tippy('#footnote_plugin_tooltip_1524_1_6', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_6').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); If, as Anthony Heilbut has noted, "gospel" is a vexingly "vague and inadequate" term for a wide and shifting range of sacred music within Anglo-European and African American Protestantism,7Anthony Heilbut, "Black Urban Hymnody," on Brighten the Corner Where You Are: Black and White Urban Hymnody (New World, 1978, NW-224). Mae is her 18-year-old daughter. Recording companies experienced similar contractions. [5] Jonathan Martin (b. 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. This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. . Key figures include Ira Sankey (the evangelist Dwight Moody's song leader), Homer Rodeheaver (Billy Sunday's music director), and George Beverly Shea (Billy Graham's most famous soloist). The Martins Wiki: Salary, Married, Wedding, Spouse, Family For the film starring Lee Evans, see The Martins (film)The Martins are a Christian music vocal trio composed of three siblings: Joyce Martin Sanders, Jonathan Martin, and Judy Martin Hess. . By leveraging anxieties about cultural authenticity and relevance roiling conservative evangelical and fundamentalist culture, Homecoming creates "a musical screen onto which people from a wide range of Christian cultural traditions within the American middle class can project their own religious concerns and spiritual aspirations. Roger Bennett played piano for the Cathedral Quartet for nearly twenty years, and throughout his career, he was introduced as a child prodigy at the keyboard from Strawberry, Arkansas. "62 Bethany Moreton, To Serve God and Wal-Mart (Cambridge: Harvard University Press, 2009), 5. tippy('#footnote_plugin_tooltip_1524_1_62', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_62').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The gestalt of Arkansas rusticity associated with The Martins serves to understand their sophisticated harmonies. Consequently, much of conservative Christian culture challenged secular narratives and norms. 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 Martin-Sanders photos, including production stills, premiere photos and other event photos, publicity photos, behind-the-scenes, and more. Mike Joyce was born February 12, 1941, in Detroit, MI, USA. Chapel Hill: University of North Carolina Press, 2011. Bill Gaither, Tallahassee, Florida, 2006. 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. DVD. For more on cultural-geographic conceptualizations of place, see John Agnew, The United States in the World Economy: A Regional Geography (London: Cambridge University Press, 1987), and Cresswell, Place. Although the male quartet continued to dominate southern gospel's self-image, the genre as a commercial enterprise became home for strains of more traditional white evangelical vernacular sacred musics, including explicitly pietistic bluegrass and country gospel. For more on southern gospel's shift within Christian entertainment from a "dominant" to a "residual" status, see Harrison, "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 Best of the Martins, 2011. 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. 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. Alexandria, Ind. Joyce Martin Sanders is one third of the award-winning gospel trio, The Martins. During the 1990s, The Martins rose to national and international success, showcasing their stunning and distinctive harmonies before a vast array of audiences . For faster navigation, this Iframe is preloading the Wikiwand page for The Martins. Heilbut notes that this vibrancy is driven by the rise of name-it-and-claim-it prosperity gospel in the black church, which is intensely homophobic and discourages its members from thinking in "broad sociological" categories in favor of a self-aggrandizing theology that links spiritual well-being with personal wealth (See "The Gospel Church and the Ruining of Gay Lives: An Interview with Anthony Heilbut," interview by Douglas Harrison, ReligionDispatches.com, July 30, 2013, accessed January 28, 2014, http://www.religiondispatches.org/books/culture/6221/the_gospel_church_and_the_ruining_of_gay_lives%3 A_an_interview_with_anthony_heilbut/; and Heilbut, The Fan Who Knew Too Much: Aretha Franklin, the Rise of the Soap Opera, Children of the Gospel Church, and Other Meditations [New York: Knopf, 2012]). Judy Martin Hess lives in Columbus, Georgia with her husband Jake Hess Jr. and their four children. While CCM is less fundamentalist than southern gospel, it participates in the long drift of conservative evangelicalism toward separating itself from the wider world of American life and culture. Through southern gospel, participants "develop the capacity to think and act as modern pluralists or situational relativists when necessary, while retaining their identification with antimodern religious traditions that notionally believe in timeless, unchanging absolutes. Mae is her 18-year-old daughter. They live in Nashville and have two children (Martin Sanders was married previously to Harrie McCullough, with whom he had a child). The noticeable absence of non-whites in these films, like the assumptions at work in Blevins's account and Gaither video, suggests to the degree to which whiteness remains largely unelucidated as a structuring category of identity, ideology, and religious belief in southern gospel. 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. This model "avoided conventional church approaches, using . Stowe, David. Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. His book Then Sings My Soul: The Culture of Southern Gospel Music was published by the University of Illinois Press in 2012. She tells Bill, "you have to hear these kids sing." Is Joyce Martin. The Martins's music signals that what makes this trio a southern gospel group is its commitment to a worldview and way of life that is place-based, class-bound, and consistent with values and assumptions that prevail in white, fundamentalist evangelicalism. tippy('#footnote_plugin_tooltip_1524_1_9', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_9').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); My own research has been the first to document at length how, throughout much of the twentieth century, the music's unsavory history of explicit racism, affiliation with supremacist ideas and politicians, and its largely unreconciled relationship to this past echo jarringly in any use of the term "southern gospel." Los Angeles, CA: Roadside Attractions, 2010. Joyce Martin McCollough . His interview enacts a modern gospel version of the venerable Arkansas Traveler colloquy in which a high-born southerner (the Traveler) engages an Arkansas Squatter in a dialogue about the differences of class and geography.60Bill Clinton's presidential campaign used the Traveler name and image as a way to strengthen his populist appeal running against a Washington insider. .52The Martins, interview by J. Actress. "Southern" gospel has its own difficulties, not least the fact that not all gospel from, of, or appealing to people in the South is a white enterprise. This essay is interested in how the imagining of a place shapes and is shaped by understandings of vernacular sacred music and the shifting identities this music contains. Researched in the 1990s and published in 2002, Close Harmony traces the music's development from the nineteenth century. The overwhelming majority of fans and professionals in contemporary southern gospel are white Christians who are "culturally southern, socially conservative, and Anglo-American. Interested in submitting your work to Southern Spaces. Teaching, learning, and singing gospel to fashion a meaningful identity shares in the reconstitutive ambitions of the New South movement more generally.29For a cogent analysis of how shape-note gospel from the South mediated cultural conflicts and status instabilities of white, southern farmers, see Gavin James Campbell, "'Old Can Be Used Instead of New': Shape Note Singing and the Crisis of Modernity in the South, 18801920," Journal of American Folklore 110, no. The southern gospel tradition carries on primarily through the cultivation of a musical sensibility connected to an underlying set of cultural affiliations. 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. 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. Comparatively little has been published about The Martins's biography beyond birth, marriages, and professional accomplishments.41The 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. In addition to being the vehicle through which The Martins received fame, Homecoming marked an epochal shift in the reception and self-concept of southern gospel. The conversation encourages audiences to understand The Martins's music as a cultural practice connected to the Arkansas backcountry. And I've never been more sure of the path I've chosen." These bonds seem heavily predicated on shared assumptions that performers' professional legitimacy and artistic authenticity arise from a God-given prodigiousness untainted by the artifice of formal education or the contrivance of worldliness, which in southern gospel culture is associated with urban(e) or cosmopolitan ways of life. Joyce Martin was married to Alton G. Martin on October 1, 1983 in Rockwall County, Texas. May 3, 1971) lives in Columbus, Georgia with her husband Jake Hess Jr. and their four children. "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. Joyce Martin Sanders Overview Tracks Albums Photos Similar Artists Events Biography More Biography We don't have a wiki for this artist. Is Joyce Martin gospel singer - The Martins a Sanders or a McCollough? Winter's Bone, set in the rural Ozarks, vividly portrays the psychosocial costs of geographical isolation, lack of economic and educational opportunity, and sense of cultural confinement associated with life in the deep woods of Ozark hill country. 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. There is also the sense that The Martins's appeal reaches across the spectrum of religious beliefs and musical tastes that form the conservative end of the white Christian music entertainment market. From these materials emerge patterns of description, allusive gestures, cultural maneuvers, and possibilities for self-concept through which southern gospel identities are constructed and reimagined. Sunday services to reach the unchurched through polished music, multimedia, and sermons referencing popular culture and other familiar themes. Such an assumption would not be wholly unjustified.9The conflation of "southern" and "white" to describe this music circulates widely among scholars and non-specialists, but has only been tentatively stated in scholarship. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. Sometimes this includes black gospel, particularly the performers who take inspiration from the mainstream music industry (pop, rock, R&B, and hip-hop). Joyce: We went to Indianapolis [in 1992] with Michael English and Mark Lowry [of the Gaither Vocal Band and the Gaithers' inner circle]. Gaither's remark associates a universality to The Martins, who are legitimated by the origins their music is purported to transcend. What is the birth name of Marty Joyce? 