Guest Post: Make A Trendy Noise Unto the Lord

Note: This is a guest post from David van Mersbergen.

Coming from a musical family with a church organist parent and grandparent, David began musical training at the age of eight years old with piano lessons. He began vocal training and choral singing in high school and continued in college with several tours of major cites in North America. He has studied music theory and history. His study of aesthetics as a branch of philosophy had guided his efforts to seek out music and art worthy of study, analysis, and praise. He continues to pursue musical performance by participating in community and professional organizations.  

The discovery was made when I performed “Hotel California,” a piece I had previously detested.

It had been sung very badly on many long bus rides to basketball games, track meets and field trips. Worse was that this piece had been singled out by many charismatic preachers in the late ‘70s to be about the church of Satan.

On playing it, however, the chord progressions were sound and made sense according to the rules of music theory. It should come as no surprise that the shock at how good this song was had context.

After playing Christian contemporary music with its three-chord variety for the last eight months, a song with eight distinct chords was welcome. How fun it was to play music that had intelligence to its chord progression.

I found it odd that music written about ‘materialism and excess’ was more musically deep and lyrically profound than most of the music written for praise and worship.

Don’t get me wrong, a lot of pop music is trite, stupid and poorly written so as to appeal to the masses of musically illiterate consumers, but why is it that Christian contemporary music strives to emulate that kind of music?

What makes Christian contemporary music so horrible has been the subject of many posts on Facebook, as well as an episode of South Park.

Lyrics that are theologically untenable or fallacious, as well as overwhelmingly sentimental, provide little more than mind numbing ear candy for churchgoers.

Christian lyricists are not poets by any means.  If a song about creation contains the word “trees,” there will be in the following line the word “breeze.” Sadly, too many lyricists are not familiar with basic theological principles.

Songs proclaiming the love of Jesus Christ come across as if the singer is in love with a matinee idol. Don’t think so? If a song actually names our Lord and Savior instead of just using “you,” substitute “Justin” or “Liam” for Jesus and see how one-dimensional this praise and worship song is.

Pop songs that come across as desperate and codependent are now fit to bring into church because it’s Jesus you’re singing about. They are insulated from literary criticism by virtue of their being “spirit-filled” or “anointed.”

The unfortunate implication is that lyrics are more important for working a crowd or congregation into an emotional high rather than for opening the mind to hear the law and gospel of God.

Why does CCM all sound the same or just plain awful?  The limited number of keys that most CCM is written in explains a few things.

Sadly, the guitar has replaced the pipe organ as the instrument of choice for the church and music director. The keys of E, D, G, A and C are the most comfortable keys for the guitar player. This is true for many pop and country and western songs.

One humorous YouTube video (Editor’s note: Video contains brief profanity) claims that all country and western music is the same, splicing clips of different songs into one loop until it sounds like a regular song.

Why? Aside from topics (trucks, beer, women), the keys and chord progressions are the same. The I-V-IV and I-VI-IV-V chord progressions are the most commonly used progressions in popular music.

Any melody can be written over these three or four chords with hardly any effort at all. With no harmonic variety in the music, the songs end up fundamentally sounding the same.

Praise and Worship leaders with little education in Western music, whose only exposure to music has been radio, television, and movies, churn out songs that reflect that exposure to the three-chord harmonic progression.

The result is that second-rate lyrics and simple chord progressions that were once the bastion of pop music have become customary in the Christian contemporary music.

Taking their cue from pop culture’s standard of quality, pastors and worship leaders embrace the lowest common denominator and clean it up (or wash it in the blood of Christ) for church.

Christian contemporary music is bad because the popular music it copies from the world is bad.  Lost is the idea of sacred music and the effort to produce it.

For most of the history of Western art in general, and music in particular, the Church, along with some of the aristocracy, was the major benefactor funding music for church worship services and ceremonial occasions.

Now the Church has become a consumer of popular music in its effort to reach a broader audience.

Pastors with little adherence to orthodoxy and practically no education in music or art now think the process of approaching God with humility, begging for forgiveness, receiving pardon for sins and resolving to lead a sanctified life should make way for a more palatable, seeker-friendly message.

Wanting to attract newcomers or those who are “turned off by traditional religion,” pastors and church leadership make the church service entertaining.

Congregations now confuse worship with entertainment, as if God needs a catchy tune get an audience. Such an objective can also be accomplished via a pole-dance.

