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      Why the Queen of Christmas Refuses to Leave Battery Park City

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      Home is important to Elizabeth Chan: “Every Christmas song I’ve written has been written here.”Elizabeth Chan is very clear on the matter: Christmas is not a competition.“You can love whatever you want about it as much as you want,” Ms. Chan, 42, said. “It’s how much it fills you with joy, and everybody has different levels of joy in their heart. But that doesn’t mean one way of being is better than another.”These are all very reasonable points. Very gracious, too. But there is no altering the fact that Ms. Chan wins Christmas. Hands down. Game, set and match.It is not because she named her daughters Noelle and Eva (for Christmas Eve). Or because the palette of her apartment in Lower Manhattan tilts toward a rich dark red and celadon green. Or because she has half a dozen Advent calendars in heavy rotation. Or even because the fragrance of the liquid hand soap in her kitchen and bathrooms is generally limited to gingerbread, peppermint, pine fir and such. (Ms. Chan stocks up when the holidays are over and everyone else has moved on from spiced plum and winterberry.)“My goal when I write Christmas music is to inspire thoughts of love, family and home to anyone who listens,” said Elizabeth Chan, who lives with her family in a two-bedroom rental in Battery Park City.Andrea Mohin/The New York TimesElizabeth Chan, 42Occupation: Composer and performer of Christmas songsA new perspective: “When I became a mother, my music changed immediately, because suddenly the story of the birth of Jesus and the story of trying to find a place for the baby became very relatable.”It’s because of this: Since leaving her job as a marketing executive a decade ago for what, at the time, seemed like a quixotic pursuit, Ms. Chan has written more than 1,000 Christmas songs (she stopped counting at 1,200) in assorted genres — pop, jazz, disco, electronic, you name it — and recorded 12 albums of her holiday-themed compositions. Some have turned up on Billboard’s adult contemporary and holiday charts. She also ghostwrites Christmas songs for performers who need a Santa’s helper.Like its predecessors, her latest collection, “12 Months of Christmas,” released in October, plays around the country in malls and stores like Walmart, Ikea, Pottery Barn and Williams Sonoma, providing Ms. Chan with an annual income that she says is in the high six figures — there’s no business like Ho-Ho-Ho business — and prompting some in the industry to refer to her as the Queen of Christmas. (Last year, when Mariah Carey, she of “All I Want for Christmas Is You,” filed an application through her company to trademark the phrase “Queen of Christmas” for future use on products like music, perfume, sunglasses and even coconut milk, Ms. Chan opposed the registration, believing that no one should have exclusive and permanents rights to the title. Ultimately, she prevailed.)Ms. Chan’s office, two floors down from the family home, is perennially decked out for Christmas.Andrea Mohin/The New York TimesCreatively and fiscally, Ms. Chan has gone far. Geographically, it’s a different story. She grew up in Battery Park City and has remained there even after 9/11 caused many, including her traumatized parents, to relocate.“I couldn’t think of anywhere else to go,” said Ms. Chan, who found a one-bedroom rental blocks away from her childhood apartment. “I thought it was going to be temporary. I think I’ve stayed because every Christmas song I’ve written has been written here.”When Ms. Chan married 13 years ago, her husband, Andy Fraley, who designed her website and also designs her album covers, joined her in the apartment. And when she decided to ditch corporate life and become a struggling artist, the couple stayed put, although it meant making room for six keyboards, three guitars, a ukulele, a Chinese stringed instrument called a gu zheng, speakers and then, eventually, their first child, Noelle, now 5, and the attendant baby paraphernalia. Oh, and did we mention the dog?Four years ago, through a local mothers’ group, Ms. Chan learned that a family in the building was moving to New Jersey and was hoping to find someone to take over their two-bedroom apartment.“My husband went to look at it, and things were in a crazy state of affairs,” Ms. Chan recalled. “There were crayon and magic-marker marks on every wall, and he said, ‘We’ll take it.’ He knew I was never going to leave the neighborhood — that I was never going to leave the building — because it’s home.”Shelves have been stripped of books to make space to display a Lego Christmas Village scene.Andrea Mohin/The New York TimesMs. Chan puts a heavy emphasis and great value on home. Many of her songs have the word “home” in the title or the lyrics. Home frequently figures in conversations with her. Dilating on the topic, she gets unapologetically weepy.Even though the family has settled fully into the more spacious apartment — their numbers now include Eva, 2 — Ms. Chan clings to the other space because that, too, is her home. It’s easily identified by the sleigh bell-encrusted Christmas wreath.“In the way you walk into your house and it smells familiar — that’s this place, for me,” she said.There she wraps and hides her children’s Christmas presents, writes songs, does business Zoom calls and records promos for the radio stations that play her music. Ms. Chan gets inspiration from the fully decorated artificial Christmas tree that, like the wreath, remains in place year-round; from the decorative holiday pillows, of which there are many; and from a photo of her maternal grandmother presiding over a Christmas pageant in her village in the Philippines. “She taught me what matters,” Ms. Chan said.“I usually take January off and start writing Christmas songs again in February,” Ms. Chan said.Andrea Mohin/The New York TimesOn a Friday morning in early December, the holiday spirit was ascendant two floors up, in the family quarters. The bookshelves had been given over to displays of Lego Christmas Village scenes and a Fisher-Price Little People Nativity set. Red stockings were hung with care over the red-painted wood console. A “Santa Stop Here” tree-topper was ready to be put in place, and the marble-topped dining table where Ms. Chan sat, a decade ago, to map out her business, had been cleared off to make room for a gingerbread house or two.“This is what Christmas looks like to me,” she said, gazing around the living room. “I wouldn’t feel comfortable living anywhere else. Since my songs are focused on love and family and home, uprooting would affect my music.”For weekly email updates on residential real estate news, sign up here. More

