So we sang next day on the video [Precious Memories], "He Leadeth Me" . At one point in the interview with The Martins, Gaither describes their music as "sophisticated," and Judy Martin Hess jokes that Gaither was not saying The Martins themselves are sophisticated, only their music. "Mom and Dad both instilled that in us that if you had a talent to sing, you should get up. Fortunately, new and forthcoming work in the study of southern gospel is beginning to scrutinize Gloria Gaither's role as a Christian entrepreneur, thinker, and writer much more closely. tippy('#footnote_plugin_tooltip_1524_1_58', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_58').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Blevins links the emergence of the Ozark image to the cultivation of cotton, which transformed the lowlands and delta of Arkansas's east, middle, and south into vast mechanized agricultural zones. tippy('#footnote_plugin_tooltip_1524_1_21', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_21').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The rise of CCM participated in the transformation of conservative and fundamentalist Christian culture in the United States beginning in the 1970s and intensifying in the 1980s and 1990s. Joyce is married to Paul Sanders, a singer/songwriting musician, currently a member of the country band, Shenandoah where he plays bass and sings harmony. Michael actually took us there and Mark and Mike tried to figure out a way for Bill [Gaither] to hear us sing. The Best of the Martins. Premillenialists espouse a literalist interpretation of scripture that foresees the imminent return of Christ to earth. But I'll say this: I've never been more honored to sing about Jesus and for Jesus. The hottest acts in Christian music appropriated the musical conventions and performance styles of rock, pop, adult contemporary, heavy metal, and later, jazz, R&B, rap, hip-hop, and punk. Joyce Martin-Sanders. He just finished getting a tech degree in musical engineering. tippy('#footnote_plugin_tooltip_1524_1_60', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_60').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); What emerges in The Martins's interview echoes Anthony Harkins's observations about constructed hillbilly rusticity: "Middle-class white Americans [can] see these people [hillbillies] as a fascinating and exotic 'other' akin to Native Americans or Blacks, while at the same time sympathize with them as poorer and less modern versions of themselves. This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. The Martins's singing by the sea resonates with the disjunction of three "kids" from a cold-water backwoods shack harmonizing in an exotic locale with an international gospel touring company. Fayetteville: University of Arkansas Press, 2009. "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." The Best of the Martins, 2011. Actress. At the same time, the group evinces no interest in stylistic purity or generic fealty to a specific tradition, even as the album titleincluding the florid and flowing cover typographyframes their music as a filiopietistic missive from the old home place that is a staple of the southern gospel imagination.46While David Fillingim argues that "home" as a concept in southern gospel allows its participants to imagine and explore a flight from material hardship and social marginalization in this world (in favor of an eternal home of magnificence in heaven), my research suggests that in southern gospel "home" serves to give concrete, graspable shape to abstract theological concepts and spiritual experiences for ordinary Christians in the here and now. Its primitive construction and the faded color photo intensify the contrast between rustic lifeways and the warmly lit, generously appointed, and contemporarily decorated set in which The Martins appear comfortable, coiffed, and professionally poised. Joyce Martin Sanders (b. January 6, 1968) lives in Nashville, Tennessee with her husband Paul, and she has two children. Yet it is a mistake to treat southern gospel as wholly synonymous with white gospel. The southern gospel tradition carries on primarily through the cultivation of a musical sensibility connected to an underlying set of cultural affiliations. Kevin Kehrberg generously included me on a panel he organized on shape-note gospel and its half lives in Arkansas and beyond, and Meredith Doster encouraged me to expand the paper into a submission for Southern Spaces. The church's leadership believed the approach would attract people searching for answers, bring them into a relationship with Christ, and then capitalize on their contagious fervor to evangelize others" (Matt Branaugh, "Willow Creek's 'Huge Shift,'" ChristianityToday.com, May 15, 2008, accessed May 15, 2014, http://www.christianitytoday.com/ct/2008/june/5.13.html). From Arkansas With Love. Oxford: Oxford University Press, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224388. The most prominent, From Arkansas With Love, is full of original material, almost all written by Joyce Martin. Siblings, Joyce, Jonathan and Judy, collectively known as The Martins, have enjoyed count- less radio hits and performances at concert halls, arenas, auditoriums and churches worldwide. Menu. Joyce Martin-Sanders - IMDb But professional southern gospel has always been strongly grounded its history and identity in the male quartet. But so too are there imaginaries rooted in the history, mores, and culture of more particular geographies requiring study to understand their cultural formations and uses. tippy('#footnote_plugin_tooltip_1524_1_46', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_46').