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Mae is her 18-year-old daughter. Another person named Martin P. Joyce was a judge who passed away in October of 2013.. 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. That finally holds who You are. Biography Mini Bio (1) Joyce Martin-Sanders is known for Gaither's Pond (1997). In this case, we can buy coal protein shakes for weight loss from Russia in keto diet Joyce Martin Sanders: "My Childhood Christmas Miracle" Joyce Martin Sanders: "My Childhood Christmas Miracle"https://www.youtube.com watchhttps://www.youtube.com watch Absence of biographical detail about The Martins clears space for the Arkansas imaginary to operate. . Cine d'aventuras. She released her . Recording companies experienced similar contractions. Joyce Martin-Sanders says she really can't believe her luck. See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. Southern gospel has found itself in alliances with black gospel traditions and the black church. In commercial Christian music, this transformation foregrounded oft-blurred distinctions between "evangelicals" and "fundamentalists." 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. Premillenialists espouse a literalist interpretation of scripture that foresees the imminent return of Christ to earth. Joyce: We went to Indianapolis [in 1992] with Michael English and Mark Lowry [of the Gaither Vocal Band and the Gaithers' inner circle]. Bill Gaither, Tallahassee, Florida, 2006. Mae is her 18-year-old daughter. It is difficult to lend much credence to this account unless Gloria Gaither's opinion and judgment plays a much more determinative role in the Gaither image and Homecoming productions than is generally allowed or assumed. 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. tippy('#footnote_plugin_tooltip_1524_1_36', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_36').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This retreat from metropolis to outpost acknowledges that southern gospel is no longer a national phenomenon.37 Douglas Harrison, "Slouching Toward Pigeon Forge." Sometimes this includes black gospel, particularly the performers who take inspiration from the mainstream music industry (pop, rock, R&B, and hip-hop). Bill Clinton's presidential campaign used the Traveler name and image as a way to strengthen his populist appeal running against a Washington insider. What is the birth name of Marty Joyce? The siblings have been making music together since she was 10 and she has penned many of their hit songs through the years. 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. Joyce Martin McCollough . 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. 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. Joyce Martin-Sanders is known for Gaither's Pond (1997). In addition to these sources, my own use of social imaginary theory is indebted as well to Cornelius Castoriadis, The Imaginary Institution of Society (Cambridge: MIT Press, 1998). 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. Jonathan Martin and his wife, Dara, live in Des Moines with their six children (Craig Harris, ", In the 1990s and early 2000s, Gaither Homecoming was popular on the now-defunct TNN cable channel. 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. Joyce Martin Sanders is one third of the award-winning gospel trio, The Martins. + Add or change photo on IMDbPro . November 13, 2001, accessed September 23, 2013, http://www.crosswalk.com/1108828/. 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. [4] Judy Martin Hess (b. Averyfineline.com, September 24, 2012, accessed October 1, 2013, http://averyfineline.com/2012/09/24/slouching-toward-pigeon-forge/. Nor is its cultural function exclusively or even primarily of scholarly interest for what it may tell us about southern whiteness in an ever more racially diverse and pluralistic world. (Jennifer Jones, ", For 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,", Premillennial dispensationalism has been the dominant theological paradigm for fundamentalist evangelicals in the United States since the mid-nineteenth century. Bill never comes out into the foyer but Gloria does. 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. 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"). The interviews are actually excerpts taken from long conversations filmed in a homey setting in which The Martins sit side-by-side on a large couch facing the camera and Bill Gaither sits in an overstuffed armchair to the right of the frame. Fayetteville: University of Arkansas Press, 2009. In the process, The Martins's music and cultural valence become revalued and highly desirable within the network of associations and commitments merging at the intersection of white conservative Christianity, right-wing cultural politics, and a "global service economy. 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 was married to Alton G. Martin on October 1, 1983 in Rockwall County, Texas. The only subgenre of white Christian music that remains relatively strong is Praise and Worship music, whose fortunes have been buoyed by the demand for choruses in non-denominational evangelical churches. Fox's work on rusticity and identity suggests that any crisis of authenticity in popular music from the South will register across a range of cultural texts and products. . Joyce Martin Sanders lives in Nashville, Tennessee with her husband Paul, and she has two children. 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. For a recording of the set piece associated with Gerald Wolfe's time with the Dumplin' Valley Boys, see This is Your Life George Younce, directed by Charlie Waller (n.d., Louisville, KY: National Quartet Convention), DVD. ", References to Bennett's birthplace in Strawberry, Arkansas, were staples of Cathedrals concerts, several of which I attended, in the 1980s and 1990s. Join the. But this rejection of CCM also bespeaks the stance toward modernity that defines southern gospel culture and fundamentalism. 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. Alexandria, Ind. All Rights Reserved. From Bible Belt to Sunbelt: Plain-Folk Religion, Grassroots Politics, and the Rise of Evangelical Conservatism. Professional black gospel, which has a historically longstanding relationship with African American worship traditions to a much greater extent than commercial white Christian music has with white Protestant churches, has remained creatively vibrant. The Martins. Nominated in the "Gospel/Contemporary Christian Music" category, CCM soloist Natalie Grant attended the ceremony, only to leave before the show ended. tippy('#footnote_plugin_tooltip_1524_1_8', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_8').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); So it is tempting to assume that the emergence of "southern" to describe the music since the 1960s matters only as an unsubtle substitute for the more racially antagonistic "white." Decade. 3,147) where they became a popular regional Christian music act. The Martins's success draws upon an Arkansas imaginary that features a racially unconflicted working-class identity as well as a constellation of musical associations, cultural affinities, and attitudes grounded in piety, rusticity, and close harmony. 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. "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. 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. New York: W. W. Norton, 2011. 