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      Mariah Carey’s ‘All I Want for Christmas Is You’ Returns to No. 1

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      The singer’s holiday anthem, first released in 1994, ends Taylor Swift’s six-week run atop the Hot 100 singles chart.Back in 1994, Mariah Carey released the album “Merry Christmas,” with an anchor track, “All I Want for Christmas Is You,” that mixed the R&B production style of the era with nostalgic touches reminiscent of Phil Spector. The song did well at radio, and the album reached No. 3 on Billboard’s chart, behind LPs from Kenny G and Boyz II Men.Flash forward a couple of decades and Carey’s song had become a modern classic, but chart domination had long eluded it. After a yearslong promotional push that included a concert residency at the Beacon Theater in New York, an animated film and a new music video — as well as the song’s annual ubiquity on streaming playlists — “All I Want” finally made it to No. 1 on Billboard’s Hot 100 chart in 2019, and repeated the feat in 2020 and 2021.Now Carey’s seasonal blockbuster has returned to No. 1 yet again, ending the six-week reign of Taylor Swift’s “Anti-Hero.” Buoyed by streaming, “All I Want” leads a new Top 10 dominated by decades-old holiday hits, including Brenda Lee’s “Rockin’ Around the Christmas Tree” (1958) at No. 2, Bobby Helms’s “Jingle Bell Rock” (1957) at No. 3 and Burl Ives’s “A Holly Jolly Christmas” (1964) at No. 4.On the album chart, “Heroes & Villains,” the new LP by the rap super-producer Metro Boomin, opens at No. 1 with the equivalent of 185,000 sales in the United States, including 233 million streams, according to the tracking service Luminate. Metro Boomin, whose real name is Leland Wayne, has produced hits for artists like Migos, Future, Gucci Mane and Post Malone, but “Heroes & Villains” is his third time at No. 1 with an album of his own.The release features a deep bench of guest stars, like the Weeknd, 21 Savage, Travis Scott, Future and Takeoff from Migos, who was shot and killed six weeks ago. The 85-year-old actor Morgan Freeman also contributed his familiar voice-of-God narration to a promotional short film and parts of the album, as he did on a joint LP by Metro Boomin and 21 Savage two years ago.Swift’s LP “Midnights” falls to second place in its seventh week out, five of those at No. 1. Drake and 21 Savage’s “Her Loss” is No. 3, Bad Bunny’s “Un Verano Sin Ti” is in fourth place and Michael Bublé’s 11-year-old holiday favorite “Christmas” falls one spot to No. 5.Carey’s “Merry Christmas,” from 1994, lands at No. 10 on the album list. More

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      Playing Santa Onscreen Takes Much More Than Just Donning a Red Suit