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_54', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_54').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); connecting their identities, the group's history, and their Arkansas roots with the force of southern gospel music. Rather, I aim to map a specific hot spot within the psychosocial terrain of contemporary professional southern gospel as an instance of a broader phenomenon that could be explored in US southern and rural imaginaries. Most fundamentalists and many conservative evangelicals believe this return will be presaged by certain historical events, including cataclysmic conflict between Arabs and Jews in the Holy Land, the rise of Anti-Christ, and the emergence of a one-world order. Certainly there are southern and rural imaginaries writ large and available for scholarly scrutiny. The videos still air regularly on many local-access religious television channels, but sales today are largely driven through merchandizing at concerts, the Gaither Homecoming Magazine, syndicated radio shows on terrestrial and satellite radio, and not least of all through the Gaither online store. See also Other Works | Publicity Listings | Official Sites View agent, publicist, legal and company contact details on IMDbPro Getting Started | Contributor Zone Contribute to This Page Edit page Personal Details The Martins's performance of pious authenticity plays out in public in ways that take common celebrity narratives (the underdog or, as in the story below, the innocent) and recodes them within the logic of the Arkansas imaginary. 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. He was very busy and was getting ready for the next day's video. Bethany Moreton, To Serve God and Wal-Mart (Cambridge: Harvard University Press, 2009), 5. 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). 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. Not that "southern gospel" never made an appearance before the 1970s and 1980s. Religion Dispatches. Grove Music Online. Anthony Heilbut, "Black Urban Hymnody," on, Stephen Shearon, Harry Eskew, James C. Downey, and Robert Darden, "Gospel Music,". Finally, I'm grateful to The Martins and so many other southern gospel performers for making music that has held me in thrall and demanded to be taken seriously. For the past forty years or so, "southern gospel" has named a professional musical style associated with white fundamentalists and evangelicals in the US South.1For an extended discussion of "southern gospel" see, Douglas Harrison, Then Sings My Soul: The Culture of Southern Gospel Music (UrbanaChampaign: University of Illinois Press, 2012), 25, 80109. As one of three sibling members of the gospel group The Martins, she travels all over the place getting to do the thing she loves. North American gospel history and the cultural realities of contemporary southern gospel defy further generalization. Judy Martin is married to Jake Hess, Jr., the son of the legendary southern gospel lead singer Jake Hess. He just finished getting a tech degree in musical engineering. My use of "evangelical" follows George Marsden's, denoting Protestant thought and action shaped by Reformed theology. My sources include celebrity interviews of performers, DVD bonus features, album covers, and online press coverage. "39Jennifer Lena, Banding Together: How Communities Create Genres in Popular Music (Princeton: Princeton University Press, 2012), 2. tippy('#footnote_plugin_tooltip_1524_1_39', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_39').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); My approach attends to southern gospel as a musical style,40Lower compositional sophistication, more uneven production quality, and rougher cuts by commercial standardsall defining features of the southern gospel sound of the past twenty yearscan function for many evangelicals and fundamentalists as indices of a more real music and catalysts for a more authentic experience of the religious self. Key figures include. For discussions of the Traveler trope see "The Arkansas Traveler" entries in the online resources of the Historic Arkansas Museum, accessed October 1, 2013, http://www.arkansas-traveler.org, and on Arkansas.com, Arkansas Department of Parks and Tourism. When Gaither says, "You can take them anywhere," he seems to mean that in his role as producer and impresario he can rely on The Martins to stand and deliver whatever the show demands. Home; Labels; News; Engage. "8Stephen Shearon, Harry Eskew, James C. Downey, and Robert Darden, "Gospel Music," Grove Music Online, July 10, 2012, accessed October 15, 2013,http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224388. Copyright 2023 TBN - Trinity Broadcasting Network. And I've never been more sure of the path I've chosen." Trey is 20 and lives and works in Nashville only a few miles from his mom. Edit. 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. It's a new day for Southern Gospel. 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. 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. Harrison, Douglas. Fayetteville: University of Arkansas Press, 2009. "13Harrison, Then Sings My Soul, 103. tippy('#footnote_plugin_tooltip_1524_1_13', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_13').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Consequently, in what follows, "southern gospel" stands as shorthand for professional, commercialized white gospel from, or culturally aligned with, the evangelical fundamentalist South.
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