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The paradox of The Martins's Homecoming reputation as masters of classic gospel hymnody and their much wider stylistic reach and renown before and beyond the Homecoming stage suggests that there is more to their appeal to southern gospel audiences than can be accounted for by their music. Joyce Martin Sanders Lyrics, Songs, and Albums | Genius The Gaither interview invites viewers to imagine them as representing a set of hill-country valuesa love of hunting, closeness to nature, self-sufficiency, and cultural isolationthat Blevins argues have over the course of two centuries come to stand in for all (white) Arkansans.58The cultural difference between the Ozark/Ouachita and Mississippi Delta regions of Arkansas is aptly captured by/in two recent films. Dochuk, Darren. With the dissolution of the "Christian-cultural synthesis," fundamentalists, Noll concludes, "made a virtue of their alienation. From Arkansas With Love demonstrates southern gospel's influence. But professional southern gospel has always been strongly grounded its history and identity in the male quartet. Sometimes this includes, Sales of "Christian/Gospel" (which consists overwhelmingly of CCM and black gospel music, but also includes some southern gospel) reached a high point in 1998, totaling $836 million; in 2012, total sales in the same category were $24.2 million. The Martins - Personal Lives - LiquiSearch Marty Joyce's birth. Joyce Martin-Sanders - Biography - IMDb This essay is interested primarily with professional southern gospel, which descends from convention singing but has been distinct from it since the 1930s and 1940s. "61Anthony Harkins, Hillbilly: A Cultural History of an American Icon (New York: Oxford University Press, 2003), 7. tippy('#footnote_plugin_tooltip_1524_1_61', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_61').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Yet many of the white, conservative, and fundamentalist Christian consumers who are the target audience for this kind of Christian entertainment merchandise may well see something quite different. [5] Jonathan Martin (b. New York: W. W. Norton, 2011. "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." At the end of the nineteenth century and into the first three decades of the twentieth century, southern white gospel was dominated by convention singings that relied on the regular release of small octavo shape-note songbooks such as Crowning Day. Kim Hopper, Joyce Martin Sanders, Shane McConnell - YouTube For more on the rise and spread of southern gospel regionally and nationally, see James R. Goff Jr., Close Harmony: A History of Southern Gospel (Chapel HIll: University of North Carolina Press, 2001), 50109; Don Cusic, The Sound of Light: A History of Gospel Music (Madison: Popular Press, 1990), 153162; 171176. tippy('#footnote_plugin_tooltip_1524_1_49', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_49').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Even if The Andy Griffith Show had not made small, rural towns with earthy-sounding names synonymous with culturally unsophisticated, plainspoken provincialism,50Toward the end of his life, Andy Griffith recorded multiple southern gospel albums. Key figures include. The Martins's family narrative emphasizes anti-modern, unsophisticated, and materially modest childhoods, reinforced with a washed-out photo of the family's ramshackle cabin. The peer reviewers for Southern Spaces provided generous feedback that sharpened my thinking and refined the essay's argument considerably. This dynamic was captured in the 2014 Grammys. See Shearon, email to H-Southern Music Network mailing list, March 27, 2009. tippy('#footnote_plugin_tooltip_1524_1_12', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_12').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Of course, race is never far from any discussion of southern cultures, but it is also true that, in southern gospel, "overmuch emphasis on black-white polarities diminishes our understanding of cultural dynamics submerged beneath the surface of the music. Their mother, Wylma, who also is a gifted singer, served as booster and vocal coach for her three children. As Stephen Shearon has noted, both white and black gospel have "liked aspects of what the other was doing" ever since blacks and whites began singing sacred music near one another in North America. tippy('#footnote_plugin_tooltip_1524_1_50', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_50').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); southern gospel audiences have historically bonded with performers who come to fame through place-based narratives of discovery. tippy('#footnote_plugin_tooltip_1524_1_55', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_55').