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      David Harbour, George Wendt and Tim Allen explain the acting challenge that is Jolly St. Nick.David Harbour isn’t the first actor most of us would cast as Santa Claus. Maybe it’s because he prefers to roll in the muck with his characters — the police chief Jim Hopper in “Stranger Things,” the super-soldier Alexei Shostakov in “Black Widow” — rather than snuggle with them.But to the director Tommy Wirkola, Harbour was perfect.For “Violent Night,” his new holiday gore-fest, Wirkola needed an actor with presence and chops: the ability to play Santa as a drunk depressive who has lost faith in humanity, Christmas and himself, but whose goodness still radiates.“Literally in our first meeting, somebody brought up his name, and it was one of those moments where we just looked at each other,” Wirkola said in a video call from Los Angeles. “It was almost too obvious; it’s such a good idea.”“Violent Night” puts Santa in the right place at the wrong time, a Christmas Eve heist at a billionaire’s mansion. He’d happily fly back up the chimney were it not for 7-year-old Trudy (Leah Brady), who has pleaded for help over the walkie-talkie her parents told her was a direct line to Santa. So he digs deep into himself and his sack of toys to summon the courage and the weaponry to save her.“I’m pretty sure it’s intimidating to some extent for an actor to do the role of Santa Claus,” Wirkola said. “So many actors have done it before, in so many movies. So how can we make it stand out?”Suiting up as St. Nick may sound like a frolic around the tannenbaum, a welcome break from more serious roles.If only.We talked with three stars about what went into portraying a Santa for the ages.David Harbour, ‘Violent Night’Alex Hassell, left, Beverly D’Angelo, Edi Patterson, Alexis Louder and Leah Brady with Harbour in “Violent Night.”Allen Fraser/Universal StudiosAs Harbour and Wirkola fleshed out their Santa, they decided he couldn’t be comical or the movie wouldn’t work. So Harbour played him straight.“It’s just inherently funny when people treat him as if he’s in on the joke, like, ‘Oh hello, Santa,’” he said, “and he’s completely deadpan because he is Santa.”And because the dynamic between Trudy and Santa needed to be respectful — and never condescending or cloying — Harbour watched the 1947 version of “Miracle on 34th Street” on his iPhone at night, recording scenes with the Santa and the child characters to discuss the next day as he and Wirkola developed the script.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Golden Globe Nominations: Here are some of the most eyebrow-raising snubs and surprises from this year’s list of nominees.Gotham Awards: At the first official show of the season, “Everything Everywhere All at Once” won big.Governors Awards: Stars like Jamie Lee Curtis and Brendan Fraser worked a room full of academy voters at the event, which is considered a barometer of film industry enthusiasm.Rian Johnson:  The “Glass Onion” director explains the streaming plan for his “Knives Out” franchise.“That was the real movie I thought about all the time on set,” he said by video from Budapest, where he was shooting the upcoming film “Gran Turismo.”Harbour’s Santa was visually modeled on an old-school Coca-Cola advertising fantasy, with a curlicue beard and rosy cheeks. But that Santa wouldn’t drink himself horizontal or power-vomit on a woman. Nor would he display a Viking’s ferocity.This Santa was a warrior, which meant that Harbour had to become one, too.But as more of Santa’s origin story was revealed through action sequences, the question became what to show when.“David was adamant that he didn’t want him to be too good too quickly, or too cool too quickly and say too many cool lines too fast,” Wirkola said. “In the first couple of fights, he’s stumbling around and barely surviving. David didn’t want him to feel superhuman in any way.” Even if Harbour sometimes felt that the role’s demands required feats of imagination that more dramatic roles — where the depth and complexity is written into the script — did not.“It was a lot of digging in and trying to create a character and an arc that would be meaningful,” Harbour said. “The funny thing is, we might look down on work that happens in a soap opera or an action movie as being not artistic. But when I see somebody do something impressive in a soap opera, I’m always like, ‘You must have worked really hard on that.’”“And yeah, I worked really hard.”George Wendt, ‘Elf: The Musical’George Wendt opposite Sebastian Arcelus in “Elf: The Musical.” He was asked to humanize his Santa.Sara Krulwich/The New York Times George Wendt used to joke that if you stayed fat enough and got old enough, the Santa roles would start rolling in. But that was hardly what landed him “Elf: The Musical,” a 2010 stage adaptation of the 2003 Will Ferrell comedy. (He reprised the role in 2017 at Madison Square Garden.)“Did I want to be in the original cast of a new Broadway musical? It was a big yes,” Wendt, who is now starring in the rom-com “Christmas With the Campbells” on Amazon Prime Video, said in a call from Los Angeles. “I had just been on Broadway in ‘Hairspray.’ I was fresh meat, so to speak.”His instinct, and that of the show’s writers, was to humanize his Santa, maybe make him a little funnier than you’d think he would be — but go light on the schmaltz.“Any time I started to veer into what might be sappy Santa, Casey Nicholaw, the director, would be like, ‘Bup bup bup bup bup, don’t you dare!’” Wendt said. “He wanted me to keep it real and flip, not a reverential Santa in any way.”Wendt has played Santa five or six times — he’s lost count — and while “Elf” might have been his highest-profile gig, “A Colbert Christmas: The Greatest Gift of All!,” in 2008, was his weirdest one.“I came down the chimney with a bowie knife between my teeth because this bear was stalking Colbert,” he said, referring to the late-night host Stephen Colbert. “So I brawled with the bear, and I ripped him open with my knife, with Colbert cowering in a corner. And when I slit his belly open, Elvis Costello came out dressed as Bob Cratchit.”But whether he’s cracking New Jersey jokes, like in “Elf: The Musical,” or saving TV hosts, being Santa comes with an inescapable irritant that makes you wonder how the jolly old fellow grew rotund in the first place.“It’s really hard to eat much with all that hair on,” Wendt said. “That beard — that’s awful. It just goes right in your mouth, no matter how careful you are.”Tim Allen, ‘The Santa Clause’Tim Allen, opposite Eric Lloyd, in “The Santa Clause,” the film that kicked off the franchise.DisneyFor nearly three decades, Tim Allen — who jokingly claims not to be fond of children, his own included — has played Scott Calvin, a divorced dad forced to fill Santa’s suit and boots, starting in “The Santa Clause” (1994). Two sequels later, he has extended his run with “The Santa Clauses,” a new Disney+ series about Calvin’s quest to find a worthy successor.Now Allen can’t get away from kids.“I have to make up stories to real children all the time when their parents say, ‘This is Santa Claus,’ and I’m like, ‘No, it’s not,’” he said, calling from Manhattan. “I play along, and I joyously do it. But it’s a little overwhelming, to be honest, for a very aggressive comedian.” In fact, “The Santa Clause” was a far darker comedy when Allen signed on. He kind of remembers that Calvin might have shot Santa.“To this day, it’s one of the best scripts, top to bottom, I’ve ever read,” he said.But for the series, Allen wanted — demanded, really — a story with a beginning, middle and end, as well as explanations for some lingering questions about what happened to the original Santa and the process for selecting a new one.“We answered those in a very wonderful, organic way,” he said. “So I had, in this one, conceptual strength in the script room. ‘Let’s get to these points and the jokes will come. And once we get to the funny stuff, I can add.’ That’s kind of my strength.” Physically getting into character originally was not.In the first film, Allen spent four hours in the chair each day, often followed by 10 hours in a hot, heavy suit — an affair he called psychotic.The process has since been streamlined, but its effect is still undeniable.Allen recalled the hush that fell over 225 people on the first day of shooting not so long ago, as he walked onto the set in his gorgeous velvet suit and uncannily realistic headpiece with beard, mustache and flawless skin that make him look younger even if you’re right next to him.“And all of a sudden you have adults, half adults, children looking at me with these big grins on their faces, and they’re silent,” he said. “I realized the magic of this image — that whatever it means, it means the same thing to all of the children in these people.”“It’s a responsibility. I don’t make fun of it.” More

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      15 New Christmas Albums for 2022