Getting membership has become more important than proclaiming one’s sins can be and are forgiven, and that we are restored to a relationship with God.

Pastors have allowed the attention-seeking lead singer to educate the congregation on what music is.

Hymns with four-part harmony and theologically sound lyrics are replaced with karaoke-style sing-a-longs.

The cycle is complete when the young musician with mediocre talent decides to go to school to be a music leader, but has never read or sung a hymn, heard an oratorio, or seen an orchestra perform a symphony.

The church used to transform the culture, now it has become transformed by it.

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Building my Own Threshold

Early on in the maintenance of this blog, I planned a series of posts centered around Joseph Campbell’s monomyth.

The monomyth (more popularly known as “the Hero’s Journey“) was supposed to guide my own endeavors as I sought to succeed in obtaining employment.

The problem with my original set of posts regarding the subject was that my presupposed outline for my life hinged on me being accepted into the Praxis program.

After being tossed off the metaphorical threshold steps (twice!), I sank into a period of aimlessness. I took whatever work I could, trying to make sense of everything.

In many respects, I was quite lucky. I had no debt and my friends and family supported me.

Looking back on this period in my life, trying to track my life-goals according to a mythological theory was quite foolish.

Life, quite obviously, is not a story. I believe it was in the recent film Their Finest that one character stated: “Stories have structure, purpose, and meaning… unlike life.”

I should really watch that movie.

So what am I doing now?

For one thing, I have recently enrolled in fall classes at a local community college.

I’m doing administrative, marketing, and sales work at my family’s business.

I’m researching possible careers to pursue and the best course of academic study to fit such a career.

I’m reading a lot of old books, working on several creative side projects, and am writing this blog.

In a word, I’m building my own threshold, where the only threshold guardian is me.

Don’t get me wrong, I love Joseph Campbell’s theory of the monomyth, as espoused in The Hero with a Thousand Faces.

As a guide for story structure and dramaturgy, it’s an excellent tool.

But regrettably, it’s a pretty suckish model to plan your life around.

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Check out my Civics Tutoring Gig on Fiverr!

A quick update, loyal readers!

I’ve recently added another service under the Freelancing page of this blog: Civics tutoring.

My civics tutoring gig on Fiverr will allow me to teach you or your child about civics and American government.

The teaching of civics is a woefully neglected, malnourished discipline in this country’s public schools.

But fear not, gentle reader! I can help you or your child learn as much as I can teach about the finer points of the American Constitution, the Bill of Rights, and related subjects.

If you go to Fiverr and look at the listing, you will find that I offer three packages: Learner, Student, and Scholar.

The Learner package consists of one 30-minute lesson.

The Student package consists of a 1-hour lesson with an accompanying homework assignment.

The Scholar package provides five 30-minute lessons for the price of four, in addition to homework assignments and a dedicated syllabus.

If you want to learn more about American Civics, have a child who needs the instruction, or know someone else who fits these categories, then I’m your man!

Get in touch with me on Fiverr today!

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Why Read Old Books?

Note: This post is adapted from a speech I gave to my Toastmasters club.

Russian physiologist Ivan Pavlov once said, “If you want new ideas, read old books. If you want old ideas, read new books.”

Following this observation, I have made a point to read old books.

Pavlov’s maxim applies to both fiction and non-fiction, from the epic poems of Homer to the stories of Washington Irving to Greek philosophy to the Bible.

Picking up a dusty copy of The Iliad will transport to you the world of raging Achilles and bold Hector in the carnage of the Trojan War.

Or you could make a trip to rural New York, circa 1790, and become acquainted with the fearful Ichabod Crane in The Legend of Sleepy Hollow.

Either of these books would excellently reveal to the reader that the heroes and villains of the past weren’t so different from us.

Whether it’s the wearied prince Hector’s longing for peace, or the hapless Ichabod’s unrequited affections for Katrina, we can all see something of ourselves, both admirable and repellant, in these imaginary characters and the eras they inhabit.

Reading old books is beneficial because it allows the reader to glimpse into other worlds, in order to better understand the past and to apply it to the present.

When I say you should read “old books,” I generally mean you should read the classics. That said, what is a classic?

Orson Scott Card, the author of Ender’s Game (an excellent read, by the way), once defined a classic as stories that are so good you want to share them with your children.