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); That legacy of subsistence and pervasive poverty persists. . The Martins's arrival on the national gospel scene participates in a familiar narrative of the country kids from Nowheresville, USA, making it big. 1 (1997): 7582; and Harrison, "Grace To Catch a Falling Soul." Trey is 20 and lives and works in Nashville only a few miles from his mom. See Harrison, Here, I am borrowing an image first popularized by Ray Stevens in ", Although CCM borrows heavily from mainstream secular music and performance styles, it does so to cultivate a canon of popular music that signifies Christianity's cultural relevance and the music's evangelistic savvy, while claiming a special status derived from CCM's pious commitments to conservative evangelical values and theological positions. The Martins Official Website Such work is as welcome as it is needed. Her reply offers quick-witted banter and comic reinforcement of the widespread assumptionabetted by the Gaither Music Companythat The Martins's southern gospel is an artistically and spiritually serious form of sacred song from people who are proud of their pietistic primitivism. "51Harrison, Then Sings My Soul, 5. tippy('#footnote_plugin_tooltip_1524_1_51', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_51').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As The Martins achieved fame and renown, they did so less because of what and how they sang, and more because of the way in which they have presented themselves and their music, and the way the Gaither Homecoming appropriated them as children of traditional gospel values at a moment when the viability of these values was perceived to be in question. Media releases promoting The Martins tout this diversity and eclecticism. Today it designates right-leaning North American Protestantism defined in large part by its opposition to cultural, theological, and political liberalism. 2014.grammys.criticized.as.political.stunt.to.push.gay.marriage.agenda.natalie.grant.responds.after.early.exit/35586.htm). tippy('#footnote_plugin_tooltip_1524_1_24', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_24').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); If much of CCM musically enciphers the aspirations of evangelicalism's dominant demographicsuburban, white, seeker-centered25"Seeker" sensitive models of congregational development and worship emerged in the 1970s and 1980s as part of the so-called church-growth movement, an organized effort to expand church membership and participation beyond traditional populations. Why did Joyce Martin of the Martins divorce? - Answers Gaither uses a repertoire of leading questions, strategic glosses of the singers' responses, folksy asides, and improvised amplifications to cultivate the image of The Martins as hill-country kids made good as gospel celebrities. Dayton, The Theological Roots of Pentecostalism (Grand Rapids: Francis Asbury Press, 1987); and Dodrill, "Evangelicalism Examined . Her story of brokenness and restoration encourages thousands on social media and from the stage. Judy Martin Hess lives in Columbus, Georgia with her husband Jake Hess Jr. and their four children. Recording companies experienced similar contractions. "Place" signifies a physical location, a material culture, a set of affiliated social relations, and more nebulous meanings associated with place as a concept. DVD. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. Durham: Duke University Press, 2003. Gaither Homecoming is a popular series built on themed video recordings, live concerts, and a host of related residuals-generating merchandise.42In the 1990s and early 2000s, Gaither Homecoming was popular on the now-defunct TNN cable channel. Cine d'aventuras. These were "places so divorced from the frenzied modernization of twentieth-century America" that they presented an easily caricatured type from which to generalize about the state as a whole.59Ibid., 516, 67. tippy('#footnote_plugin_tooltip_1524_1_59', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_59').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The conflation of The Martins's southern Arkansas bayou background with upstate Ozark hillbillyism emerges through the rhetoric of Bill Gaither as host and interlocutor. Joyce Martin Sanders - To See the King (Simeon's Song) 'Cause it's worth every . This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. In its resurgence, one hears from the gospel stage and in other acts of self-representation an intensification of emphasis on social resentment and cultural grievance. They live in Columbus, Georgia, and have five children. Natural Acts: Gender, Race, and Rusticity in Country Music. Judy Martin is married to Jake Hess, Jr., the son of the legendary southern gospel lead singer Jake Hess. "6Not that "southern gospel" never made an appearance before the 1970s and 1980s. Help; Joyce Martin-Sanders View source History The Arkansas imaginary has explanatory power for The Martins inasmuch as southern gospel music revoices and revalues the distortions and elisions of religious identity and cultural history central to the self-concept of many white fundamentalists and evangelicals. The videos still air regularly on many local-access religious television channels, but sales today are largely driven through merchandizing at concerts, the Gaither, "Gospel hymns" refer to a repertoire of American sacred songs that "first appeared in religious revivals during the 1850s, but which flourished with the urban revivalism that arose in the English-speaking world in the last third of the nineteenth century and continued into the twentieth century." When and where did baseball player Bob Joyce die? tippy('#footnote_plugin_tooltip_1524_1_20', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_20').