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      New releases from Alicia Keys, Lindsey Stirling, Regina Belle and others revisit songs already entrenched in the Christmas canon and hope to introduce some future contenders.Holiday albums are more than background music played in the weeks between Thanksgiving and New Year’s Eve. They offer artists a chance to recontextualize themselves, play around in a nostalgic format, reinvent traditions and even strike gold in what’s become a lucrative season for the music business. Here’s a spin through 15 of the latest releases.Louis Armstrong, ‘Louis Wishes You a Cool Yule’Of all the music Louis Armstrong made in his lifetime, none of it was recorded for a Christmas album (despite Armstrong having put out a bunch of Christmas songs). But on “Louis Wishes You a Cool Yule,” we hear his unmistakable voice in all its remastered glory on standards like “Winter Wonderland” and “White Christmas,” and originals like “Christmas Night in Harlem” and “Christmas in New Orleans.” “What a Wonderful World,” Armstrong’s most recognized song, isn’t quite a holiday tune but shows up on this compilation anyway alongside “A Visit From St. Nicholas,” a reading he recorded at home shortly before his death in 1971. What wound up being his last recording ends this album on a wistful note. MARCUS J. MOOREBackstreet Boys, ‘A Very Backstreet Christmas’Backstreet Boys offer up the expected blend of poppy R&B, tight harmonizing and soft-focus romanticism on their first holiday album, “A Very Backstreet Christmas.” The group fares best with competently sung, lightly modernized renditions of classics like “O Holy Night” and “White Christmas”; it sounds out of its depth grappling with the singer-songwriter poeticism of Dan Fogelberg’s “Same Old Lang Syne.” The album closes out on an upbeat note, though, with the peppy, self-referential (“We’re gonna party like it’s 1999”) new song “Happy Days,” which its members said was partially inspired by “Can’t Stop the Feeling!,” the 2016 hit from — of all people! — Justin Timberlake. Happy Xmas, boy-band war is over (if you want it). LINDSAY ZOLADZRegina Belle, ‘My Colorful Christmas’Christmas has long been associated with snow and warm cider. But Regina Belle’s reggae-centered version of “O Little Town of Bethlehem” evokes hot sand and rum punch. She follows this thread throughout her first Christmas album, flipping gospel standards like “The First Noel” and “O Come All Ye Faithful” into bouncy modern soul with cross-generational appeal. MOOREKadhja Bonet, ‘California Holiday’The first holiday EP by the pensive soul singer Kadhja Bonet consists mostly of supple covers of connoisseur Christmas classics — “Keep Christmas With You” from “Sesame Street”; the Jackson 5’s “Little Christmas Tree.” But the title track, an original, is something different: a lightly exhausted digest of a relationship that never seems to break free of cyclical fatigue. “Another holiday,” Bonet sighs. “Another holiday.” JON CARAMANICARay Charles, ‘The Spirit of Christmas’Be it country, R&B or gospel, Ray Charles knew how to put his own spin on well-worn classics, turning them into bluesy ballads with soulful piano at the center. That was evident on “The Spirit of Christmas” from 1985, reissued this year as a set that includes tried-and-true favorites like “Winter Wonderland,” “Santa Claus Is Coming to Town” and “Rudolph the Red Nosed Reindeer,” as well as the cult classic “That Spirit of Christmas,” which was featured in the holiday film “National Lampoon’s Christmas Vacation.” But Charles’s brilliance comes barreling through on the down-tempo “The Little Drummer Boy”: Mixing the twang of country and the melodic stomp of gospel-soul, he lands on something that isn’t quite either, but is glorious all the same. MOOREDavis Causey and Jay Smith, ‘Pickin’ on Christmas’In 1998, two guitarists from Georgia, Jay Smith and Davis Causey (who, among many credits, was a member of jazz-tinged Southern rock bands led by Randall Bramblett and Chuck Leavell) gathered a studio band, recorded an instrumental Christmas album and pressed 100 CDs for family and friends. Smith died soon after the album was made. It wasn’t a casual jam session; the tracks are thoughtfully arranged, often with multiple layers of lead and rhythm guitars. Now released publicly, the album radiates companionship, with the guitars — acoustic and electric, picking and sliding — entwined in amiable colloquies. “Silver Bells/Silent Night” turns into a chugging, countryish boogie; “We Three Kings/God Rest Ye Merry Gentlemen” eases toward modal jazz and psychedelia, and “What Child Is This?” moves from a tentative duet to a swinging jazz waltz. The familiar songs become shared confidences. JON PARELESGloria Estefan, Emily Estefan and Sasha Estefan-Coppola, ‘The Estefan Family Christmas’One of Latin pop’s queens shares top billing with her 28-year-old daughter, Emily, and 10-year-old grandson, Sasha, on her second Christmas album (the first came out in 1992). A solo Emily shines — and sounds remarkably like her mother — on a poignant ballad she wrote herself, “When I Miss You Most,” though much of the record relies a bit too much on Sasha’s precocity. Delightfully, the LP finds the family sharing the spotlight and the occasional laugh, and even a surprise: A Spanish-language rendition of the Paul