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This just happened. Simply awesome…

If you want to cause trouble in the church, don’t worry about complaining about the worship style, the pastor’s preaching, or the color of the carpet. All you have to do is sing someone else’s song. No, not a song that someone in your church wrote, recorded, or produced. I’m talking about a song that someone in your church sang as a “special” just a few weeks or months prior.

For those that don’t know, there’s an unwritten rule in the church that says once you sing any song by Avalon, Point of Grace, Steve Green, etc. from the platform, that song solely belongs to you as long as you are in the confines of that church.

However, these unwritten rules also state that buying the accompaniment track to a song does not make it yours. Until the song is sung from the platform, it is fair game.

Now, depending on your average attendance, Wednesday nights may be an exception to this rule.

If by some chance you sing someone else’s song, not only will you be shunned, but you will be talked about by members of the church, specifically the “rightsholder.”

Does this sound familiar? I’m willing to bet one or two pastors have dealt with this in their time.

What are your thoughts on this issue? Is it OK to (intentionally) sing someone else’s song? Should there be a waiting period? Do you need to seek permission first? Let the fun begin!

[Photo source http://bit.ly/k7W16c]

I’m a chronic radio scanner. I hate commercials, static, and bad music. Since so much of the radio has turned to junk anyway, I usually find myself listening to sports talk radio. However, occasionally something I hear will cause me to stop my scanning and listen.

Many times, I don’t even have a clue who I’m listening to, but if I hear a creative melodic line and interesting (or absurd) lyrics, I’ll listen.

What has surprised me is that the music that has caused me to stop and listen recently is from artists like Pink, Katy Perry, and even Usher. My intention wasn’t to listen to their music. (In fact, when I first came across it, I didn’t even know it was their music.) But something about their sound caught my ear and caused me to stop and listen.

This has caused me to wrestle with some different ideas. Artists like Pink, Katy Perry, and Usher live very public lives, and because of that I know there are aspects of their lifestyles with which I wholeheartedly disagree. They stand for things that I’m against. I stand for things that they’re again. There’s a major incompatibility.

In addition, they also have lyrics in some of their music that go against my personal beliefs. While I won’t listen to songs that use profanity and promote sinful lifestyles, many of today’s artists are a mixed bag when it comes to lyrical content. For example, “Firework” by Katy Perry may seem to be a clean, safe song that is great for radio play, but some of her other songs, like “I Kissed a Girl” for example, promote a lifestyle and worldview to which I am opposed.

There are several ways I could go with this. I could argue that if I accept some of the music, then I should accept it all. On the other hand, I could say that if some of it is not fit to listen to, then I should reject it all. Or maybe there’s a middle ground. Maybe I should just listen to the clean music from an artist and disregard his or her explicit music. iTunes and Amazon allow you to download individual tracks, so in some ways that is possible.

I wish I could give a black and white answer on how to deal with this situation. However, this is still something I’m wrestling with.

I would love to get your feedback on how you handle situations like these, or how you think I should handle situations like these. Do you think an artist’s lifestyle should dictate our listening/purchasing habits?

[Photo source: http://bit.ly/mOHoQl]

The Christian music industry has long been known to replicate what is popular in mainstream music. During the age of glam metal, Stryper burst onto the scene with their big hair and spandex pants. When Run-D.M.C. introduced us to a new style of American hip-hop, the Christian music industry gave us DC Talk. When punk made it big, Relient K and MXPX dominated the Christian market, and even the secular market. And when “bubblegum pop” entered the rooms of teenie boppers across the country, the Christian music industry infiltrated Christian radio with Plus One, True Vibe, Rachael Lampa, and Stacie Orrico.

Some of these Christian counterparts made it big because they were creating quality music. They became popular because their style of music became popular with mainstream audiences. However, some of these artists and bands were created to be a carbon copy of mainstream artists. Their aim was to sound, dance, look, and act just like the secular chart toppers, but their music contained “Christian” lyrics and was played on “Christian” radio.

However, something has happened that is changing and will continue changing the Christian music industry. Because of this change, we now have a genre that Christian music can’t copy.

Over the past few years we have seen a genre develop that is led by the reemergence of former pop stars. But no longer does the music carry the “bubblegum” rhetoric of 1997 to 2002. Instead, its lyrical content is edgier and sexier.