When I was seven or eight years old, my mother gave me a new set of books to read: The Chronicles of Narnia by C. S. Lewis.

I loved those books dearly, reading them and re-reading them, and being overjoyed to hear the audio drama versions of them, before being crushed when the films failed to meet my expectations.

I later read The Lord of the Rings and The Hobbit by J. R. R. Tolkien, eventually finding my way to Shakespeare’s plays Hamlet and Macbeth, and Great Expectations by Charles Dickens. By the time I was 18, I had read the entirety of the Bible ten times.

All of these aforementioned books, written across multiple continents in the span of dozens of hundreds of years, have been passed down through the centuries to us. We can read all of them at any time on our cell phones.

But why read them at all?

The first reason to read old books is that it provides a window to the past.

At some point in time, the author of The Legend of Sleepy Hollow, Washington Irving, sat down and thought up his story.

Irving was an American, influenced by stories of European folklore that he had picked up during his travels through the continent in the nineteenth century.

Reading his story allows us to get acquainted with his thought process and walk around in his mind a little.

Imagine what could have inspired passages such as this one, describing the town of Sleepy Hollow:

“However wide awake they may have been before they entered that sleepy region, they are sure, in a little time, to inhale the witching influence of the air, and begin to grow imaginative—to dream dreams, and see apparitions.”

You see that this is a time when the majority of people took the reality of the supernatural for granted— whether that idea lay in base superstition or religious faith.

To look back on such a concept with disdain would defeat the purpose of reading old books. Our ancestors were no more ignorant than we are, and in many ways were our intellectual betters.

Instead, our goal in reading old books is to look into the past, seeing a world that is very much like ours.

Take The Illiad for example. This epic poem is one of the foundational works of the western canon.

In Homer’s poem, the warriors on both sides of the war, the Achaeans and the Trojans, frequently blame the gods for their troubles, and the gods are shown meddling in human affairs quite frequently.

This human tendency to want to assign direct blame for misfortune and injustice to an ethereal, all-encompassing source is not new.

If there’s one thing that I took away from listening to The Iliad on audiobook, it’s that people have been saying, “It’s not fair!” since 800 B.C.

So whether you’d like to peruse the works of Washington Irving, Charles Dickens, or C. S. Lewis, or perhaps more ancient writers like Homer and the multitude of authors responsible for the Bible, I cannot recommend reading old books more than enough.

For there is no better way to enrich your mind, discipline your imagination, and open your eyes to another way of life than to turn the pages of a classic tome.

If any of you have children, grandchildren, or young nieces or nephews, your duty to pass on these great books is crucial.

The older generation must teach the younger generation of this important pastime. Otherwise, we face a new age of darkness, chained in the bonds of ignorance.

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Fiverr Fail

A wise man once said, “Experience is a hard teacher. It gives the test first and then teaches the lesson.”

Following this principle, I now know that in the future, I must read the fine print. As a general rule, you should read everything. Just in case.

Case in point, I recently opened a new page on my blog, dedicated to my Freelancing ventures via Fiverr.com.

It’s a fun little website, where I can sell my services to others and get some extra cash.

But unfortunately, my first real investment in the platform resulted in a Fiverr Fail.

To cut a long story short, I purchased on Fiverr a beautiful video explaining my service as a ghostwriter for comics, meant to service artists who can’t write.

Unfortunately, the Fiverr team did not approve my video, as it contained the web address for this blog, in violation of Fiverr protocol.

But it wasn’t a total loss. I may have spent forty bucks on a video I can’t use on Fiverr, but I can use it here.

I do hope you all enjoy this lovely video, created by a Mr. “Artwong.”

Please see my new Freelancing page for more information!

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Goodreads Review: Twelve Years a Slave

12 Years a Slave12 Years a Slave by Solomon Northup
My rating: 5 of 5 stars

I saw the movie adaptation of this gripping slave narrative on DVD three years after it came out in theaters.

The movie brutally related a terrible, horrifying, heartrending tale of pure injustice. My history teacher said that the movie reminded him of the film “Schindler’s List”, in that he thought it was a good movie, but would never want to watch it again.

Putting aside the movie, the book “Twelve Years a Slave” adds layers of personality to our narrator, Solomon Northup, renamed “Platt” after being kidnapped from his life of freedom in the north and being sold into slavery in 1850s Louisiana.

