Christmas

REALITY ON 34TH STREET:

Playing Santa Does Strange Things to a Man. What It Did to Bob Rutan Was Even Stranger.: Bob Rutan is legendary among the tight-knit fraternity of Macy’s Santa Clauses. Like many of these men, playing Santa changed Bob. Profoundly. His story is one of struggle and failure, heartbreak and grace and—yes—the magic of Christmas (David Gauvey Herbert, Dec 4, 2025, Esquire)

Bob learned the ropes. Don’t pester kids about eating vegetables. Go light on the rouge or risk looking like a drunk. Nix the loud “ho ho ho,” because the sound carried into the other cottages, destroying the illusion of Macy’s and the One True Santa. And if a patron gets aggressive—and they sometimes did—do not physically engage unless a child, or an elf, is in peril.

Based read in conjunction with Mick Herron’s Usual Santas

A REAL CHILL DUDE:

‘Look out! Look out! Jack Frost is about!’ (Deborah Nicholls-Lee, December 21, 2024, Country Life)

Depictions of Jack Frost might vary, but all evoke the wonder of the mysterious crystalline carpet that appears overnight on our lawns and sugarcoats our trees and shrubs. This glittery covering is simply ice crystals formed by water vapour coming into contact with a surface that’s below freezing, but its sudden arrival can feel otherworldly and curious legends have been attached to it.

Some believe that Jack Frost may originate from a character, also called Father Frost, in the Russian fairy tale Morozko. He rescues a young girl abandoned by her wicked stepmother and cuts a benign, elderly figure with a cloak and a long, soft beard. Others look to Norse mythology, where fantastical frost giants roam an icy realm and Kari, a wind god, sires sons named Jokul and Frosti.

In other folklore, Frost is closely connected with autumn. In a 1922 drawing by American cartoonist John T. McCutcheon, he perches on a maple branch painting autumn leaves with a palette of warm shades. It’s a depiction that echoes Birdie and his Fairy Friends (1889), by Margaret Canby. In ‘The Frost Fairies’ chapter, set in ‘a cold country far to the North’, the clumsy fairies spill colourful jewels belonging to the king, Jack Frost, all over the trees. An initially angry Frost is soon taken with the effect and determines, once a year, to paint the trees ‘with the brightest layer of gold and rubies’.

TOUGH BEAT FOR RENE GIRARD:

The First Christmas Tree (Henry Van Dyke)

“None of these things will please the god. More costly is the offering that shall cleanse your sin, more precious the crimson dew that shall send new life into this holy tree of blood. Thor claims your dearest and your noblest gift.”


Hunrad moved nearer to the group of children who stood watching the fire and the swarms of spark-serpents darting upward. They had heeded none of the priest’s words, and did not notice now that he approached them, so eager were they to see which fiery snake would go highest among the oak branches. Foremost among them, and most intent on the pretty game, was a boy like a sunbeam, slender and quick, with blithe brown eyes and laughing lips. The priest’s hand was laid upon his shoulder. The boy turned and looked up in his face.


“Here,” said the old man, with his voice vibrating as when a thick rope is strained by a ship swinging from her moorings, “here is the chosen one, the eldest son of the Chief, the darling of the people. Hearken, Bernhard, wilt thou go to Valhalla, where the heroes dwell with the gods, to bear a message to Thor?”


The boy answered, swift and clear:

“Yes, priest, I will go if my father bids me. Is it far away? Shall I run quickly? Must I take my bow and arrows for the wolves?”

The boy’s father, the Chieftain Gundhar, standing among his bearded warriors, drew his breath deep, and leaned so heavily on the handle of his spear that the wood cracked. And his wife, Irma, bending forward from the ranks of women, pushed the golden hair from her forehead with one hand. The other dragged at the silver chain about her neck until the rough links pierced her flesh, and the red drops fell unheeded on her breast.
A sigh passed through the crowd, like the murmur of the forest before the storm breaks. Yet no one spoke save Hunrad:
“Yes, my Prince, both bow and spear shalt thou have, for the way is long, and thou art a brave huntsman. But in darkness thou must journey for a little space, and with eyes blindfolded. Fearest thou?”


“Naught fear I,” said the boy, “neither darkness, nor the great bear, nor the were-wolf. For I am Gundhar’s son, and the defender of my folk.”

Then the priest led the child in his raiment of lamb’s-wool to a broad stone in front of the fire. He gave him his little bow tipped with silver, and his spear with shining head of steel. He bound the child’s eyes with a white cloth, and bade him kneel beside the stone with his face to the cast. Unconsciously the wide arc of spectators drew inward toward the centre, as the ends of the bow draw together when the cord is stretched. Winfried moved noiselessly until he stood close behind the priest.

The old man stooped to lift a black hammer of stone from the ground,–the sacred hammer of the god Thor. Summoning all the strength of his withered arms, he swung it high in the air. It poised for an instant above the child’s fair head–then turned to fall.
One keen cry shrilled out from where the women stood: “Me! take me! not Bernhard!”
The flight of the mother toward her child was swift as the falcon’s swoop. But swifter still was the hand of the deliverer.

“KEEP LISTENING TO THE BELLS”

The Greatest Gift (Philip Van Doren Stern, Dec 25, 2008, Tor.com)


When he found himself unable to find a publisher for his story, author Philip Van Doren Stern printed up copies of the “The Greatest Gift” and gave them out as Christmas cards in 1943. Eventually, the story came to the attention of director Frank Capra, who explained later, “It was the story I had been looking for all my life! A good man, ambitious. But so busy helping others, life seems to pass him by…Through the eyes of a guardian angel he sees the world as it would have been had he not been born. Wow! What an idea.” Capra went on to turn Stern’s story into the cherished holiday classic It’s A Wonderful Life. Released in 1946 and starring James Stewart, Donna Reed, Lionel Barrymore and Gloria Grahame, the film received several Academy Award nominations and has gone on to become one of the most iconic films in movie history, as well as a beloved feature of every holiday season. Here, presented for your enjoyment, is the original Philip Van Doren Stern story. Happy holidays, all.

