Pop Philosophy: Examining philosophical interpretations of Christmas pop music

by Meilan Steimle, Editor-in-Chief

I have a confession to make – I’ve been listening to Christmas pop music since early October.

I know, I know. I’m terrible, but nothing gets my blood pumping like the throaty vocals of Mariah Carey describing her (very short) Christmas list or lamenting a failed wintertime relationship. Why confine that kind of unadulterated holiday joy to a single month when I could be dancing under the metaphorical mistletoe before Halloween?

I recognize this isn’t a widespread opinion. My ilk of overzealous holiday spirits is the butt of every easy Christmas-themed joke in mediums ranging from stand-up comedy monologues to acapella medleys (seriously – Google “The Christmas Can-Can”). “You disgust me,” a friend told me (in jest). “Christmas music is only appropriate the day after Thanksgiving.” To many, Christmas pop represents some of the worst things about the holidays – the rampant consumerism, the purported bastardization of a once-religions holiday, and the use of jingle bells as a main background instrument.

But I think there’s a lot to be learned from these supposedly vapid holiday cash grabs.

All I want for Christmas is You – Mariah Carey

I don’t want a lot for Christmas/ There’s just one thing I need/ I don’t care about presents/ Underneath the Christmas tree

In a fascinating upset of Maslow’s Hierarchy, Carey contends that her love for her significant other trumps corporeal needs like food and water. Truly, she is a philosophe for a new era.

One More Sleep – Leona Lewis

I got 5 more nights until you’re next to me/ 4 more days of being lonely/ 3 more wishes I can make and/ If I could make it till Christmas Eve/ Then it’s one more sleep/ One more sleep until it’s Christmas

Lewis makes a cogent contribution to a long-running philosophical problem: if the self is the continuation of consciousness, do we die every time we sleep? Contrasting the loneliness of her current self with who she will be in less than a week, Lewis displays a phoenix-like drive for rebirth.

Last Christmas – Wham!

Last Christmas, I gave you my heart/ But the very next day you gave it away/ This year, to save me from tears/ I’ll give it to someone special

The duo uses this mournful 1980s tune as a vehicle for an economic analysis of love. Must love be requited to be valid? Is falling in love voluntary? According to Wham!, love is a tangible resource available for use at our individual discretion, produced by each individual, with variable use-value when converted into individual emotional currency.

Santa Tell Me – Ariana Grande

Santa, tell me if you’re really there/ Don’t make me fall in love again if he won’t be here/ Next year/ Santa, tell me if he really cares/ ‘Cause I can’t give it all away if he won’t be here/ Next year

Grande’s song is an allegory for a struggle with religious faith masquerading as a simple Christmas ditty. “Santa” acts as an analog for God, and Grande portrays the unsure member of the congregation apprehensive about renouncing material pleasures in the face of deity whose existence remains uncertain.

Are these interpretations a stretch? Maybe. But finding joy in unexpected places? It might be just me, but I think that’s the true meaning of Christmas.

This piece was originally published in the pages of The Winged Post on November 16, 2016.