Northup relates his tale of woe in grinding detail. He relates the general customs and traditions of enslaved blacks, the way of life of a local Indian tribe, and the range of personalities exhibited by his several masters, from the kind-hearted Baptist minister William Ford, to the lecherous and sadistic Edwin Epps.

Frequently given are the full names of persons involved in the events Northup recounts. He wanted to demonstrate that it is a wholly true story. A modern writer would have gotten lost in these details, but Northup’s aptitude for succinct descriptions and biting sarcasm result in a slim read which could be finished in a weekend.

Padding out my edition, which I acquired at a bargain price from Barnes & Noble, are a series of essays. The include an essay by Steve McQueen, director of the 2012 film, along with essays on the subject of slave narratives by a handful of academics.

Unfortunately, I was not able to finish the final, concluding essay in my edition, as I unfortunately misplaced it soon after I had reached that portion. A pity, but I am glad to have read the book at all.

View all my reviews

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Thursday Round-Up

Now that I’ve gotten back to blogging, I have a lot of books that I’ve read that need to tell you all about!

Art and the Bible by Francis Schaeffer gave great insight into how a Christian out to approach the arts. Written in the heady days of the 1970s, this very literate musing on the place of art in faithful endeavors was no doubt a catalyst in the Christian art movement, such as Christian rock music, church drama ministries, and unfortunately, Christian movies.

In sum, Schaeffer has many wise things to say, but the author of its introduction apparently thinks that the book’s chief lesson is that it’s okay for Christians to make rock music. While true, that is not the main point.

Related to this book were The Prodigal Church by Jared C. Wilson and The Divine Commodity by Skye Jethani, which both address through different avenues the problems associated with the church-growth movement and “seeker-sensitive” churches.

The Prodigal Church more specifically discusses the issue from Wilson’s perspective as a product of the seeker-sensitive church. His boots-on-the-ground approach is endearing, but he borrows many of his ideas from Jethani’s book.

The Divine Commodity is a much more intellectual approach to the matter, with Jethani eloquently considering the strategy of many modern churches, which often judge success by how full their pews are instead of by the spiritual health of their congregants. Both authors could learn much from Warren Cole Smith’s book, A Lover’s Quarrel With the Evangelical Church.

In terms of comics, I’ve read a beautiful hardback collection (Invincible: Ultimate Collection, Vol. 1), a graphic novel (The Complete Maus), and a 1999 book containing interviews with some of the top comic book writers of the day (Writers on Comics Scriptwriting, Vol. 1).

Invincible and Maus were absolute masterpieces, and I am glad to have acquired them for my personal library. Writers on Comics Scriptwriting was an enjoyable read, in spite of the interviewer’s fawning over his subjects. It was good to get into the heads of scribes such as Chuck Dixon and Jeph Loeb. I’ve already begun reading volume 2.

Finally, I recently read two business books, one horrible and the other fantastic, plus an eBook on statistics.

Network Like a Fox by Nancy Fox is a poor man’s McBook, which is saying something. It would be much easier to digest what advice it offers if the author had bothered to hire a decent proofreader. Its sloppy editing severely drains its credibility.

Ogilvy on Advertising, on the other hand, was out of this world. It was unlike any book related to business that I’d ever read. David Ogilvy was the man on advertising, or so my Uncle Bill, who worked in advertising, told me. An Englishman, his book is more literate and authoritative than any business book I’ve ever read.

His advice is practical and backed up by experience. The principles he espouses remain sound to this day. His is not the 1983 equivalent of a punch of stitched-together blog posts, but an actual book its own right.

Thinking Statistically by Uri Bram was a short, quick book which gives a hilarious and interesting look at statistical theory. It’s very accessible, and for the first time in my life, it made me think of math as fun.

It was also useful for helping me to understand exactly how statistics work, and how errors in methodology can fowl up survey results.

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To Catch a Thief: Better Days with Better Movies

In 1984 by George Orwell, the people of Oceania are tranquilized through an endless stream of mass-produced, low-quality entertainment, from pop music to pornography.

Winston attends a movie featuring the gruesome deaths of a ship full of refugees. Julia works as an operator of novel writing machines, all part of the sinister Party’s propaganda apparatus.

In our own world, things are little different.

The state may not directly control the American entertainment industry. But that does not change the fact there are few recent films which are both popular and good.

This was not always so. Case in point: To Catch a Thief, a thriller in which there is not a single gunfight, sex scene, or four-letter-word.

