The De-Christianization of Christmas Music
The invisible secularization of Christmas by Jewish broadway composers
The Nativity season is the time to reflect upon the incarnation—the moment that God entered His creation through the womb of the Theotokos and in the person of Jesus Christ. This virgin birth split human history in half. The incarnation was immediately met with the Slaughter of the Innocents and followed by literally all hell breaking loose with Satan and his demons coming out in full force. It’s no wonder the yearly commemoration of this event makes the demons absolutely seethe still to this day.
So how does the devil take the focus off Christ miraculously entering his creation to redeem humanity? By secularizing it with what I can only attribute to the great replacement of Christmas.
The music of the Christmas season is perhaps one of the most defining characteristics of the holiday itself. So “noticing” that something was off about it, led me down a rabbit hole to the point where I’m now too redpilled to enjoy any modern Christmas music without feeling like I’m being psyopped. It certainly makes me one of those “you must be fun at Christmas parties” types who becomes a scrooge while normies are rockin’ around the Christmas tree.
I started to realize that even some of these more innocent and wholesome songs have a strange subversive tone to them, whether intentional or not. These songs replaced the incarnation of the Lord Jesus Christ in Bethlehem (where it barely ever snows) with a new mythos about snow, being home for the “holidays”, reindeer, trees and cold weather—all seamlessly blended in with songs about romance, kissing under the mistletoe and women seducing Santa.
Now just for the record, I used to love these songs. They have this imbedded nostalgia even after hearing them hundreds of times, there’s such a charming and festive feel to them. So how did it all get ruined for me, you ask.
A couple years ago, I watched a 2013 documentary called “Broadway Musicals: A Jewish Legacy" where popular Jewish musical composers described the history and impact of Jewish immigrant songwriters on Broadway, which for the first 50-year period of its development, its songs were created almost exclusively by Jews. The documentary has music educators, composers, journalists and comedians all consistently describing a “cheeky Jewishness” to these songs, which all start to sound very similar as you analyze the composition. They have that same show tune sound with the broadway theatrics, hypnotic hooks, clever wordplay, and plenty of chutzpah.
Here are some broadway composers from the documentary explaining the “Jewishness” of these songs and explaining the chutzpah they use in plays like Gershwin’s Porgy and Bess, where black performers are musically “debunking the Bible” with lyrics that were lifted from the Jewish temple liturgy.