After that we did a few Gaither dates, then [we] were signed to Spring Hill Records [a recording company in which Gaither Music had substantial holdings at the time]. She has two children. The values implied by customs and conditions are elemental in stereotypes of "Arkansas" as hillbilly territory. 1 (1997): 7582; and Harrison, "Grace To Catch a Falling Soul." A journal about real and imagined spaces and places of the US South and their global connections. joyce martin mccullough biography - Stmatthewsbc.org tippy('#footnote_plugin_tooltip_1524_1_3', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_3').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The seven-shape notational system (and culture) of songwriting, singing, and music education that took root in the southern uplands in the late 1800s has heavily influenced the music of southern gospel and its values.4Here, following Loyal Jones, "Southern Uplands" designates the regions and people of trans-Appalachia and extends eastward into the Piedmont and westward to the Ozarks. He was very busy and was getting ready for the next day's video. A notable elision in this storyand it points to more general (mis)understandings about the Gaithers's personaeis the role of Gloria Gaither. See Robert K. Whalen, "Premillennialism,". In its current, commercial form, this tradition "is most powerfully defined by common historical, economic, social, and cultural connections among professionals and fans to a constellation of corporate and professional organizations that anchor the creation, consumption, and commemoration of the music," Gaither Homecoming among them. My focus on professional southern gospel music is distinct from the avocational or amateur tradition, known as convention singing. The trio performed an a capella arrangement of the 1862 gospel hymn, "He Leadeth Me," a standby in the culture of Homecoming's fan base.44"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." The Martins Official Website Joyce Martin Sanders | Christian Music Archive In the early 1990s, two sisters and their brother, Judy, Joyce, and Jonathan, then in their late teens and performing as The Martins, began appearing with the Gaither Homecoming Friends. For an analysis of the cultural and religious tensions between southern gospel traditionalists, who founded the GMA, and the CCM fans and performers whose tastes have dominated the GMA for nearly forty years, see Harrison, Then Sings My Soul, 9196. Explored through the Martins, how do non-musical categories of knowledge, patterns of affiliation, and cultural valuessuch as sense of placehelp clarify, sustain, or revalue religious music traditions, identities, subject positions, and the ideological commitments those traditions encompass? Who is martin p joyce? "Andy Griffith Dies." At face value, much of The Martins's stylistically hybridized and contemporary music would seem to commit many of the very musical sins that southern gospel culture has long cited as justification for disparaging most other major forms of Christian music entertainment (except, perhaps, bluegrass).47The history and role of bluegrass, old-time, and mountain musics, particularly songs with pietistic lyrics that have found a home in southern gospel, is understudied. But I'll say this: I've never been more honored to sing about Jesus and for Jesus. Take, for instance, Joyce and Judy's 2001 telling of how The Martins scored the chance to sing "He Leadeth Me" on the Homecoming stage. Joyce Martin-Sanders photos, including production stills, premiere photos and other event photos, publicity photos, behind-the-scenes, and more. tippy('#footnote_plugin_tooltip_1524_1_27', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_27').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true });And it is that, to a certain extent. His book Then Sings My Soul: The Culture of Southern Gospel Music was published by the University of Illinois Press in 2012. From the start, the case of The Martins is linked to the state of their birth. Clearly this story of The Martins's beginning as Homecoming Friends is important to them because they are depicted in the narrative as so natively talented that Bill Gaither purportedly allows them to perform without ever having himself auditioned them. The Martins - Personal Lives - LiquiSearch The basic details provided here derive largely from The Martins's disclosures on stage, press coverage, conservations I have had with industry professionals, and my experience. tippy('#footnote_plugin_tooltip_1524_1_5', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_5').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Among these people, "the term southern gospel," as I have noted elsewhere, "was not used to describe the music [in its professional, commercialized form] until the 1970s and did not gain widespread use until the 1980s. This model "avoided conventional church approaches, using . 'Cause it's worth every . 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. While growing up poor in rural Arkansas, the three often practiced singing together, and released their self-titled debut album in 1994 on Chapel Records. Judy Martin Hess (b. tippy('#footnote_plugin_tooltip_1524_1_1', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_1').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In its modern, commercial form, southern gospel emerges "from a broad-based, post-Civil War recreational culture built around singing schools and community (or 'convention') singings popular among poor and working-class whites throughout the South and Midwest. Today it designates right-leaning North American Protestantism defined in large part by its opposition to cultural, theological, and political liberalism. See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music,". Joyce Martin-Sanders - Biography - IMDb More conventional black gospel singers (such as Angie Primm and the late Jessy Dixon, both of whom have appeared on Gaither Homecoming videos) and black gospel choirs are generally held in high regard in southern gospel. Goff, Close Harmony, 264282, traces these and other important bluegrass groups in southern history. They have won several Dove Awards (Christian music's Grammy) in the southern gospel, inspirational, and Christian country categories, and received a Grammy nomination in the Best Southern, Country, or Bluegrass Gospel Album category. Just as I Am: 30 Favorite Old Time Hymns, was nominated for a 1998 Grammy in the same category. Everyone sits on risers around a piano and sings: old songs, new songs, gospel songs, hymns, inspirational ballads, spiritual anthems, praise and worship choruses, even a few secular tunes now and then (Bill Withers's "Lean on Me," or an arrangement of Barry Manilow's "One Voice"). 