To Catch a Thief demonstrates that it is entirely possible to make a thrilling, high-caliber film without resorting to vulgarity and shock-value.

The film tells the story of a retired cat burglar living in France who must now clear his name after a new “cat” begins pinching the valuables of American tourists.

Released in 1955, the film was directed by Alfred Hitchcock and stars Cary Grant in the lead role. By today’s standards, it is rather tame for a thriller.

At the same time, it would probably bore young children who have spent too much time on the internet or watching television.

But for those with an appreciation for vintage cinema, it is a wonderful, beautiful film.

From the opening scene which abruptly cuts from a pleasant opening credits montage to a screaming woman, to the car chase along a narrow country road, to the final revelation of the thief’s identity, there is not a dull moment in it.

The plot is smart and airtight. Everything makes sense and every detail matters.

Even a dilettante such as myself can see that it is a technical masterpiece. From what little I know of cinematography, To Catch a Thief excels. It did after all win an Oscar for it.

Nor is there a shred of real indecency. No blood is shed, no skin is shown, not a single obscenity is uttered.

The action is focused on the events taking place, in keeping with the chief strength of film.

Where gravity is required, subtler means are in place to communicate the feeling, such as when an angry cook crushes a handful of carrots in his fist.

There is romance, and plenty of smooching, but not in the egregious, titillating way found in modern films. Where such displays today are meant to sell tickets, in To Catch a Thief they are meant to sell characterization.

Nor is there a trace of profanity. I have heard plenty of reports about how films such as Manchester by the Sea are fawned over by critics, despite their rejection by mainstream audiences.

The chief complaint of such films is that they are both inanely bleak and utterly polluted with swearing.

(I have not seen Manchester by the Sea, chiefly because I do not care to spend $13.00 to sit through that sort of thing.)

Andrew Klavan has noted that in the days of the Hayes Office, in which Hollywood self-regulated the content of its films, even the mediocre films were good by today’s standards.

Now, says he, filmmakers can show anything on screen, and now most films “kinda suck.”

I firmly believe that with the Hayes Office in place, filmmakers were forced to be creative with the limits they had to work with.

They knew that if they wanted to appeal to a mass audience, they had to make their films as decent as possible. To Catch a Thief was a product of this age, as are many classic films.

The system worked because the majority of moviegoers were average Joes living in middle America who just wanted to watch a good movie without having to endure an exercise in pointless vulgarity.

Things have changed.

In the words of Cal Thomas: “Many old films are watchable today. Some are considered classics. I doubt most of today’s films will be worth watching in 50 years. They aren’t now.”

Image from rubinmuseum.org

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How Talk Radio Can Attract Millennials (4/4): Review

In this concluding post in my series on how talk radio can attract Millennials, I’m going to go over some stuff that came into my head that I didn’t tackle in the previous posts.

Some of these items are related to what I wrote previously, while others haven’t been fully addressed yet.

We’ll chiefly be talking about the product, the demographic, and influencer endorsements.

The Product

As I stated in the post on The Campaign, I’m just the marketing guy.

I have no real expertise on the subject of radio and am not remotely qualified to produce an actual show.

That said, I can make some intuitive suggestions that might be helpful to the distinguished radio executives who might want some input.

In the post on The Campaign, we talked about our imaginary program, The Mark Dogero Show.

I would suggest that the show use intro music that appeals to the demographic. But this in and of itself means almost nothing, as our particular demographic is known for its eclecticism. (See here for a full explanation.)

However, the obstacle is once again the way!

To appeal to our target demographic’s variety of preferences, simply recruit local independent bands to play a new intro song before every show.

There is no shortage of such bands who crave such publicity, and in keeping with our eclectic style, we could even tailor whatever song we pick to the main theme of each episode of the show.

The Demographic

In the post on The Campaign, we defined our target demographic thusly:

“For the purposes of this scenario, let’s say our target demographic is college-educated Seattle-area 18-34 year-olds with a Christian background who lean libertarian and who are most concerned about social issues such as poverty, homelessness, and abortion.”

However, I don’t think this is specific enough.

It focuses heavily on the demographic’s view of key issues, but it doesn’t add enough flavor to it. Most people aren’t totally consumed with the political process, and therefore don’t define themselves by their political affiliation.

The solution is to add in something to this mix that will make all the difference.

Enter gamers.