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. For more on Gaither Homecomings and their role and appeal in southern gospel and beyond, see ibid., 110136. The southern gospel tradition carries on primarily through the cultivation of a musical sensibility connected to an underlying set of cultural affiliations. 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. 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. 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. October 14, 1928 in San. 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. And I've never been more sure of the path I've chosen." 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. Key figures include. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. Help; Joyce Martin-Sanders View source History GMA has drastically shifted its outreach and marketing emphasis toward black gospel artists and groups, going so far in 2011 as to move the Dove Awards from Nashville's Grand Ole Opry to Atlanta, the unofficial capital of black gospel music. Southern gospel has found itself in alliances with black gospel traditions and the black church. This dynamic was captured in the 2014 Grammys. "Place" signifies a physical location, a material culture, a set of affiliated social relations, and more nebulous meanings associated with place as a concept. Judy Martin is married to Jake Hess, Jr., the son of the legendary southern gospel lead singer Jake Hess. 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 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. 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. (2004) as Soundtrack Skip to My Lou (1941) 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. Their mother, Wylma, who also is a gifted singer, served as booster and vocal coach for her three children. Instead, CCM performers and fans came together around a common commitment to reclaim the devil's music for God. Christian vocalists The Martins Joyce Martin Sanders, Jonathan Martin and Judy Martin Hess perform at the Missouri Theater at 7:30 p.m. Feb. 17. 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. 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. 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. 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 1 (2008): 2758. 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. 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). 2014.grammys.criticized.as.political.stunt.to.push.gay.marriage.agenda.natalie.grant.responds.after.early.exit/35586.htm). 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 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). 'Cause I've waited my whole life. 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 Gospel Church and the Ruining of Gay Lives: An Interview with Anthony Heilbut," interview by Douglas Harrison. For "homecoming" as a practice and concept in southern fundamentalism, see Jeff Todd Titon, Powerhouse for God: Speech, Chant, and Song in Appalachian Baptist Church (Austin: University of Texas Press, 1988). Slanted Records and The Martins. For more on the demographic profile of southern gospel see Harrison. 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? Marty Joyce's birth. Here the Arkansas imaginary is in operation. Douglas Harrison is Associate Professor of English and Assistant Director of the Center for Faculty Innovation at James Madison University. So we sang next day on the video [Precious Memories], "He Leadeth Me" . 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. Dayton, The Theological Roots of Pentecostalism (Grand Rapids: Francis Asbury Press, 1987); and Dodrill, "Evangelicalism Examined . No Sympathy For the Devil: Christian Pop Music and the Transformation of American Evangelicalism. Researched in the 1990s and published in 2002, Close Harmony traces the music's development from the nineteenth century. "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. She has Angelman Syndrome and is the happiest girl you will ever meet. Media releases promoting The Martins tout this diversity and eclecticism. 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. . Dochuk, Darren. . 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. Gaither's remark associates a universality to The Martins, who are legitimated by the origins their music is purported to transcend. The Willow Creek megachurch, under the leadership of Bill Hybels, is the most prominent example of a seeker-sensitive church. .52The Martins, interview by J. Sign up for updates about Better Together on TBN. 579 11K views 2 years ago #christmas #bettertogether This week on Better Together, Joyce Martin Sanders shares her favorite childhood memory which was a Christmas miracle. Shearon, Stephen, Harry Eskew, James C. Cowney, and Robert Darden. Actress. More deeply, the decline in market share and cultural capital has eroded southern gospel's self-concept and induced a crisis of authenticity. Jennifer Lena has exhorted scholars of music culture to deemphasize sounds and instead examine "social structures and collective actions. 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. Richard A. Landes (New York: Routledge, 2000). Business as Mission . Home; Labels; News; Engage. From the start, the case of The Martins is linked to the state of their birth. "Gospel Music." They live in Columbus, Georgia, and have five children. See Robert K. Whalen, "Premillennialism,". Consequently, much of conservative Christian culture challenged secular narratives and norms. Recreational tourism is a cornerstone of Arkansas's economy and reputation.56For income distributions by state, see "Per Capita Income by State," Bureau of Business and Economic Research. 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 most prominent, From Arkansas With Love, is full of original material, almost all written by Joyce Martin. The popularity of Homecoming derives from its emergence duringand its response tothe declension crisis in southern gospel. For discussions of the Traveler trope see ". 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. She tells Bill, "you have to hear these kids sing." 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. 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. Courtesy of Judy Baxter. 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. 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). It is in this tradition of pietistic, blood-bought, soul-saving, life-giving harmony of the one true way to Christ that The Martins were raised and trained. 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. Claiming a home in southern gospel grounds The Martins in an imagined identity that they in turn hold out for fans seeking models of stability and reassurance in an extended moment of great cultural change and instability for white evangelical fundamentalist religious culture. 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 pan-stylistic hybridity was apparent in the group's repertoire before their Gaither affiliation. 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. Following the rapture is Tribulation, a seven-year period during which Anti-Christ reigns on earth, Millennium (during which time Satan is bound), and ultimately the establishment and eternal reign of Christ's kingdom. The MartinsJoyce Martin McCullough, Judy Martin Hess, and Jonathan Martingrew up in Hamburg, Ark., (pop.

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