Britney Spears is a prime example of what is happening with this movement. Thanks to the power of cable TV and the tabloids, we’ve been able to chronicle Britney’s entire musical career from the “Oops, I Did It Again” phase, to her highly televised broken marriage, to her new release of “Femme Fatale.” And though Britney has never really stepped out of the spotlight, we have seen her music career do a 180 from where it first started. After spending several years away from musical relevance, she has reemerged and has tried to make her image sexier and edgier than ever.

We can see the same thing with Justin Timberlake and his transition from N’SYNC heartthrob to the creator of an album called “FutureSex/LoveSounds. Katy Perry is another prime example. When she first started in the music industry around 2001, she was a “Christian” artist under the name Katy Hudson. After not being heard from for several years, she reemerged in 2008 with the radio hit “I Kissed a Girl.” Even artists like Pink, who never disappeared from radio or the charts, have repackaged themselves and stepped away from a “radio-friendly” image and taken on an edgier sound and image.

This “edgy” and “sexy” reemergence has created a genre that Christian music can’t replicate. While the Christian music industry has always tried its best to create the “Christian” version of whatever was popular, Christian music can’t produce the sound of Katy Perry’s “E.T” and it can’t produce the lyrical makeup of Britney Spears’ “Hold It Against Me.”

So what does this mean for Christian music?

I truly believe the most popular bands/artists in Christian music will remain popular. Artists like Switchfoot, Third Day, Lecrae, and Casting Crowns all have staying power because they are producing quality music. However, since mainstream music is changing in a way that Christian music can’t follow, we may start seeing Christian music dive in popularity for a time. The Christian artists who have made their living mimicking mainstream music may find that they have a short shelf live. They may sell well in the Christian market for awhile, but they may not last more than an album or two.

I do find some encouragement in this. Because of the change we are seeing in mainstream music, the “copycat” crimes of the Christian music industry may finally be dead. This change has given Christian artists the opportunity to be unique in their sound and lyrics. For the first time in a long time, up and coming Christian artists don’t have to try to model their music off an already popular band. Instead, they can be original and creative. They can seek depth in their music and lyrics rather than aiming to be the Christian clone to someone else.

The world of music is always changing. But it seems that the world may finally have found a genre that Christian music can’t replicate.

[Screen shot taken from: http://christianmusic.about.com/library/blcomparea.htm]

It’s hard to find good music on the radio. I feel like I can set my radio on “seek” for an hour and never find anything halfway decent. It seems like every station is now filled with cheesy pop lyrics that are put to the sound of techno music and a booming bass. No offense Taio Cruz, but when the sun hasn’t risen and I’m driving to work at 6:30 am on a rainy Monday, I don’t want to get a pulsating headache while you tell me how you’re only gonna break, break my, break, break my heart.

I started thinking about what things will actually make me change the station on the radio, and I came up with this semi-serious, semi-humorous list:

1.) Starting your song with the lyrics “I know you want me.”
I’m pretty sure that’s about as self-absorbed as you can get. While someone may actually want you, do you really want to brag about it to the world? A little too conceited for me.

2.) Using your own name in a song, especially as the opening lyric.
Okay, I was wrong. THIS is the most self-absorbed thing you can do. And I’m talking to you Jason Derulo. Self-promotion is bad enough on Twitter and Facebook, but starting off your song by saying your name takes it to a new level.

3.) Using degrading terms for women as terms of endearment.
For the sake of my job, I won’t give examples, but I think you know what I mean. This started with rappers. They used terms to describe women that were typically reserved for prostitutes. Now this is becoming widespread. Even Britney Spears has used one of these terms to describe her followers. And sadly…people eat it up. I’m not sure when this became a positive thing, but it shouldn’t, and gives me plenty of reason to keep on “seeking.”

4.) Grunting to lead in to your lyrics.
Sorry if I offend all of the Pearl Jam fans out there, but my ears aren’t fans of hearing a grown man make weird noises before he starts singing. If I wanted to hear that, I’d listed to Ozzy Osbourne read his book.

5) Auto-tune.
No explanation needed.

6.) Singing a happy lyric, while sounding like you’re yelling at the guy who just killed your puppy.
Some people just seem mad even when they’re trying to act happy. I’m looking at you Nickelback. Only you can sing, “Look at this photograph. Everytime I do it makes me laugh” and make me want to cry out of fear. If you’re laughing, stop screaming. If you’re happy, don’t sound evil. If you’re on the radio, please stop singing horrible music.

