Santa Song Quotes

In the far corner, a tenor began to sing, Zsadist's crystal-clear voice sailing up toward the warrior paintings on the ceiling far, far above them all. At first John didn't know what the song was...although if he'd been asked what his name was, he would have said Santa Claus, or Luther Vandross, or Teddy Roosevelt. Maybe even Joan Collins.

Rocketing fears for Grandfather aside, the whole music puzzle starts to make sense. “It’s more than a flash mob,” I insist. “Ask Professor Walker, this is Grandfather’s exit song. It’s like his portal of departure.” But Mom’s not listening. She’s preoccupied, apparently puzzled by Dad’s astonishment. Why isn’t anyone listening to me?

Still, you can’t deny that, like goldfish and gummies, The Little Mermaid is fucking magical. I still feel sparkles in my stomach when I watch it. Despite Ariel wearing an ocean bra for most of that movie, and despite the fact that a man ultimately saves her from an evil plus-sized sea witch, and despite Ariel ditching her entire family for this man just because he’s a handsome prince, I gave in and showed The Little Mermaid to Mari on repeat. Those songs are also the shit. I’m a sucker for a drunk seagull best friend and since this is a safe space free of judgment: Ariel’s dad is kinda hot? I still find my feelings about King Triton confusing. He looks like Santa with abs and a tail.

Some parents in our neighborhood do everything they can to keep their children away from violent images. And then, when something terrible happens, like murder or rape or genocide - well, then a conversation has to be had with these young innocents to explain that, yes, goodness is sometimes a fiction, like Santa Claus, and that humanity is, underneath all the cookie baking and song singing, a shameful and secret nastiness. Me, I'm going to raise my son differently. What he will be made to know is that there is violence in everything - even in goodness, if you're passionate about it.

What do you want to know?” I want to know if Julius was afraid of the dark when he was younger. If he ever believed in ghosts or Santa or the Loch Ness monster. I want to know where he studies, whether it’s by the light of the living room window or alone in his bedroom, if he keeps the door wide open or closed. I want to know what he would dress up as for Halloween, what song he picks out at karaoke. How early he rises, how late he sleeps. What dishes their mother cooks for the Spring Festival, what he talks about on long car rides. I want to collect these pieces of information like ammunition. Part of me wants to embarrass him, and part of me is simply, overwhelmingly curious.

lobby of the Santa Louisa courthouse drinking a cup of black tea from a paper cup. She pushed her long, dark hair behind her ears and tapped her pointed shoes in time with the Muzak undulating over the marble floors. A Helen Reddy song, she thought. Maybe Cher? She smelled of White Shoulders perfume and spearmint gum. When Hannah walked by, the woman smiled and raised a hand as if to wave. But the friendliness of the gesture was not returned.

It doesn’t seem like Christmas. I cannot say just why. I see the gifts and mistletoe and snowflakes falling from the sky. It doesn’t feel like Christmas. Though snow is on the ground. I watch old Rudolph, Frosty too. I serve hot cocoa all around. But still it doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. It doesn’t sound like Christmas. The air is filled with noise. I hear a thousand loud requests yet see unhappy girls and boys. It doesn’t feel like Christmas. Though Santa’s on his way. So why this dullness in my heart as if it’s just another day? It really doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. I close my eyes, I bow my head, and drop down to my knees. I talk to God and bear my soul. At length, my spirit warms with peace. It feels much more like Christmas. My heart o’er flows with love. I look at you through caring eyes, the way God sees from up above. It surely is like Christmas. Good will pervades my soul. For Christ was born in Bethlehem to ransom all; my joy is full. It’s starting now to feel like Christmastime. My heart is new, my outlook more sublime. I’ll love the world as God loves me and practice charity. Help and comfort, share with those in need, and it will feel like Christmastime indeed.

Maybe I have never had the Christmas I remember, since we never remember the event itself but just the last time we revisited the memory. I have woven together a few dozen scraps (the Sears catalog, my father videoing everything we did, Christmas parties and visits with Santa) and pretended they amount to one perfect, cohesive moment, but I am as guilty as baby-boomers, who dictated unconsciously that all the songs they listened to in 1963 would be the timeless Christmas standards of today.

This was a fun little story to write. I love writing short stories. It was actually my youngest daughter who once told me she thought Santa was really creepy because of the song. You know, where they say: he sees you when you’re sleeping. That was how I got the idea.