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In its early decades, CCM's creative and cultural home was Nashville and many performers and professionals still work there. She is divorced and has been for some time, but the date of her divorce is not listed. May 3, 1971) lives in Columbus, Georgia with her husband Jake Hess Jr. and their four children. "Northern urban" gospel is the historical forerunner of today's Contemporary Christian Music (CCM). See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. This transformation left untouched only the Ozarks and Ouachita to the north and west. In 2013, the Doves moved back to Nashville, not to the Grand Ole Opry House but to the auditorium of a small religious college in the suburbs (Dave Paulson, "Dove Awards Fly Back to Nashville," USAToday.com, October 14, 2013, accessed January 28, 2014, http://www.usatoday.com/story/life/music/2013/10/14/dove-awards-nashville/2984327/). The. Kim Hopper, Joyce Martin Sanders, Shane McConnell - Official Video for "Love At Home (Live)", available now!Buy the full length DVD/CD 'Give The World A Smil. Marquee ensemble singers who once would have driven a group's fame and success today leave ensemble work and go solo to cut costs and stay viable.35Examples of changes and shifts within professional southern gospel since 1990 include the disbanding of numerous groups as well as the retirements and deaths of many of the mid-twentieth century singers who anchored the genre's golden era. tippy('#footnote_plugin_tooltip_1524_1_15', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_15').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Arkansas has undergone considerable stereotyping in the US imagination.16Brooks Blevins, Arkansas/Arkansaw: How Bear Hunters, Hillbillies, and Good Ole Boys Defined a State (Fayetteville: University of Arkansas Press, 2009), 4. tippy('#footnote_plugin_tooltip_1524_1_16', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_16').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); To speak of an "Arkansas imaginary" in this essay is to conceptualize Arkansas as a siteparticularly among poor and working-class white evangelicals and fundamentalistsfor the practice of religious life, or "lived religion. For faster navigation, this Iframe is preloading the Wikiwand page for The Martins. Nathaniel Crawford (Eugene: Wifp and Stock, 2011), 84. tippy('#footnote_plugin_tooltip_1524_1_22', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_22').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Southern gospel is overwhelmingly a product of evangelical fundamentalism. At first, this meant reclaiming (or sonically imitating) mainly rock 'n' roll, but ultimately it came to encompass almost any kind of popular mainstream American music heard on commercial radio, especially among teen and youth audiences. A fan's review of The Best of The Martins video on Amazon.com captures this dynamic succinctly: "I wouldn't consider the Martins southern gospel," the reviewer writes, "as their sound is more contemporary but they have a love of the Lord and that comes across strong in their work and their lives. Black gospel draws heavily on southern lifeways, many of its biggest stars have been from the South, and it has always found a good portion of its audience there. Although southern gospel is undoubtedly white, not all white gospel is southern, and not all gospel of the US South is white.11Following Harry Eskew's lead in the Grove Music entry for Gospel Music, Stephen Shearon uses "northern urban" gospel to designate commercial Christian music of and for primarily white Protestants that emerged in the late-nineteenth- and early-twentieth-century revivalism in urban areas outside the South. And I've never been more sure of the path I've chosen." tippy('#footnote_plugin_tooltip_1524_1_17', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_17').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Such an approach asks how southern gospel artists (most from beyond the state) use Arkansas's status as an imaginative resource to make sense of themselves and their music in late twentieth and early twenty-first century fundamentalist Protestantism.18I have in mind the period in American conservative and fundamentalist evangelicalism inaugurated by Richard Nixon's conjuring of the "silent majority" of cultural traditionalists who opposed the advance of liberal policies and social practices in the US. . Evangelicals and fundamentalists have never agreed on how best to live out the scriptural directive that Christians be in the world, but not of it.
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