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. The Martins - Infogalactic: the planetary knowledge core See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music," Studies in Popular Culture 20, no. Oxford: Oxford University Press, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224388. Yet it is a mistake to treat southern gospel as wholly synonymous with white gospel. November 13, 2001, accessed September 23, 2013, http://www.crosswalk.com/1108828/. "Northern urban" gospel is the historical forerunner of today's Contemporary Christian Music (CCM). Religion Dispatches. tippy('#footnote_plugin_tooltip_1524_1_47', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_47').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Yet The Martins remain beloved members of the Homecoming cast and reputational avatars of gospel traditionalism carried on in the music of a new generation of songbirds. 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. 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. From Arkansas with Love: Evangelical Crisis Management and Southern Within southern gospel, perhaps the most polarizing figure thought to embody this accommodationist dynamic is Amy Grant, who began as a CCM ingnue ("Father's Eyes," "El Shaddai" and "Angels") and subsequently landed crossover hits in American pop during the 1980s (her debut outside of CCM came in a duet with Peter Cetera, "The Next Time I Fall In Love"). Any Arkansas setting becomes synonymous with the Ozark hillbilly. It emphasizes the unfolding of God's dealings with humanity in phases or eras ("dispensations"). Such work is as welcome as it is needed. Sharing her life with transparency is her passion. 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. Certainly there are southern and rural imaginaries writ large and available for scholarly scrutiny. 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. Jonathan Martin (b. Joyce Martin Sanders Weight Loss - HealthMd Search Joyce Martin Sanders is one third of the award-winning gospel trio, The Martins. tippy('#footnote_plugin_tooltip_1524_1_19', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_19').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The emergence of The Martins as a national touring group relied strategically on their Arkansas roots. Directed by Debra Granik. tippy('#footnote_plugin_tooltip_1524_1_43', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_43').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Martins first appeared in 1993 on an early Gaither Homecoming video, Precious Memories. tippy('#footnote_plugin_tooltip_1524_1_53', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_53').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); If The Martins's Arkansas origins are not revealed in this story, their roots surface in a 2011 Gaither Homecoming video, The Best of The Martins, a collection of performances over the preceding nineteen years. Michael actually took us there and Mark and Mike tried to figure out a way for Bill [Gaither] to hear us sing. The Martins recorded five independent albums prior to their breakout. Their continuing appeal has involved a narrative about their Arkansas identity as proof of authenticity as individual performers and for the genre of southern gospel. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. John F. Mooney, review of The Best of The Martins, directed by Bill Gaither, Amazon.com, July 29, 2013, accessed October 15, 2013, http://www.amazon.com/review/R399G8O3TFUQHH/. Mae is her 18-year-old daughter. tippy('#footnote_plugin_tooltip_1524_1_28', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_28').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Professional southern gospel emerged from a Reconstruction-era subculture of poor and working-class white southerners. These two tropesinnocence and prodigious talentinteracting with the publically retold stories of their backcountry upbringing, suggest an authenticity that speaks across generations, professional accomplishment, and even the cynicizing forces of the entertainment business.53A notable elision in this storyand it points to more general (mis)understandings about the Gaithers's personaeis the role of Gloria Gaither. "2Ibid., 2. tippy('#footnote_plugin_tooltip_1524_1_2', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_2').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This tradition is distinctive for its cultivation of close harmony sung in ensemblestraditionally male quartets, a formation that dominated the commercial sector of southern gospel through roughly the first half of the twentieth century, and more recently, mixed-gender foursomes and trios, often comprising family members.3Today's professional southern gospel includes many family and mixed gender foursomes and trios, configurations that were and are common in the singing convention world that dominated southern gospel in the late nineteenth century and early twentieth century. And I've never been more sure of the path I've chosen." Mud, set in the Arkansas Mississippi River Delta, powerfully evokes the fluidity of class, ethnicity, and geography as defining features of identity in a region where the flux of life is so heavily dependent on, shaped by, and intertwined with the flow of the river. Premillenialists espouse a literalist interpretation of scripture that foresees the imminent return of Christ to earth. From Bible Belt to Sunbelt: Plain-Folk Religion, Grassroots Politics, and the Rise of Evangelical Conservatism. The. Consequently, much of conservative Christian culture challenged secular narratives and norms. It emphasizes the unfolding of God's dealings with humanity in phases or eras ("dispensations"). Researched in the 1990s and published in 2002, Close Harmony traces the music's development from the nineteenth century. Navigate. My reading sees race, racism, and a racialized concept of self and other in southern gospel as an important, not always dominant, factor in the emergence of "southern gospel" and the cultural function of the music. Jennifer Lena has exhorted scholars of music culture to deemphasize sounds and instead examine "social structures and collective actions. 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. To Serve God and Wal-Mart. "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." "17On "lived religion," see David D. Hall, Lived Religion: Toward a History of Practice (Princeton: Princeton University Press, 1997), 321.
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