Q: What songs do Santa’s gnomes sing to him when he comes home freezing on Christmas night? A: Freeze a jolly good fellow!

Normally, an album with Crazy Horse would have meant a tour with them, but much to the surprise of Jeff Blackburn and his band members (former Moby Grape bassist Bob Mosley and drummer Johnny Craviotto), Young began rehearsing with them instead. In early July, the newly renamed Ducks, after a duck’s landing they saw in town, played its first shows—in local bars in Santa Cruz. In what the Santa Cruz Sentinel called “the worst-kept secret in town,” the Ducks would drive to a club and ask the opening act for their slot (“They were fine—they knew they couldn’t draw what we could,” says Mosley). Charging only a few dollars for admission, they would tear through sets of songs by Young and by Blackburn. Young debuted new material like “Sail Away” and “Comes a Time” in more electrified versions than were later heard on record. “It was unfathomable,” recalls Mosley. “Some of the guitar solos took me into outer space. It was incredible shit.” Starting in mid-July and ending around Labor Day, the Ducks would play more than twenty

The hemp plant entered Mexico, as we have seen, after Washington and other Virginia planters enthusiastically spread it around the southern United States. As early as 1902, anthropologist Carl Lumholtz observed that some of the Indians in northwestern Mexico were using its leaves in religious rites whenever the peyote cactus was unavailable. They called it rosa maria (Rosemary) but whether they anthropomorphized it and considered it a goddess (like Peyote Woman) is not clear. In the Tepe-hua region, rosa maria became santa rosa (Saint Rose), but elsewhere it became maria juana (Mary Jane) – and, hence our modern name, marijuana. Under the latter title it was celebrated in the famous marching song of Pancho Villa’s rebels during the Mexican Revolution of 1910-1920:

was Jack and the one was incomplete without the other. It was no use trying to restrain her feelings because she loved him in the same way she loved the soft rain, the craggy hills, the white sands and tempestuous sea: with her whole being. Seeing Michael Doyle had opened a chamber in her memory that she had long ago sealed and now he too surfaced with his threatening face and ominous presence when she lost control of her thoughts. She had been struck by the murky aura that had surrounded him at the fair, as if he were an evil spirit trapped

Everyone has secrets. Everyone has something they regret. Or someone. A song will remind you. The sour taste of whisky. Your mother’s wrinkles on your hand. But some secrets can bind us together, a gay lover’s trust, a family’s Santa story, one friend who listens. Some secrets are kept secret out of love. This is why I give you this book.

George R.R. Martin is the author of fourteen novels, including five volumes of A Song of Ice and Fire, several collections of short stories and numerous screen plays for television drama and feature films. He lives in Santa Fe, New Mexico.

Aside from including several of Irving’s recipes in her book, they shared a number of overlapping themes: foremost among them was the idea that they were recording recipes rooted in a way of life that was on the verge of disappearing. In Honey from a Weed, Patience likened the endeavor to that of a musicologist who records old songs. It was an apt analogy: Just a few years before she and Irving took their trip to Lecce in 1958, American ethnomusicologist Alan Lomax and the Italian anthropologist Diego Carpitella had traveled through the south of Italy, including Puglia, recording folk songs. They started out in Martano, not far from Santa Maria di Leuca, and traveled north, documenting the songs of agricultural workers, shepherds, and peasants. In the text accompanying the recordings Lomax wrote, “It was a mythic time. None of us suspected that that world—made of music, songs, poverty, joy, desperation, custom, violence, injustice, love, dialect, and poetry, formed over the course of millennia—would be swept away in a couple of years . . . by the voodoo of ‘progress.’” Federman, Adam. Fasting and Feasting . Chelsea Green Publishing. Kindle Edition.

