Mae is her 18-year-old daughter. 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. That finally holds who You are. The Martins appear to possess an unadorned, God-given popularity that abides in their embodiment of white tradition and progress. Recording companies experienced similar contractions. For discussions of the Traveler trope see ". Pamela Fox has noted that "while academia has for the most part abandoned the authentic as any kind of meaningful analytic category," the vernacular music of southern, white, rustic life and experience has "tended to preserve it. Gaither Gospel Series DVD cover. See Heilbut, "Black Urban Hymnody." 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. "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." 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. Southern gospel performers often emulate black gospel styleincluding arrangements, vocal techniques, and use of choirs as backing voices. Randall Balmer, My Eyes of Have Seen the Glory: A Journey Into the Evangelical Subculture in America (New York: Oxford University Press, 2006); and Donald Dayton and Robert Johnson, eds., The Variety of Evangelicalism, (Knoxville: University of Tennessee Press, 2001). 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. Lord, let it be so, not just a dream. 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. The Martins grew up in Northeast Louisiana, where their parents encouraged them to make a joyful noise. 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. 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. Trey is 20 and lives and works in Nashville only a few miles from his mom. "63Emphasis added. CCM is a broad category built around religious songs that, to the uninitiated, can sound virtually indistinguishable from a cross-section of mainstream American adult contemporary and Top 40.20Within southern gospel, "CCM" designates nearly all other forms of commercial Christian music deemed insufficiently pious or overly commercialized (marketed in ways different from southern gospel). Dionne Dismuke, Joyce Martin Sanders, Judy Martin Hess, TaRanda Greene - Official Video for 'I Stand Amazed (Live)', available now!Buy the full length DVD/CD. After Grant's divorce from Gary Chapman, her symbolic function in southern gospel expanded to include the corrupting effect of musical compromises on personal morality and the heternormative family.Southern gospel's disdain of CCM can come off as a kind of "Sister Bertha Better Than You" self-righteousness.27Here, I am borrowing an image first popularized by Ray Stevens in "Mississippi Squirrel Revival," on He Thinks He's Ray Stevens (Universal, 1987, MCAC-5517). Absence of biographical detail about The Martins clears space for the Arkansas imaginary to operate. In the final decades of the twentieth century, these disagreements opened up a fault line between southern gospel and CCM, with each camp pursuing styles of music that implied divergent theories of musical evangelism. 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. tippy('#footnote_plugin_tooltip_1524_1_7', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_7').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); "southern gospel" brings with it additional layers of interpretive complication regarding race, class, and geography. Again: Continuing the Debate between Donald Dayton and George Marsden," in The Continued Relevance of Wesleyan Theology: Essays in Honor of Laurence Wood, ed. Michael actually took us there and Mark and Mike tried to figure out a way for Bill [Gaither] to hear us sing. Unlike "northern urban" gospel (a phrase with no currency outside academe), it is the preferred way to self-identify within the culture and the most widely recognized way to describe the music to outsiders. Joyce Martin Sanders (b. January 6, 1968) lives in Nashville, Tennessee with her husband Paul, and she has two children. tippy('#footnote_plugin_tooltip_1524_1_42', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_42').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Each video or concert is a variation on a format: Bill and Gloria Gaither invite many of the aging stars of southern gospel's mid-twentieth-century golden age to join them and their musical friends, peers, and rising stars from southern gospel and a range of subgenres on the more traditional and conventional sides of North American Christian musiccountry gospel, bluegrass, inspirational, and choral and hymnody. The Arkansas imaginary explored here is not a totalizing way of understanding the vernacular music of white fundamentalists. July 30, 2013. http://www.religiondispatches.org/books/culture/6221/the_gospel_ church_and_the_ruining_of_gay_lives__an_interview_with_anthony_heilbut/. 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. Rather than denoting a style or sound of vernacular sacred musicmaking, "southern gospel" as a term and a set of at-best partially unexamined social practices and religious beliefs "indicate the music and culture of those people who choose to associate themselves with this tradition. 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. 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. See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. Gaither's remark associates a universality to The Martins, who are legitimated by the origins their music is purported to transcend. 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. There was no love lost between southern gospel and the "Queen of Christian Pop" to begin with, but after Grant's rise to fame, she became a galvanizing symbol for southern gospel of cultural accommodation run amok in doctrinally compromised music. For an overview of southern gospel's history and development within the wider domain of American gospel music, see Shearon et al., "Gospel Music," and Don Cusic, The Sound of Light: A History of Gospel Music (Madison: Popular Press, 1990). Trinity Broadcasting Network is the D.B.A. of Trinity Christian Center of Santa Ana Inc., a California religious non-profit corporation holding 501(C)(3) status with the Internal Revenue Service. 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. Jonathan Martin (b. Photograph by Judy Baxter. 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. 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. Joyce E Martin 1946 Born c. 1946 Last Known Residence Texas Summary Joyce E Martin of Texas was born c. 1946. 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. EIN: 95-2844062. 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. And I've never been more sure of the path I've chosen." 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. This model "avoided conventional church approaches, using . Southern gospel's negotiation of them has often manifested in overt racism or a way of thinking, talking, and singing that renders whiteness falsely normative. Joyce Martin Sanders is an American singer who, along with her siblings Jonathan Martin and Judy Martin Hess, is best known as a member of the Christian country trio The Martins. Such work is as welcome as it is needed. Media releases promoting The Martins tout this diversity and eclecticism. Not least of all, The Martins's success has relied on the popularity within southern gospel of what I have referred to as backwoods virtuosiup-from-nothing children of the white US South able to create and perform distinctive arrangements of gospel songs and hymns whose lyrics are, as most southern gospel is, suffused with first-person struggles of ordinary Christians, striving after, struggling for, and faithfully pressing on toward greater assurance of belief and affirmative experience of the divine in their lives.48On backwoods virtuosi, see Harrison, "Grace to Catch a Falling Soul." The Martins initially auditioned for Gaither in 1992; the video on which they appeared was not officially released until 1993. tippy('#footnote_plugin_tooltip_1524_1_52', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_52').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Martins's insistence upon their childlike wondermentthen and nowat the improbability of the audition's circumstances is overlaid with the immediately recognizable nature of The Martins's talent by music industry veterans. I recommend this DVD highly. Dochuk, Darren. Judy Martin is married to Jake Hess, Jr., the son of the legendary southern gospel lead singer Jake Hess. 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. 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]). 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. Durham: Duke University Press, 2003. 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. Another person named Martin P. Joyce was a judge who passed away in October of 2013.. This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. "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. Los Angeles, CA: Roadside Attractions, 2010.
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