Diana West

I'm not exactly sure why it is that Bing Crosby's recording of "White Christmas" by Irving Berlin remains an indispensable audio heirloom of the season, dusted off and played each year now for over 60 Christmases. It's not that Berlin wasn't one of the preeminent composers of the American popular song; that Crosby wasn't the preeminent voice of the American popular song; or that "White Christmas" isn't a perfectly luscious ballad in that long-lost tradition. It's in the long-lostness of the tradition that the mystery arises: Why does an antique Berlin ballad written in 1942 still sound like Christmas to Americans in 2004?

I wonder this because there's no room at the pop-cultural inn for the rest of the oeuvre -- the thousands of songs by Berlin and his brothers in musical genius: Jerome Kern, George Gershwin, Richard Rogers, Cole Porter, Harold Arlen, Arthur Schwartz, Burton Lane, Jimmy Van Heusen and others who created the American popular song in the first half of the 20th century. Thanks to the great lyricists -- Berlin and Porter, of course, who also wrote lyrics, Ira Gershwin, Lorenz Hart, Yip Harburg, Johnny Mercer, Howard Dietz, Johnny Burke and others -- the American popular song also gave expression to a richly nuanced range of emotion to which contemporary music is sadly tone-deaf. Yet contemporary ears still hear something in that old Crosby record.

I went poking around assorted Crosby-Berliniana looking for an epiphany (epophany?) to explain why this one song survived the original culture war, the one in the 1950s that pitted new rock 'n' roll against not-so-old pop.

Interestingly enough, "White Christmas," which debuted in 1942 in the musically terrific (songs by Berlin) if flawed Bing Crosby-Fred Astaire vehicle "Holiday Inn," wasn't a turning point for anyone involved. Their reputations, already golden, were merely burnished. That's not to say the song wasn't an enormous hit, particularly during the rest of World War II, when its lilting poignancy -- and, as musicologist Alec Wilder notes, its "truly daring succession of notes in the chromatic phrase of the main strain" --resonated with our troops overseas in ways Berlin couldn't at first imagine. The Crosby version became "the most popular record ever," writes Crosby biographer Gary Giddens, "the only single to make American pop charts 20 times, every year but one between 1942 and 1962."

Diana West

Diana West is the author of American Betrayal: The Secret Assault on Our Nation's Character (St. Martin's Press, 2013), and The Death of the Grown-Up: How America's Arrested Development Is Bringing Down Western Civilization (St. Martin's Press, 2007).