Over the decades, the slogans of the young changed, like the seven stages of grief – except they were nowhere close to acceptance. It seemed as though it took everything to get to anger and bargaining, so depression was as far as anyone could get. First it was the armor of irony: YOU DROWNED SANTA CLAUS I MISS FISH Then the anger and the threats: WATER IS NOT FOR PROFIT WHEN DID YOU KNOW MONEY WASN'T ENOUGH? As the decades progressed, revenge took over: NO FOOD NO MERCY BEG AND WE MAY NOT KILL YOU BEG AND WE MAY NOT EAT YOU The most popular was the simplest. Two words. It was everywhere – physical and virtual graffiti, songs and movies, hacks on phones and computers, chants at public events, clothing, even on their bodies. It was a popular tattoo. Some even had it inked – scarred – into their foreheads so anyone looking at them would see it. Turning away was impossible: YOU KNEW

I grasp his face in my hands, forcing his emerald eyes back to mine. Let them think what they want. You’re going to blow them away. And how do you know that? Because I know you. And I’ve heard your music. It’s amazing. One corner of his mouth kicks up. That’s because all the songs are about you. I grin. I mean, that helps.

I grasp his face in my hands, forcing his emerald eyes back to mine. “Let them think what they want. You’re going to blow them away.” “And how do you know that?” “Because I know you. And I’ve heard your music. It’s amazing.” One corner of his mouth kicks up. “That’s because all the songs are about you.” I grin. “I mean, that helps.

Sidney provides the commentary on the DVD, and he tells us that he wanted “a train song.” Warren and Mercer gave him much more than that, for “On the Atchison, Topeka and the Santa Fe” is really an “entire town song.” It starts in the saloon—an important location, as it will be at war with the restaurant the Harvey girls wait table in—then moves to the train’s passengers, engineers, and conductor as it pulls in and the locals look everyone over, especially the newly mustered Harveys themselves. Warren’s music has imitated the train’s chugging locomotion, but now comes a trio section not by Warren and Mercer (at “Hey there, did you ever see such pearly femininity … ”), and the girls give us some individual backstories—one claims to have been the Lillian Russell of a small town in Kansas, and principals Ray Bolger and Virginia O’Brien each get a solo, too. The number is not only thus detailed as a composition but gets the ultimate MGM treatment on a gigantic set with intricate interaction among the many soloists, choristers, and extras. But now it’s Garland’s turn to enter the number, disembark, and mix in with the crowd. According to Sidney, Garland executed everything perfectly on the first try—and it was all done in virtually a single shot. Fred Astaire would have insisted on rehearsing it for a week, but Garland was a natural. Once she understood the spirit of a number, the physics of it simply fell into place for her. In any other film of the era, the saloon would be the place where the music was made. And Angela Lansbury, queen of the plot’s rowdy element, does have a floor number, dressed in malevolent black and shocking pink topped by a matching Hippodrome hat. But every other number is a story number—“The Train Must Be Fed” (as the Harveys learn the art of waitressing); “It’s a Great Big World” for anxious Harveys Garland, O’Brien, and a dubbed Cyd Charisse; O’Brien’s comic lament, “The Wild, Wild West,” a forging song at Ray Bolger’s blacksmith shop; “Swing Your Partner Round and Round” at a social. Marjorie Main cues it up, telling one and all that this new dance is “all the rage way

The Evergreen Christmas Party" Once upon a time, in a snowy forest, there was a cozy log cabin. Mr. and Mrs. Evergreen lived there, and they loved Christmas. Every year, they had a big Christmas party for all the children in the village. One day, the first snowflakes of winter began to fall. The children were so excited! They put on their warm hats, scarves, and mittens and grabbed their sleds. They raced down a snowy hill, laughing and having fun. Inside the cabin, Mrs. Evergreen was baking cookies and making hot cocoa. The smell was delicious! She decorated a big Christmas tree with shiny lights and colorful ornaments. Mr. Evergreen was busy getting a special chair ready for a surprise guest. As the sun went down, the children came to the cabin. They were greeted by the warm glow of the lights and the yummy smell of cookies. Suddenly, there was a knock at the door. Mr. Evergreen opened it, and there stood Santa Claus! The children were amazed. Santa came inside and listened to the children’s Christmas wishes. He gave them gifts and told them stories about the North Pole. Everyone sang Christmas songs and danced. It was the best party ever! When it was time to go, Santa waved goodbye and promised to come back next year. The children watched as Santa’s sleigh flew into the night sky, feeling happy and full of Christmas magic. From that day on, the Evergreen Christmas party was the best part of the year. Everyone in the village looked forward to it, knowing it would be filled with love, joy, and a little bit of magic.

Lemme get this straight: Rudolph the Red Nosed Reindeer’s song came from Santa Claus getting gawked up by some Finnish woman?