7.) More bleeps than lyrics.
If you cuss so much in your song that I don’t even know what it’s about, you need help. I’m amazed that artists who want to make it rich and famous will produce songs that are stripped to 30 seconds in their radio edit. Hey geniuses, people hear your songs on the radio. If they can’t “hear” your song because it has all been bleeped, what’s the point?

8.) Songs that carry a “Don’t judge me” motif.
If you have to write a song that tells people not to judge you, chances are you’ve done some pretty dumb stuff that is going to be judged. If you’ve had multiple DUIs, neglected your children, faced drug charges, been to rehab multiple times, violently attacked people, beat your girlfriend, been charged with possession of a gun, and/or shot someone, no one is going to give you sympathy when you sing “Only God can judge me.” Definitely turning the station.

9.) Slamming us over the head with a skewed worldview.
Whether it’s Maroon 5, Lady Gaga, or Rage Against the Machine, I can only take so much propaganda. I know you want to be the next Bob Dylan or follow in The Beatles’ footsteps with your agenda-laced song, but I don’t want to hear it. I don’t care if you’re bashing Bush or Obama, I’m turning it. Even if your melody is catchy, if your music accuses me of being intolerant or judgmental because I don’t agree with your liberal outlook on life, I’m not listening to your song.

10.) Dave Matthews Band.

11.) Trying to be so deep and philosophical that your words carry no meaning.
I’m amazed at how many people can listen to some Coldplay songs and say “That song speaks to me so much!” Let’s be honest, you don’t have a clue what they’re singing about half the time. When bands are asked what their “deep” songs mean, they usually reply “I think our songs mean different things to different people.” Translation: We have no idea what it means.

[Photo Source: http://bit.ly/hSguDx]

By now you’ve probably heard the new darling of pop culture, “Friday” by Rebecca Black. If you haven’t, just wait until tomorrow. Facebook and Twitter will be filled with clever statuses and tweets signifying that it truly is Friday. The song, which was uploaded February 10, has already garnered over 43 million views on YouTube. To let you know how viral this thing has gone: the video has added nearly a million views in just the last 4 hours. I’d be shocked if the video isn’t over 50 million views by tomorrow…which of course, is Friday.

What’s ironic about the song is that despite having over 43 million views and being stuck in the head of people across the globe, the song isn’t what you would call “popular.” In fact, most are calling it “annoying,” “the worst song I’ve ever heard,” and “completely awful,” signifying their “hate” for the song.

Those are some very strong words (and once you read the comments on the YouTube you’ll realize they escalate to things much, much worse!) targeted at a 13 year old girl whose parents paid money to allow their daughter to record a song. Taking into account what people are saying, I’ll be the first to admit that the song is no Grammy award winner. In fact, when looking at the scale of excellence, it’s probably closer to Antoine Dodson’s “Bed Intruder Song” than it is to U2′s “Where the Streets Have No Name.” But yet there’s something about it that keeps making people go back for seconds, thirds, and fourths. There’s something about it that has caused people to create parody videos, fill out their statuses with lyrics, and even caused Tim Tebow to quote the lyrics on Twitter.

What is that “something?” I think that “something” is that many of us secretly like it.

If we’re being objective, we’d admit that it’s no masterpiece and it makes us laugh more than anything. But we keep talking about it, we keep singing it, and we keep falling in love with it over and over head.

Our culture has an affinity for things that are “awesomely bad.” We claim those things are annoying and that we hate them, but there’s something inside of us that just can’t get enough of them (i.e. see 80s music).

The truth is we avoid things we hate. I hate onions, so I don’t put them on my pizza or hamburgers. I hate turtlenecks, so I never wear them. I hate country music, so I don’t blast it in my car or on my computer.

We avoid things we truly hate. We go back to the things we secretly love.

So while Rebecca Black may never be the next Celine Dion and “Friday” may never take home “Song of the Year,” we’ll keep going back to the well for more because there’s something about it we just can’t get enough.

Maybe mockery really is the highest form of flattering.

Either way, prepare yourself…because tomorrow is Friday.

The Super Bowl has been over for 2 days, and yet Twitter is still filled with 4 things relating to the event: Aaron Rodgers, 400 fans who missed the game because their seats were considered unsafe, Christina Aguilera’s botched version of the Star-Spangled Banner, and the Black Eyed Peas’ halftime show.

