The conflation of "southern" and "white" to describe this music circulates widely among scholars and non-specialists, but has only been tentatively stated in scholarship. Joyce Martin McCollough . 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. 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. 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. More deeply, southern gospel functioned as a figurative space of cultural retrenchment against the music's loss of reputational capital within white evangelical popular culture.24For more on southern gospel's shift within Christian entertainment from a "dominant" to a "residual" status, see Harrison, Then Sings My Soul, 103109. Cine d'aventuras - Biquipedia, a enciclopedia libre For more on links between country and gospel, see Douglas Harrison, "Grace to Catch a Falling Soul: Country, Gospel, and Evangelical Populism in the Music of Dottie Rambo," in Walking the Line: Country Music Lyricists and the American Culture, edited by Roxanne Harde and Thomas Alan Holmes (Lanham: Rowman and Littlefield, 2013), 7796. 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. They live in Nashville and have two children (Martin Sanders was married previously to Harrie McCullough, with whom he had a child). It was Mark, Mike, of course the three Martins, Gloria and two or three other people. tippy('#footnote_plugin_tooltip_1524_1_29', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_29').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); But the development of professional gospel resonates most powerfully as part of white fundamentalist evangelical withdrawal from mainstream secular society over the long twentieth century. The Best of the Martins. She has two children. "Northern urban" gospel is the historical forerunner of today's Contemporary Christian Music (CCM). Though the publication of "He Leadeth Me" predates the popularization of the term of "gospel hymns" (which is most commonly sourced to Philip P. Bliss's, While 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. (Jennifer Jones, "Natalie Grant Responds after Leaving Grammys Early," Christianitytoday.com, January 29, 2014, accessed January 31, 2014, http://www.christiantoday.com/article/mass.wedding.at. Since at least the late 1970s, southern gospel's fortunes, measured by market standards, have trended downward, a decline attributed to broader trends within commercial Christian music entertainment and more broadly within fundamentalist and evangelical Protestantism.As the fortunes of southern gospel have declined, those of Contemporary Christian Music (CCM) have risen. 33 Southern gospel product sales Interestingly, Willow Creek leaders published a study conducted by the church in 2008 that indicated the seeker-sensitive model did not reliably lead to consistently reported levels of spiritual development or maturity among those who were attracted to the church by its seeker sensitivity (Greg Hawkins and Cally Parkinson, Reveal: Where Are You? Dayton, The Theological Roots of Pentecostalism (Grand Rapids: Francis Asbury Press, 1987); and Dodrill, "Evangelicalism Examined . 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. The songs are structurally derivative and lyrically conventional, but this music is interesting for what it suggests about The Martins's cultural temperament and expressive style, best described in these early years as one of rustic post-teen southern evangelical angsty spiritual wonderment. tippy('#footnote_plugin_tooltip_1524_1_63', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_63').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In considering The Martins's arrival "From Arkansas With Love," I have demonstrated how a network of religious, geographic, and cultural associations merge in the construction of imagined place. Southern gospel has found itself in alliances with black gospel traditions and the black church. She is divorced and has been for some time, but the date of her divorce is not listed. The Martins appear to possess an unadorned, God-given popularity that abides in their embodiment of white tradition and progress. Nominated in the "Gospel/Contemporary Christian Music" category, CCM soloist Natalie Grant attended the ceremony, only to leave before the show ended. Mae is her 18-year-old daughter. Joyce Martin Sanders lives in Nashville, Tennessee with her husband Paul, and she has two children. Joyce Martin Sanders Overview Tracks Albums Photos Similar Artists Events Biography More Biography We don't have a wiki for this artist. Why did Joyce Martin divorced? - Answers 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. 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? She has two children. See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. Arkansas has long been defined by poverty and isolation born of the cashless frontier societies of the state's uplands and the agrarian barter economies that prevailed in the lowlands.55Morris Arnold, "The Significance of the Arkansas Colonial Experience," Arkansas Historical Quarterly 51 (Spring 1992): 7880. tippy('#footnote_plugin_tooltip_1524_1_37', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_37').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); On the surface, these indicators suggest the clear shift in tastes within Christian music entertainment away from southern gospel's preference for close harmony sung in the ensemble. Key figures include. "Mom and Dad both instilled that in us that if you had a talent to sing, you should get up. Donations to Trinity Broadcasting Network are Tax Deductible to the extent permitted by law. This period was followed by the mobilization of right-leaning Protestants (and many conservative Catholics) into a political base for the Republican Party in the Reagan Era and a power base for evangelical leaders (including Jerry Falwell's Moral Majority, Pat Robertson'sand later Ralph Reed'sChristian Coalition, and, more recently, Donald Wildmon's American Family Association, and Tony Perkins's Family Research Council); and the not-entirely unrelated realignments within conservative and fundamentalist Protestantism wrought by the rise of non-denominational evangelical mega-churches and the Tea Party. See "Music Album Sales in the United States in 2012, by Genre,"Statistica.com, 2012, accessed