Williams tune “I Wish I Could Be Santa Claus” features the sweetly assured singing debut of Gloria’s husband, Emilio. ZOLADZClockwise from top left: holiday albums by Chris Isaak, Thomas Rhett, Lindsey Stirling and Regina Belle.Debbie Gibson, ‘Winterlicious’Debbie Gibson has been a fixture on Broadway far longer than she was atop the pop charts in the late ’80s, which explains why the songs on “Winterlicious,” her first holiday album, skew toward the sorts of tunes that connect plot points in a musical — fiercely restrained singing with heavy syllabic emphasis, a curious abundance of detail, a saccharine quality that feels like a Christmas cookie overdose. CARAMANICAVivian Green, ‘Spread the Love’Vivian Green and her co-producer, Kwame Holland, wrote four of the five songs on her EP “Spread the Love.” Togetherness (and absence) is on her mind in all of them. She’s eagerly anticipating it in the Motown-meets-reggae “Spread the Love (Christmas, Hanukkah, Kwanza)” and in the hand-clapping, pointillistic “Everybody’s Gathered.” And she bemoans being separated — even by her own choices — in the torchy “Around the Tree” and in the tinkling march “No Holiday.” Whether she’s convivial or lonely, she’s always got eager backing vocals for company. PARELESChris Isaak, ‘Everybody Knows It’s Christmas’The holidays arrive with plenty of twang and reverb on Chris Isaak’s suavely retro “Everybody Knows It’s Christmas.” Isaak wrote most of the songs, offering a little comedy (“Almost Christmas,” about last-minute shopping, and “Help Me Baby Jesus,” about a plastic yard display) and some convincing lonely-guy melancholy (“Holiday Blues,” “Wrapping Presents for Myself” and “Christmas Comes But Once a Year”). The sound harks back to 1950s country and rockabilly, with Isaak’s voice echoing Roy Orbison, Buddy Holly, Chuck Berry and, in a big-finish “O Holy Night,” Elvis Presley, completing a slyly poised period piece of an album. PARELESAlicia Keys, ‘Santa Baby’Alicia Keys brings her coziest voice to the largely secular songs on “Santa Baby.” Her delivery is high, breathy and playful, and she allows herself to show scratches and imperfections. The productions often tuck elaborate arrangements under a low-fi veneer, like her version of “The Christmas Song,” which begins as a piano-and-voice, mistakes-and-all version and suddenly sprouts strings and voices. The album touches on old-school soul — her gospelly, tear-spattered versions of “Please Be Home for Christmas” — as well as the willful eccentricity of “My Favorite Things,” which has modal-jazz piano chords, a wordless version of the Rodgers melody and spoken words about favorite things like “feeling so good, we drama-free.” Four songs of her own — including a reprise of “Not Even the King” from “Girl on Fire” — are about longing and affection, and she radiates fondness in “December Back 2 June” and “You Don’t Have to Be Alone.” Throughout the album, she invites loved ones closer. PARELESNelson, ‘A Nelson Family Christmas’The brothers Nelson approach “O Come All Ye Faithful” with a pair of billy clubs, beating upon each syllable as if playing a mirthless game of Whac-a-Mole. Not all of this holiday collection is so violent — it includes a handful of shimmery tracks from their elders, father Ricky and grandfather Ozzie; and also a soothing “This Christmas,” sung with Carnie and Wendy Wilson, Brian’s daughters. The Nelson brothers’ take on “Blue Christmas” and “Rudolph the Red Nosed Reindeer” are lightly comforting, but Lord, please protect “Away in a Manger” and “Mele Kelikimaka.” CARAMANICAThomas Rhett, ‘Merry Christmas, Y’all’The gentleman country kingpin Thomas Rhett is Nashville’s MVP of singing within the lines. And he might have gotten away with it on this EP, his first Christmas collection in a decade-plus career. But on “Winter Wonderland,” he’s nudged along by a horn section that’s more curious than he is. And if you detect a touch of ambition on “It’s the Most Wonderful Time of the Year,” maybe it’s because the band simply will not stop rejoicing, so what’s he got to lose? CARAMANICALindsey Stirling, ‘Snow Waltz’A millennial violinist with spirited energy and a large YouTube following, the 36-year-old Lindsey Stirling builds on the strengths of her 2017 holiday record, “Warmer in the Winter,” with this lively new collection. The thumping electronic beats that accompany her arrangements of classics like “Sleigh Ride” and “Joy to the World” are tasteful enough to resist gimmickry, and originals that feature pop vocalists like Bonnie McKee and the “American Idol” alum David Archuleta are effectively cheery. The title track is also a new composition that turns Stirling’s instrument into an expressive vessel for wintry melodrama and childlike wonder. ZOLADZJoss Stone, ‘Merry Christmas, Love’Joss Stone reaches for old-school Hollywood luster and unblinking sincerity on “Merry Christmas, Love.” She deploys sleigh bell-topped orchestras and choirs in holiday standards (“Winter Wonderland,” “The Christmas Song,” “Away in a Manger”) along with the Motown perennial “What Christmas Means to Me” and a less familiar Irving Berlin Christmas song, “Snow.” Stone sings with clarity and earnest humility. When she does let loose her cutting high register on a new song of her own, “If You Believe,” it’s clear how carefully she was holding herself back. PARELES More