As for quick thoughts on the first three:

Aaron Rodgers: Spectacular

The NFL’s handling of the seat situation: Inexcusable

Christina Aguilera’s performance: Horrendous (Not necessarily because she messed up the words, but because she included so many runs that I almost forgot what she was singing)

That leads me to the fourth element: The Black Eyed Peas.

Despite the grand entrance, the pyro, the razzle dazzle, the cameos from Slash and Usher, the costumes from Tron, and dancers with boxes on their heads, most of the Twitter world and blogosphere felt the performance fell short of expectations and came up a bit flat.

I’ll be the first to admit that the performance was anything but spectacular. The audio was mediocre at best, the BEPs just stood in place most of the performance like a Southern Gospel quartet (you’ll never hear that comparison again), the vocals (especially Fergie) were atrocious, and the performances by Slash and Usher were forgettable.

So while the grand spectacle was not up to standard for a typical Super Bowl Halftime performance, I’ve noticed the disappointment for some has gone beyond the failed audio and flat vocals. It seems as though some have been disappointed that “nothing shocking happened.”

Ever since the infamous “wardrobe malfunction” in 2004, the NFL has tried to tame its Halftime show by bringing in artists like Paul McCartney, The Rolling Stones, Prince, Tom Petty & the Heartbreakers, Bruce Springsteen and the E Street Band, and The Who. Although these are all reputable and notable artists, none presented the threat that became apparent when MTV controlled the Halftime show in 2004.

However, this year was different. Bridgestone went out on a limb and booked the Black Eyed Peas. Even before we knew who would play in the Super Bowl, speculation was already mounting as to what crazy and shocking acts would come from their performance. In fact, on Bodog, an online gambling site, fans could even bet on what Fergie would wear for the performance, providing options that were modest, semi-modest, and not modest at all.

After 30 minutes of watching mediocre talent, many of us were left with a thought of “That’s it?” We were expecting more, both in talent and in shock value. With the exception of Fergie’s outfit, many were pleased that the Black Eyed Peas kept things somewhat PG/PG-13 despite all the weirdness that surrounded the performance.

However, while some were pleased with the tameness, others were disappointed that the BEP’s didn’t push things far enough. They wanted shock value. They wanted Monday morning water cooler material. They wanted something that would make the FCC blush. But they didn’t get it, and they were disappointed.

Our country has reached a point where very little shocks us. We’ve become so desensitized to sex, media, abuse, and a myriad of things that we no longer want normal or tame. Rather, we seek the things that push the limits and “shock” us in a new way. We want our senses to be stimulated in new ways and we want to push the envelope until the uncomfortable becomes perfectly acceptable.

And as that never ending search continues, our culture will continue to search for what is shocking, and only be disappointed when we realize it no longer is.

[Photo source: http://bit.ly/hvGMVy]

After yesterday’s list that will make you rip your ears and eyes out and question why some artists still have a job, today’s list turns things around. For Day 4, I am bringing you the Top 10 Greatest Modern Christmas Songs. This includes songs that have been written over the past 30 years, and also modern renditions of some of the great Christmas classics. I hope you enjoy!

Top 10 Greatest Modern Christmas Songs

10. “Believe” – Josh Groban
Typically, I’m not a fan of fluffy feel-good Christmas songs (as evidenced when I listed “Christmas Shoes” as the Most Annoying Christmas Song). But there’s something about this hit from The Polar Express that I love. Whether it’s the incredible vocals of Josh Groban or the childlike aim to “just believe,” this song has become an instant Christmas classic. Released in 2004, it has become the 17th most downloaded Christmas song of all time and has been downloaded more than any of the songs featured on Groban’s Christmas album, Noel.

9. “In the First Light/Do You Hear What I Hear?” – Todd Agnew
Transitioning from the vocals of Josh Groban to Todd Agnew may be like transitioning from filet mignon to fast food, but this song is incredibly powerful. Agnew’s Christmas album, Do You See What I See? is unlike most Christmas albums. It actually tells the story of Christmas from start to finish, focusing on God’s redemption of mankind. This song is the finale and explains what the birth, death, and resurrection truly means.

8. “God Rest Ye Merry Gentlemen” – Barenaked Ladies and Sarah McLachlan
A group of Canadian guys just had to pick that name for their band, didn’t they? Ugh. I learned a rough lesson many years ago: Never ask your grandparents for a “Barenaked Ladies” album for Christmas. They had a serious discussion with my parents. Anyway, with the added vocals of Sarah McLaughlan, this is a great version of the classic song. Simple music, but a song I love to hear during the Christmas season.

