear for a cultural flowering and symbiosis: Jews would make it for them. They had the tradition of Yiddish theatre and song, and the cacophony of Israel Zangwill’s “Melting Pot” to draw on. “Had I been born on the Lower East Side,” Cole Porter, the only elite gentile songwriter of the time, said in tribute, “I might have been a true genius.”
“White Christmas” began as satire: a swell (the kind of man the half-Jewish but gentile-passing Fred Astaire always played) sitting in Hollywood, longing for the comforts of home. “I’m dreaming of a white Christmas…” But Berlin realised he had something more profound. He was an unreliable narrator with multiple stories of the song’s creation myth. It is possible that its wistfulness comes from the fact that his baby, Irving Berlin Jnr, died on Christmas Day 1928, but he would never have said so explicitly. He was a joy-maker who made myths.
“White Christmas” spoke to the itinerant soul of America. They had all, as refugees to the United States, or migrants from country to city during the Great Depression, left their homes behind. The critic Michael Beckerman wondered if the song was, “a kind of holiday Moby-Dick, a distant image of things that can never be reclaimed: the past, childhood, and innocence itself?”
It was first performed by Bing Crosby on Christmas 1941, shortly after the bombing of Pearl Harbour. The Jewish songwriter must have a gentile singer as an avatar, which Rosen calls “a projection of Jewish desire… downtown street smarts but uptown ‘class’”. “White Christmas” became the anthem of the war: the musical version of Casablanca, a story about refugees who likewise cannot go home, likewise written by Jews from the Lower East Side – the Epstein brothers – and released in 1942. “Away down under this latest hit of Irving Berlin,” wrote Carl Sandburg, “catches us where we love peace”. It became the best-selling single of all time.
Many songs followed it. “Let it Snow” and “Santa Baby” were written by American Jews; so were “Walkin’ in a Winter Wonderland”; “Chestnuts Roasting on an Open Fire”; “Silver Bells”; “It’s The Most Wonderful Time of the Year”; “Rockin’ Around the Christmas Tree”; “A Holly, Jolly Christmas”; and “Rudolph the Red-Nosed Reindeer”.
These songs express the longing of the immigrant to create a world where he is safe, a dazzling act of tribute, cynicism, and control. If you hate Christmas music, blame the eastern European pogromists that tangentially inspired it. But I am with Philip Roth when he marvels: “If supplanting Jesus Christ with snow can enable my people to cosy up to Christmas, then let it snow, let it snow, let it snow!”
Over the last 75 years, Jews have slowly transformed Christmas time into a generic “holiday season” — as part of their ongoing effort to recreate western nations into their own Jewish image.
In the same ways they have hypocritically conspired to promote the false notion of “separation of church and state,” they have also separated Christianity from the traditional twelve days of Christmas.
While decrying all forms of Christianity during Christmas, they turn around and light menorahs in every city in America — and now the NFL is going to feature an official menorah lighting during a nationally-televised football game to celebrate the beginning of Hanukkah.
Imagine the wailing and gnashing of teeth if the NFL featured a half-time show enacting the birth of Christ at Christmas.
The Jewish supremacist group Chabad-Lubavitch has bragged about how they unleashed an army of Jewish attorneys to force the courts to allow the lighting of menorahs on public land — including the White House — for their spurious, made-up holiday “Hanukkah.”
While back in 1966 another Jewish supremacist organization — the American Jewish Congress — attempted to use their inordinate power to stop the U.S. Postal Service from issuing a Christmas-themed postage stamp that offended their Jewish sensibilities under the guise of so-called “separation of church and state.“
There was a time in America in the not-too-distant past when all Christmas music was unashamedly Christian — and reinforced the idea that Christmas was primarily a celebration of the birth of Christ — and the joy that He brought into the world.
Every child knew these traditional Christian songs — such as “The First Noel,” “Silent Night,” “Hark, the Herald Angels Sing,” “Away in the Manger,” “Do You Hear What I Hear,” Handel’s “Messiah,” “O, Come All Ye Faithful,” and “Angels We Have Heard On High.”
Now children hear Christmas songs about sexual seduction like “Baby, It’s Cold Outside” written by Frank Loesser, the son of a WWI Jewish draft dodger — or “Let It Snow” written by Jews Sammy Cahn and Jule Styne — or the often-banned, sexually charged “Santa Baby” in which a crassly materialistic woman exchanges sexual favors for lavish gifts at Christmas, written by the Jews Joan Kravitz and Philip Springer.
Jews most certainly did not write the “most beloved” Christmas songs — unless you are talking about low-brow “holiday” songs “beloved” by Jews because they aren’t really about Christmas.