According to a 2015 report from the Entertainment Software Association, 61 percent of gamers identify as conservative.

The report also said that 61 percent of gamers aged 18-34 are in favor of budget cuts. 42 percent are in favor of school choice and 40 percent support the use of military force in foreign policy.

Therefore, the logical step would be to rewrite our target demographic as college-educated Seattle-area 18-34 year-old gamers with a Christian background who lean libertarian who are most concerned about social issues such as poverty, homelessness, and abortion.

Everybody needs a hobby.

Influencer Endorsements

In the post on The Campaign, I mentioned that it might be tricky recruiting “influencers” who have a hold on our target demographic to be on the show because of its political nature.

My solution was to invite potentially hostile guests to be on the show and then have “Mark Dogero” use it as an opportunity to show off his policy smarts.

While this could be done occasionally, I have since rethought this strategy.

Since our target demographic leans libertarian and conservative anyway, especially when we factor in “the gamer vote,” I believe it would be more prudent to simply invite a wide variety of libertarian or conservative guests.

We don’t want to identify them as “Republican.” Rather, we would simply bill these guests as ideologues who stand for conservative or libertarian principles, totally separate from any particular political institution.

The idea here is to appeal to the sense among this demographic that Republicans are bad, conservatives are suspect, and libertarians are trustworthy.

If we use the correct labels as bait, we can hook them on the substantive philosophy and discourse that lies behind the curtain. Remember, Millennials want to be on the side of the good guys.

A warning: We must also be careful not to alienate the hardcore conservatives in our target demographic’s ranks, who may be more numerous than we suspect.

Thankfully, we can use targeted ads to turn this wrinkle into an advantage. Gotta love those things.

Thus ends the series on how talk radio can attract Millennials. I dearly hope that some wise programming executive happens to read all this and say, “What a great idea! I should hire Levi Sweeney as a marketing consultant!”

Hope springs eternal.

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Monday Round-Up

Before I finish my series on Talk Radio, I thought I’d give a quick update about what I’ve been reading lately, some movies I’ve watched, and an idea I had for a startup.

Books

I recently finished reading two books related to Christianity and the church.

Art and the Bible by Francis Schaeffer is a short, slim read that concisely and brilliantly makes the case for involvement by Christians in creating works of art, whether they be the fine arts or more popular mediums like cinema or the novel.

The only flaw was the truly asinine introduction by Michael Card. You can read my full Goodreads review here.

The Prodigal Church by Jared C. Wilson details how the modern American Evangelical church has embraced secularism in a misguided effort to attract large congregations.

Wilson is sympathetic to the motives behind this shift, but seems indecisive of whether the “church-growth” or “attractional church” models of churching are totally flawed or mildly good. You can read my full Goodreads review here.

Movies

I watched The Sound of Music all the way through for the first time a few weeks ago. It’s a truly charming film, containing many elements which are completely foreign to the modern era, such as positive depictions of the church and large families. I’d even go so far as to say that Maria von Trapp ought to be hailed as a Feminist icon.

My full review on Letterboxd here.

I also finished watching the German film Downfall last night. It was a very difficult film to watch, similar to Twelve Years a Slave. Depicting the final days of Adolf Hitler during the Battle of Berlin, we see that one of history’s greatest monsters was in fact quite gentle and kind in his private life, even if he believed and acted on truly reprehensible ideas and ambitions.

I intend to review the film in more detail on Letterboxd shortly.

Ideas

I’ve recently been going through some of the books listed in The Personal MBA reading list.

As a Bible and theology enthusiast, I began to realize that something like that really needs to be provided for pastors, preachers, and ministers.

I began doing research on whether you really need to have a Seminary education to be a pastor. I found this article by Albert Mohler who stated that in the end, the answer is “no.”

Mohler opines that while having a formal education in the Bible’s original languages, church history, systematic theology, exegesis and homiletics would be a splendid thing for all preachers to have, the fact is that the cost of such an education is incredibly high.

The result is that seminary graduates tend to leave with tens of thousands of dollars in debt with no way of affording the meager salary a small church can offer them.

This gave me an idea: What if there was a resource website, similar to that of The Personal MBA, which provided a list of the 99 best books on Pastoring and related topics?

What if someone created a website or wrote a book detailing such knowledge, intended for use by lay ministers or preachers who can’t afford a formal seminary education?

I could call it, “DIY Seminary.”

Must investigate further.

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