Check out a sample of the song here: http://amzn.to/dKm0nR

6. “The First Noel” – Josh Groban and Faith Hill
I could probably put every Christmas song by Josh Groban on this list. The man is amazing! This duet with Faith Hill is the best version of this song I’ve heard. Their voices sound so pure and even the high notes sound effortless.

Check out a sample here: http://amzn.to/egZ90t

5. “Silver Bells” – Kenny G
Who would have thought a Jewish saxophone player would make the top 5 on a Christmas song list? Although he produces some really laughable songs, this is by far one of the greatest instrumental pieces of Christmas music. When I hear it, it immediately makes me feel like Christmas is coming soon. It also reminds me of the sax playing at the end of SNL during the mid 1990s, but that’s just random.

4. “Christmas Canon” – Trans-Siberian Orchestra
I’ve always been a huge fan of Pachelbel’s “Canon in D.” TSO took a wonderful classic from the 1600s and turned it into something incredible. Although this doesn’t contain their usual screeching guitar riffs, it does contain a choir that really helps bring the song to life. In 2004, the group added to the song with “Christmas Canon Rock.”

3. “All I Want for Christmas Is You” – Mariah Carey
Did this one catch you off guard? People may laugh, shake their heads, or roll their eyes, but let’s be honest, it’s a great song that most everyone recognizes. It’s been covered by John Mayer, Shania Twain, Miley Cyrus, and even My Chemical Romance. And recently, it became the most downloaded Christmas song of all time. You may not like Mariah Carey, but this may turn out to be a classic Christmas song that has more staying power than Mariah.

2. “O Holy Night” – David Phelps (Live)
This is my favorite Christmas song of all time. It seems like people either master it or butcher it; there’s no in between. After listening to many different versions and arrangements, I’m convinced this is the best version you can find. And to think this is Phelps doing this live…incredible! Also, don’t over look the incredible piano part by the late Anthony Burger.

1. “Christmas Eve/Sarajevo 12/24″ – Trans-Siberian Orchestra
As you probably already know, this is a medley of “Carol of the Bells” and “God Rest Ye Merry Gentlemen.” As much as I didn’t want to repeat an artist, TSO deserves to be on this list twice. With this arrangement, Trans-Siberian Orchestra took classic Christmas songs and cranked up the amps to put Christmas right in your face. This is a song that’s still enjoyable in July. Whether you love the scaling guitars, the pounding piano, or the opening lines of the cello, this is a song that can be enjoyed by everyone…or almost everyone! Watch the video below…and be glad you don’t like next door to that guy!

Honorable mentions:

“The Chipmunk Song (Christmas Don’t Be Late)”
“I’ll Be Home for Christmas” – Michael Buble
“God Rest Ye Merry Gentlemen” by MercyMe
“Greensleeves” by Lynard Skynard (Trust me, it’s not what you think!)
“When a Child Is Born” – Il Divo
“Stille Nacht” – Mannheim Steamroller
“Angels We Have Heard on High” – Brian Setzer Orchestra

[Photo source: http://bit.ly/if7fD1]

Today is Day 3 of the Top 10 Christmas Song Lists. Today’s list comes from Benjamin Braun, a musician who has an ear for the excellent…and then the stuff on this list. Before you continue reading, I cannot stress this enough: In no way do I support, endorse, or promote the following artists and/or the butchering they have done to our beloved Christmas songs…and neither should you. What you are about to read is not for the weak at heart. Ladies and gentlemen…

The Top 10 Worst Christmas Covers of All Time

10. “O Come All Ye Faithful” – Twisted Sister
Reality TV. Holiday album. Hair. There are a number of ways that signature 1980’s frontmen can eradicate their own integrity. With the exception of celebrity ice dancing (I’m looking at you Vince Neil) Twisted Sister’s Dee Snider has capitalized on them all. Not surprisingly, this track from the egomaniacally-driven Twisted Sister Christmas album (aptly entitled “Twisted Christmas”) is neither joyful nor triumphant. It’s more…awful and repulsive. Sampling the Twisted Sister hit “We’re Not Gonna Take It” (as opposed to the other Twisted Sister hit) this adaptation only confirms that the glam metal insurgence into the Christmas hymn genre was a void better left unfilled.