January 28, 2014, http://www.statista.com/statistics/188910/us-music-album-sales-by-genre-2010/; Natalie Gillespie, "Gospel Music Sees Record-Setting RIAA Numbers," CCM Update, March 29, 1999; and Lindy Warren, "Top 15 Impact-Makers in 1997," CCM Update, December 22, 1997. Just as significantly, while From Kentucky With Love, or From the Smoky Mountains With Love, would probably be received with the same warmth and enthusiasm that greeted The Martins's music, the precise structure of a Kentucky imaginary or a Smoky Mountain imaginary would be located in the meaning-making of those places. However, in light of the subsequent collapse of most of the southern gospel industry not affiliated with the Homecoming Series, Close Harmony offers an overly optimistic view of southern gospel prospects in the twenty-first century (283287). A notable elision in this storyand it points to more general (mis)understandings about the Gaithers's personaeis the role of Gloria Gaither. Mae is her 18-year-old daughter. My use of "evangelical" follows George Marsden's, denoting Protestant thought and action shaped by Reformed theology. 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. Mike Joyce was born February 12, 1941, in Detroit, MI, USA. tippy('#footnote_plugin_tooltip_1524_1_41', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_41').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This dearth conforms to a tendency in southern gospel to celebrate those performers who seem to embody orthodox cultural values, religious beliefs, and pietistic practices, as opposed to those who provide rich and particularized details about their personal lives. For faster navigation, this Iframe is preloading the Wikiwand page for The Martins. The Best of the Martins, 2011. Beyond the style it captures, this clip points to the structures of thought and feeling that underlie The Martins's appeal and southern gospel music more generally. 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. See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music,". "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." Bill Gaither, Tallahassee, Florida, 2006. His book Then Sings My Soul: The Culture of Southern Gospel Music was published by the University of Illinois Press in 2012. The Martins - Personal Lives - LiquiSearch The siblings all lived most of their formative years in Arkansas, where they learned to sing and with which their comments in public indicate a strong identification. The Martins - American Profile A journal about real and imagined spaces and places of the US South and their global connections. Southern gospel denotes "an overlapping, commercialized national network of musical products, professionals, and their fans, commonly referred to as 'the industry'" (Harrison, Then Sings My Soul, 45). 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. Joyce Martin Sanders Lyrics, Songs, and Albums | Genius The. 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. May 19, 1970) lives in Clive, Iowa with his wife Dara Makohoniuk-Martin and their youngest three of six children, including twin boys, one of which has cerebral palsy. Music publishers of seven-shape notational gospel music and the convention singing tradition to which these publishers catered were familiar with the term for much of the twentieth century. The Martins recorded five independent albums prior to their breakout. 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"). Joyce Martin-Sanders is known for Gaither's Pond (1997). 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. 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. tippy('#footnote_plugin_tooltip_1524_1_40', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_40').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); while emphasizing cultural texts and discourses. 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. From Arkansas With Love. However, a 1993 appearance on the Gaither Homecoming series helped transform The Martins from an avocational regional trio into a professional act with a national following in fundamentalist Christian entertainment. With respect to The Martins, the same music on an album titled From Hyde Park With Love, or even From Hilton Head With Love, would likely not be considered southern gospel by most of its intended audiences. Trey is 20 and lives and works in Nashville only a few miles from his mom. Evoking Arkansas as a state encompassed by the southern gospel tradition signals my interest in exploring ways that large-scale changes in conceptions of religion, geographical identity, and social status play out and are revoiced in subcultural and local registers. The Martins Biography by John Bush A brother-sisters trio of a cappella gospel harmonizers, the Martins consist of Joyce Martin McCollough, Jonathan Martin and Judy Martin Hess. Grammy.com, July 3, 2013, accessed October 1, 2013, http://www.grammy.com/blogs/andy-griffith-dies. Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. "Southern gospel" remains the preferred term in the study of white gospel music of the South. Los Angeles, CA: Roadside Attractions, 2010. See Robert K. Whalen, "Premillennialism,". 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. What started in Hawaii more than a decade earlier ends in Studio A in Andersonville, Indiana, with Gaither presiding as witness to The Martins's musical authenticityby sea, in the studio, (notionally) on command, at home among southern gospel's Homecoming Friends or in faraway lands. "I've many thoughts about the show tonight," she tweeted, "most of which are probably better left inside my head. Joyce: We went to Indianapolis [in 1992] with Michael English and Mark Lowry [of the Gaither Vocal Band and the Gaithers' inner circle]. tippy('#footnote_plugin_tooltip_1524_1_30', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_30').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Indeed, the style of four-part male harmony for which professional southern gospel is most well-known has been historically linked to the practice of piety and lived religious devotion in the premillennial dispensationalist tradition.31Premillennial dispensationalism has been the dominant theological paradigm for fundamentalist evangelicals in the United States since the mid-nineteenth century.