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      How to Mint a Holiday Hit

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      Grabbing a piece of the lucrative holiday market requires planning, luck and the occasional battle with a seasoned superstar like Mariah Carey.Last December, while the popular a cappella group Pentatonix was on tour with its fifth holiday album, the ensemble’s five members gathered backstage around a whiteboard to brainstorm ideas for 2022.High on the list: a sixth Christmas album.“Holidays Around the World,” Pentatonix’s latest, joins a holiday release wave that gets more crowded every year. Alicia Keys, Sam Smith, Lizzo, the Backstreet Boys and the duos of Dolly Parton-Jimmy Fallon and David Foster-Katharine McPhee are all out with new seasonal albums or singles, vying for radio time and the most coveted real estate of all: plum placement on the streaming services’ big playlists.Holiday music has long been a big business; back in 2018, Billboard estimated it at $177 million in the United States alone, and since then the overall recorded music business has grown by well over 50 percent.But streaming has supercharged it. Listeners now have easy access to decades’ worth of material, leaving contemporary artists to compete against not just each other but also all the hits of the past, by Nat King Cole, Elvis Presley or Mariah Carey. This week, streaming helped send Carey’s 28-year-old “All I Want for Christmas Is You” to No. 2 on Billboard’s Hot 100 singles chart, beaten only by Taylor Swift’s latest.A vast audience awaits the victors: In the week leading up to Christmas last year, holiday songs accounted for 10 percent of all music streams in the United States, according to the tracking service Luminate. And on Christmas Eve, Amazon Music received 35 million voice requests around the world for holiday songs through devices like the company’s Alexa-enabled smart speakers.The a cappella group Pentatonix has made holiday music a core part of its identity and business.Jason Szenes/EPA, via ShutterstockSome of the standard strategies of pop streaming can help get an edge, music executives and marketers say. Front-load a song’s hook to deter skips. Tee up plenty of “features” — track-by-track collaborators, the more famous the better — to invite fan cults.Pentatonix’s new album, for example, includes Meghan Trainor, the classical pianist Lang Lang and Lea Salonga, who has been the singing voice for Disney princesses, alongside guests less known by mainstream American audiences, like the eclectic Los Angeles group La Santa Cecilia and the Indian vocalist Shreya Ghoshal. The group said it created a detailed spreadsheet to track all the cultures, songs and artists it wanted to include.Media tie-ins also help. Last week, Disney Plus released “Pentatonix: Around the World for the Holidays,” a special in which the group pokes gentle fun at its specialty. In the show, the members find themselves stumped in a recording studio, having already done every Christmas song in the book. So, while locked in a magical break room with candy cane décor (hey, it’s Disney), they sift through fan mail from around the planet and arrive at their concept: a multicultural holiday album with far-flung collaborators.“There’s a sense of spirituality in Christmas music,” Mitch Grassi, one of the Pentatonix singers, said in a recent interview. “It creates an atmosphere of togetherness and community, acceptance and warmth.”Yet holiday music can also be the most unforgivingly conformist side of the industry, in which old songs and styles dominate the market and anything new or unorthodox risks being buried under decades of tinsel.In an interview, Foster, the golden-touch pop producer who has worked on hit Christmas albums by Celine Dion, Michael Bublé and Josh Groban, relayed what he has learned as the three rules of the game.No. 1: The public prefers the old classics, and isn’t too interested in new songs.No. 2: Singers shouldn’t wander too far from the melody.No. 3: “You can’t be too corny at Christmas. You totally get a free pass.”Foster stressed the importance of the first rule, noting that violating it could sink any holiday album. “In general, people want to hear the old songs,” he said. “They don’t want to hear a songwriter like me write a song about sitting by the fireplace, Santa’s coming down the chimney, there’s snow outside.…” He trailed off.“Christmas Songs,” Foster’s seven-track mini-album with McPhee, his wife, is an illustration of this approach, featuring swinging pop-jazz takes on “Jingle Bell Rock,” “Rudolph the Red-Nosed Reindeer” and others (though it does have one original, “My Grown-Up Christmas List”).To capture attention on streaming playlists, record labels start their work early. Lyn Koppe, the executive vice president of global catalog at Sony Music, said the company begins marketing songs in the summer, seeding search engines and prepping their own playlists. During the holiday season, Sony — whose thick portfolio of evergreens includes Presley’s “Blue Christmas,” Gene Autry’s “Here Comes Santa Claus (Right Down Santa Claus Lane)” and Carey’s “All I Want for Christmas Is You” — runs a global data dashboard tracking songs’ performance.David Foster, left, and Katharine McPhee released a mini album called “Christmas Songs.”Paul Archuleta/Getty Images“It’s not like we just wake up and go, ‘Oh, it’s Christmas,’” Koppe said. “We’ve been thinking for many, many months.”For current artists, the biggest challenge is turning a new song into a classic. In the old days, that meant having a catchy music video, pushing the song at radio and hoping that it stuck. Now the process can still take years, but it involves TikTok virality, perhaps a movie usage and, most important of all, user attention on streaming playlists, which can translate into return appearances year after year.“Getting on key algorithmic stations is really everything,” said Andrew Woloz of the music company Concord, who pointed to the version of “Carol of the Bells” by the crossover violinist Lindsey Stirling, which was released five years ago but has stuck around on TikTok, giving it an edge on current playlists.Relatively few new songs from the streaming era have become anything like classics. One of them is Ariana Grande’s “Santa Tell Me,” from 2014, which Karen Pettyjohn, the principal music programmer for Amazon Music, added to its giant Holiday Favorites station last year — which sprinkles some new tracks in with the old chestnuts — and saw it “cut through” very well.“Ariana’s fans are aging with her,” Pettyjohn said. “It becomes a classic to them.”Grande’s song gets a small boost on TikTok, where it has been used in 371,000 videos — peanuts compared to Carey’s smash, which has been used on TikTok 12 million times and racked up more than 1.2 billion streams on Spotify alone.The enduring popularity of Carey’s song is one of the great phenomena of the contemporary music business. In 2019, after a yearslong push by Carey and her label that involved a children’s book, a new music video and numerous live Christmas shows, “All I Want” finally made it to No. 1 on the Billboard Hot 100 singles chart, 25 years after its initial release. (It topped that chart again in 2020 and 2021, and has a good shot of doing so again this year.)But Carey’s dominance in another arena became the subject of a legal fight this year, after she attempted to trademark the term “Queen of Christmas,” not only for music but also for fragrances, clothing, dog collars, hot chocolate and dozens of other products.Her only challenger was Elizabeth Chan, who a decade ago gave up a marketing job at Condé Nast to devote herself to writing holiday music, and who has called herself — and titled one of her albums — the Queen of Christmas.In a recent interview at her small home office in Lower Manhattan, which she keeps decorated for Christmas year-round, Chan said the trademark was a threat to her livelihood. While strictly D.I.Y., Chan has built a full-time business making holiday music, releasing 12 albums to date, including her latest, “12 Months of Christmas.” She would no longer be able to use the term “Queen of Christmas” if Carey’s application was approved.The costs of litigating a trademark can be huge, but Chan’s attorney, Louis W. Tompros, said his firm, WilmerHale, took the case pro bono because they viewed Carey’s application as an example of “classic trademark bullying.” Carey never responded to Chan’s opposition, and on Nov. 15, the Trademark Office’s trial and appeal board issued a judgment by default, denying Carey the trademark. Chan, and anyone else, is free to call themselves Queen of Christmas.Chris Chambers, a representative of Carey, said in a statement that the “world at large” began calling her “Queen of Christmas,” and added, “Ms. Carey wishes everyone a Merry Christmas and says anyone who wants to call themselves a queen can freely do so, anything else is petty and unfestive.” (Had her application been successful, other performers, like Chan, would not have been able to.)Chan said she had no choice but to fight the trademark, but still framed the result as suited to the holiday.“Everyone in this business wants to tell you what’s not possible because they don’t know what’s possible,” she said.“Not only do I want to leave a great Christmas song behind, I want to leave that lesson behind,” Chan added. “That’s Christmas too — the season of perpetual hope.” More