9. “White Christmas” – New Kids on the Block
Bing Crosby’s version of this Irving Berlin song still stands as the best-selling single of all time. For some reason, the New Kids’ version didn’t have the same success. It wasn’t often the guys gave Jonathan the spotlight. Turns out, they had the right idea. This gem from the NKOTB Christmas album, “Merry Merry Christmas,” is reminiscent of a high school Christmas talent show…though in a way, that’s exactly what “Merry Merry Christmas” was. Still, it’s much better than the preceding track: “Funky Funky Xmas” (thanks, Donnie).

8. “Jingle Bells” – Kenny Chesney
Much like footie Christmas pajamas and stocking caps with fluffy balls on them (barring the ironically cool ones sported by hipsters, snowboarders, and hipster snowboarders), singing “Jingle Bells” for the entertainment of others is really something you should give up when you turn eight years old. And since I don’t really want to hear about margaritas and senoritas when it’s nine degrees outside, Kenny Chesney music ranks up there with citronella candles, pool noodles, and ice cream trucks as things that are just weird and better left avoided during the non-summer months.

7. “Santa Baby” – Rev Run, Puff Daddy, Snoop Dogg, Salt n Pepa, and more
Yes. This exists. I don’t…it’s just so…wow.

6. “The First Noel” – Crash Test Dummies
I can’t seem to find exactly where self-mocking irony stops and genuine 90’s cheesiness begins. Donning footie pajamas (I thought we covered this) the commercial Canadian grunge quintet that brought us heartfelt lyrics like “mmm mmm mmm mmm” and “mmmmmm mmmmmm” really outdid themselves on this 1991 holiday rendition.

5. “Jingle Bell Rock” – Billy Idol
Elvis did it. David Bowie did it. Naturally Billy Idol would jump at the opportunity to do a rock version of a Christmas song—although judging from this video, his rhythm section was exceptionally less enthusiastic. Unfortunately, despite its name, “Jingle Bell Rock” falls somewhere between “Baby I’ma Want You” and “Truly Madly Deeply” on the scale of rockiness (which goes to eleven by the way). For Idol, it may be a nice day for a white wedding (and a white hairpiece), but it will always be a lousy day for a white Christmas [cover]. Side note: doesn’t he kind of resemble the Green Goblin?

4. TIE: “O Holy Night” – Mariah Carey & “Have Yourself a Merry Little Christmas” – Christina Aguilera
While there’s no denying the power behind this diva’s instantly-recognized vocals, [Mariah/Christina] takes ["O Holy Night"/"Have Yourself a Merry Little Christmas"] to new heights in flashiness and subsequently new lows in my ability to listen to it. With countless runs and unnecessary signature [high notes/angry sounding growls], [Carey/Aguilera]’s interpretation of this otherwise great Christmas song is like adding a giant inflatable Mickey Mouse snowglobe to a nativity scene. It’s tacky, it doesn’t fit, and it’s wrong on so many levels. In addition, I would appreciate it if she steered clear of acting for a while. I still haven’t forgiven her for [Glitter/Burlesque].

3. This space is hereby reserved in the event that Nickelback ever releases a Christmas album.

2. “I’ll Be Home for Christmas” – Bob Dylan
Bob Dylan’s Christmas album is about as good as one would expect a Christmas album by Bob Dylan to be. I know. He’s Bob Dylan and he’s earned the right to do essentially whatever he wants without the fear of a public or critical backlash. But he’s probably not reading this anyway. If nothing else, this abomination proves that even America’s most respected artists are subject to a bad Christmas cover (or twelve). On a related note, let’s just say with his cover of “Santa Claus is Coming to Town”, Bruce Springsteen should consider himself lucky that this isn’t a top 11 list. If you want to hear a sample of it (and I highly suggest you do) or if you want to buy it (and I highly suggest you don’t) click on this link for some Christmas splendor: Bob Dylan singing “I’ll Be Home for Christmas”

1. “Winter Wonderland” – Jessica Simpson and Ozzy Osbourne
Quick, think of two over-exposed artists that should never collaborate on anything including, but not limited to, the world of holiday music. If you said Jessica Simpson and Ozzy Osbourne, you win. Unfortunately, since this union of punchline-inducing MTV reality TV alumni is actually non-hypothetical, we ALL lose. Together, Jessica (of tuna-eating fame) and Ozzy (of bat-eating fame) produce the most awkward holiday pairing since Arnold Schwarzenegger and Sinbad.

Tomorrow…

The Greatest Modern Christmas Songs/Renditions

[Photo source: http://bit.ly/g6uXIx]