OPEN THE BORDERS:

Santa Claus and Science: On imagination, faith, and the natural fancy of children (G. K. Chesterton, December 20, 1935, Commonweal)

Fourth, what do our great modern educationists, our great modern psychologists, our great makers of a new world, mean to do about the breach between the imagination and the reason, if only in the passage from the infant to the man? Is the child to live in a world that is entirely fanciful and then find suddenly that it is entirely false? Or is the child to be forbidden all forms of fancy; or in other words, forbidden to be a child? Or is he, as we say, to have some harmless borderland of fancy in childhood, which is still a part of the land in which he will live; in terra viventium, in the land of living men? Cannot the child pass from a child’s natural fancy to a man’s normal faith in Holy Nicholas of the Children, without enduring that bitter break and abrupt disappointment which now marks the passage of a child from a land of make-believe to a world of no belief?

THE CROOKED STRAIGHT:

The Spiritual Architecture of Handel’s “Messiah” (Paul Krause, 12/24/23, Voegelin View)


Classical music, by contrast, especially the Baroque style to which Handel belonged, is different. On this note, Gregory Athnos, the great music professor and conductor, offers readers an introductory overview of Handel’s greatest triumph.


Unlike the pop music that Scruton derides as distraction and not having much of a purpose beyond that, Athnos writes, “At the center of the [Baroque] doctrine was the belief that composer could create a piece of music capable of producing a particular and specific involuntary emption/spiritual response in their audience.” The transcendental feeling and experience we have listening to classical music is not accidental. It is intentional. What undergirded the Baroque spirit was an understanding that the beauty, power, and passion of music expressed and communicated deeply interior and spiritual truths to its audience. And this is exactly what Handel set out to achieve with the help of Charles Jennens in composing “Messiah.”

THE REFORMATION ROLLS ON:

With ‘White Christmas,’ Irving Berlin and Bing Crosby helped make Christmas a holiday that all Americans could celebrate (Ray Rast, 12/19/23, The Conversation)


Berlin’s inspiration for the song came in 1937, when he spent Christmas in Beverly Hills. He was near the film studios where he worked but far from his wife, Ellin – a devout Catholic – and the New York City home in Manhattan where they had always celebrated the holiday with their three daughters.

Being apart from Ellin that Christmas was particularly difficult: Their infant son had died on Dec. 26, 1928. Irving knew his wife would have to make the annual visit to their son’s grave by herself.

By 1940, Berlin had come up with his lyrics. In his Manhattan office, he sat at his piano and asked his arranger to take down the notes.

“Not only is it the best song I ever wrote,” he promised, “it’s the best song anybody ever wrote.”

Berlin had connected his lonesome Christmas to the broader turmoil of the time, including the outbreak of World War II and fraught debates about America’s role in the world.

This new song reflected his response: a dream of better times and places. It evoked a small town of yesteryear in which horse-drawn sleighs crossed freshly fallen snow. It also imagined a future in which dark days would be “merry and bright” once again.

This was a new kind of Christmas carol. It did not mention the birth of Jesus, angels or wise men – and it was a song that all Americans, including Jewish immigrants, could embrace.

Berlin soon took “White Christmas” back to Hollywood. He wanted it to appear in his newest musical, one that would tell the story of a retired singer whose hotel offered rooms and entertainment, but only on American holidays. He titled the film “Holiday Inn” and pitched it to Paramount Pictures, with Crosby as the lead.

MENDELSONIAN:

An Introduction to Vince Guaraldi, the Jazz Composer Who Created the Best Christmas Album Ever, A Charlie Brown Christmas (Open Culture, December 18th, 2023)

When A Charlie Brown Christmas first aired 58 years ago, few had any confidence that it would be a hit. Its story and animation, bare-bones even by the standards of mid-nineteen-sixties television, made a positive impression on neither CBS’ executives nor on many of the special’s own creators. They didn’t expect that this very simplicity would turn it into a perennial holiday favorite — nor, presumably, that its soundtrack by the Vince Guaraldi Trio would become one of the most beloved Christmas albums in existence. Now that we’re well into the season when the music from A Charlie Brown Christmas is heard every day in homes, cafés, and shopping malls all around the world, why not get an introduction to Guaraldi, the man and his music, from pop culture video essayist Matt Draper?

SUBTITLE: COLGATE MAN SAVES DARTMOUTH MAN:

The Origin Story of Rudolph the Red-Nosed Reindeer: How a 1939 Marketing Gimmick Launched a Beloved Christmas Character (Open Culture, 12/13/23)

The magic ingredient that transformed a marketing scheme into an evergreen if not universally beloved Christmas tradition is a song …with an unexpected side order of corporate generosity.

May’s wife died of cancer when he was working on Rudolph, leaving him a single parent with a pile of medical bills. After Montgomery Ward repeated the Rudolph promotion in 1946, distributing an additional 3,600,000 copies, its Board of Directors voted to ease his burden by granting him the copyright to his creation.

Once he held the reins to the “most famous reindeer of all”, May enlisted his songwriter brother-in-law, Johnny Marks, to adapt Rudolph’s story.

The simple lyrics, made famous by singing cowboy Gene Autry’s 1949 hit recording, provided May with a revenue stream and Rankin/Bass with a skeletal outline for its 1964 stop-animation special.