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      Taylor Swift Holds at No. 1 as Christmas Music Returns to the Charts

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      “Midnights” and “Anti-Hero” top the Billboard 200 and Hot 100, but nostalgic favorites are starting to arrive in force.Taylor Swift holds the top spots on the Billboard album and singles charts this week, as a wave of holiday music arrives with help from streaming playlists.Swift’s “Midnights” reigns atop the Billboard 200 album chart for a fifth time, with the equivalent of 151,000 sales in the United States, according to the tracking service Luminate. Her single “Anti-Hero” notches its sixth No. 1 on the Hot 100, with 21 million streams and 69 million “airplay audience impressions,” a measurement of the song’s popularity on radio.Otherwise, it’s beginning to look a lot like Christmas — particularly on the singles chart, where six nostalgic favorites reach the Top 10. Mariah Carey’s 28-year-old “All I Want for Christmas Is You” is No. 2, and Brenda Lee’s “Rockin’ Around the Christmas Tree” (1958) is No. 3, sending Sam Smith and Kim Petras’s recent dark pop hit “Unholy” to fourth place. Bobby Helms’s “Jingle Bell Rock” (1957), at No. 5, and Burl Ives’s “A Holly Jolly Christmas” (1964), at No. 6, beat out the latest from Drake and 21 Savage, whose “Rich Flex” lands at No. 7.Also in the Top 10: Andy Williams’s “It’s the Most Wonderful Time of the Year” (1963) is No. 9, and Wham!’s “Last Christmas” (1984) is No. 10.On the album chart, Drake and 21 Savage’s “Her Loss” holds at No. 2 and Bad Bunny’s “Un Verano Sin Ti” is No. 3. (Along with “Midnights,” those positions have held firm for three weeks.) From there, the Christmas brigade begins. Michael Bublé’s “Christmas” (2011) is No. 4, bumping Lil Baby’s “It’s Only Me” to fifth place.Nat King Cole’s “The Christmas Song” (a version of an LP that dates to 1960) is No. 8 and the Vince Guaraldi Trio’s “A Charlie Brown Christmas” (1965) is No. 10. More

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      Christmas Horror Movies to Watch After ‘Violent Night’

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      With the release of “Violent Night,” here’s a guide to streaming genre films that feature a not-always-jolly St. Nick.Genre cinema has always been a welcoming place for films about psychopaths who dress like Santa and go slashing through the snow. But in the new action comedy “Violent Night,” it’s not a make-believe Santa but the fat man himself (played by David Harbour) who goes on a slaughtering rampage. (His victims are evil hostage takers so don’t worry, he’s still the good guy.)Matthew C. DuPée, the author of the new book “A Scary Little Christmas: A History of Yuletide Horror Films, 1972-2020,” says there aren’t many movies about sinister or strange actual Santas because the man is such a benevolent figure, unlike Krampus or other punishing Christmastime creatures from European folklore.“There’s no aspect of punishment to Santa,” DuPee said in a phone interview. “His worst character trait is that he leaves coal instead of a present. It’s in that lack of overtly dark undertones where genre jumps in to explore darker themes.”If you’re a movie lover who thinks getting coal in your stocking is the sign of a year well lived, celebrate the holidays by streaming these outre Santa films. Mystifyingly, most of them are family-friendly, depending on your tolerance for bro humor and grossout horror.Scary Santa‘Rare Exports: A Christmas Tale’ (2010)Stream it on Hulu.This creepy folk-horror fairy tale is about a precocious little boy named Pietari (Onni Tommila), who’s worried that crews drilling on a mountain near his Lapland home will disturb the frigid terrain where an evil Santa-type creature from Finnish mythology is buried in the icy snow. When Pietari’s dad (Jorma Tommila) traps one of the entity’s devilish elves, father and son team up to make sure that this dark-sided Santa and his ancient evil are never defrosted.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Gotham Awards: At the first official show of the season “Everything Everywhere All at Once” won big.Governors Awards: Stars like Jamie Lee Curtis and Brendan Fraser worked a room full of academy voters at the event, which is considered a barometer of film industry enthusiasm.An Indie Hit’s Campaign: How do you make “Everything Everywhere All at Once” an Oscar contender? Throw a party for tastemakers.Jennifer Lawrence:  The Oscar winner may win more accolades with her performance in “Causeway,” but she’s focused on living a nonstar life.“The Thing” meets “A Christmas Story” is the best way to describe this nightmarish film from the Finnish writer-director Jalmari Helander. (It’s told in Finnish and English.) Based on two of Helander’s short films, it’s a combination of touching family drama, St. Nick origin story and dark comedy, with scares that come mostly from a snarling Santa and his trollish, naked ghouls. The ending will make you appreciate — and fear — your nearest mall Santa the next time you plop a child on his chubby lap.Sci-Fi Santa‘Santa Claus Conquers the Martians’ (1964)Stream it on Amazon Prime Video.It’s been a rough holiday season for Kimar (Leonard Hicks), leader of the Martians. His kids Bomar (Chris Month) and Girmar (Pia Zadora!) are glued to Martian television’s coverage of Christmas on Earth, and they can’t understand why the jolly guy in red doesn’t travel to Mars with toys and cheer like he does for little Earthlings.To soothe things at home, Kimar has the real Santa Claus (John Call) snatched from the North Pole and brought to Mars to set up a toy shop; Earth siblings Billy (Victor Stiles) and Betty (Donna Conforti) get caught up in the kidnapping plot, too. Of course Santa wins over his alien captors, becoming Earth’s Christmas spirit ambassador to Mars.Directed by Nicholas Webster, this is “a Christmasy little movie, with science-fiction trimmings for fledgling astronauts,” as Howard Thompson put it in his New York Times review. This is the most kid-appropriate movie on this list, although little ones might be freaked out by the Martians’ avocado-green faces. Adults will appreciate the Nixon gag and the ultra-mod “Lost in Space”-ish design.Slapstick Santa‘Fred Claus’ (2007)Stream it on HBO Max.Vince Vaughn reunited with David Dobkin, his “Wedding Crashers” director, on this dippy comedy that falls somewhere between the good-hearted goofiness of “Elf” and the rebelliousness of “Bad Santa” — just the thing for fans of SantaCon fight videos.Fred (Vaughn), a smooth-talking Chicago repo man, gets bailed out of jail by his older brother, Nick Claus (Paul Giamatti), and invited to the North Pole on the condition that Fred help the saintly Nick and his elves get through the holidays by pitching in at Santa’s bustling workshop. Things take a dark turn when an unscrupulous efficiency expert (Kevin Spacey) threatens to shut down the toymaking. Goofball that he is, Fred still has a heart of gold, and like a last-minute Christmas Eve trip to the mall, he saves the holiday.The film has a surprisingly starry supporting cast, including Kathy Bates as Fred’s disapproving mom, Rachel Weisz as his put-upon girlfriend, Miranda Richardson as the exasperated Ms. Claus and Ludacris as Santa’s good-time house D.J.Supervillain Santa‘Santa’s Slay’ (2005)Rent or buy on most major platforms.This action-slasher dark comedy stars the pro wrestler Bill Goldberg as a Santa on a killing spree. Set in Hell Township, the story posits that Santa is actually the son of Satan who lost a bet with an angel (Robert Culp) and was sentenced to deliver presents for 1,000 years.Now that his punishment is over, the bomb-throwing Santa is on a scorched-earth mission to exact revenge on the angel and the angel’s grandson, Nicolas (Douglas Smith). The final showdown involves a high-stakes game of curling and a fiery portal to perdition.Despite its low budget, this breast-baring, foul-mouthed film, written and directed by David Steiman, plays like a Hollywood action movie, which makes sense since its fight choreographer, Andy Cheng, worked on “Rush Hour” and other Jackie Chan films. Ridiculous violence, including death by menorah, and decidedly dated jokes drive the humor. (Hold your nose at the casual homophobia.) James Caan and Fran Drescher play a noxious couple in the film’s joyously gory opening scene.A Singular Santa‘Santa Claus vs. the Devil’ (1959) (a.k.a. ‘Santa Claus’)Stream it on Tubi.If your thirst for strange Santas is still not quenched, this discomforting Mexican morality tale will be the gift that keeps on giving — nightmares, that is. (It’s dubbed in English so you won’t miss a baffling word.) DuPée called it “one of the most bizarre Christmas films of all time.”The story begins as children from around the world join Santa (José Elías Moreno) to do his bidding, surely in violation of international child labor laws. (Brace yourself for the racist caricatures). Unfortunately, Satan is out to turn Earth’s kids against Santa and Christmas, like a Luciferian subversion of “It’s a Wonderful Life.” But Santa isn’t having it, and from his workshop/space station, he works magic to thwart the devil’s anti-joy agenda.René Cardona’s funhouse-meets-hell-house film is some hybrid of science fiction, holiday fantasia and Christian children’s television. (Cardona was a king of Mexican exploitation cinema, in films like “Night of the Bloody Apes” and “Wrestling Women vs. the Aztec Mummy”). The lessons in good versus evil seem aimed at kids, but only a Scrooge would watch the film with anyone under 13 unless you want to answer questions like: Why does Santa own a giant pair of fuzzy lips? Why would sad-faced dancers terrorize a little girl in a nightmarish dream ballet? What moisturizer does Satan use to make his face glisten like a drag queen? You’ve been warned. More

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      Adele’s Christmas Boost Gives ‘30’ a Fifth Straight Week at No. 1

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      The singer’s latest LP saw sales increase ahead of the holiday, allowing it to easily hold off this week’s No. 2, a 10-year-old Christmas album.It’s becoming tradition: As Christmas approached, people bought an Adele album.In its fifth week out — a period ending Dec. 23 — the singer’s latest LP, “30,” saw its sales activity jump 16 percent from the week prior, a boost driven by traditional sales, not streams.“30,” which holds at No. 1 on the Billboard 200, moved 180,500 copies as a full album for a total of 212,000 equivalent album units including streams (41 million, down 14 percent) and individual song downloads, according to MRC Data, Billboard’s tracking arm.An album hasn’t had total sales this large in its fifth week since Adele’s previous LP, “25,” which was also released in the lead-up to the holiday season, back in 2015. (Some things, however, have changed: The singer’s fifth-week sales for “25” were still over a million last time around.)“30” also becomes the fourth album released this year to spend at least five weeks at No. 1, following releases by Morgan Wallen (10 weeks on top), Olivia Rodrigo (five) and Drake (five), according to Billboard.Also benefiting from the holiday season: Michael Bublé’s “Christmas,” which came out a decade ago, jumps to No. 2 on the album chart this week with 77,000 units. On the Hot 100, Mariah Carey’s “All I Want for Christmas Is You,” originally released in 1994, holds at No. 1 for a second straight week and its seventh total since finally hitting the top spot in 2019.Taylor Swift’s “Red (Taylor’s Version)” is steady at No. 3, totaling 76,000 units, while “Live Life Fast,” the new album from the Los Angeles rapper Roddy Ricch, debuts at No. 4 with 62,000, including 77 million streams. Ricch’s previous album, “Please Excuse Me for Being Antisocial,” opened at No. 1 in 2019 and spent four total weeks on top. Rodrigo’s “Sour” rounds out the Top 5. More