Joyce Martin-Sanders. Arkansas/Arkansaw: How Bear Hunters, Hillbillies, and Good Ole Boys Defined a State. "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. 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. Interested in submitting your work to Southern Spaces. Joyce: We went to Indianapolis [in 1992] with Michael English and Mark Lowry [of the Gaither Vocal Band and the Gaithers' inner circle]. 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. 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. "I've many thoughts about the show tonight," she tweeted, "most of which are probably better left inside my head. 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. Even though I do not have a better name for it, I remain deeply ambivalent about "northern urban gospel." The Martins - Personal Lives - LiquiSearch Cambridge: Harvard University Press, 2009. The Martins - American Profile 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. 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. For more on Gaither Homecomings and their role and appeal in southern gospel and beyond, see ibid., 110136. Examining the rise of the gospel singing trio The Martins and the deployment of their rural Arkansas roots to shape their popularity in Christian music entertainment, this essay reveals how an evocation of place functions in the practice of religious life within commercial southern (white) gospel music and fundamentalist Protestantism. 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. There is an associationalas opposed to primarily musicallogic to this appeal that tracks with broader "patterns of cultural experience and affiliation." 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. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. Joyce Martin-Sanders is known for Gaither's Pond (1997). "The Gospel Church and the Ruining of Gay Lives: An Interview with Anthony Heilbut," interview by Douglas Harrison. Compact Disc. "Southern gospel" remains the preferred term in the study of white gospel music of the South. Several prominent bluegrass and old time families have been mainstays of southern gospel since family acts began to emerge in the 1930s and 1940s: most prominently, The Lewis Family and The Chuck Wagon Gang, and later the Primitive Quartet, The Easters, and The Isaacs. 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. Still, the cultivation and creation of twentieth-century commercial black gospel's golden age (19451960) was largely rooted in Chicago, Philadelphia, and other urban centers in the Midwest and Northeast where many black southerners moved during the Great Migration. I Love to the Tell the Story: 25 Timeless Hymns, won a 1996 Grammy for Best Southern Gospel, Country Gospel, or Bluegrass Gospel Album. Goff, Close Harmony, 264282, traces these and other important bluegrass groups in southern history. When and where did baseball player Bob Joyce die? Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. For an extended discussion of the psychodynamics of southern gospel, see ibid., 149. 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. 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. The cultural difference between the Ozark/Ouachita and Mississippi Delta regions of Arkansas is aptly captured by/in two recent films. Dayton, The Theological Roots of Pentecostalism (Grand Rapids: Francis Asbury Press, 1987); and Dodrill, "Evangelicalism Examined . These denominations were most frequently represented in original ethnographic research I have conducted into the contemporary culture of southern gospel. Certainly there are southern and rural imaginaries writ large and available for scholarly scrutiny. 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. Start the wiki Similar Artists Charlotte Ritchie 703 listeners Bill & Gloria Gaither 10,674 listeners The Isaacs 11,665 listeners Show more The Martins recorded five independent albums prior to their breakout. "I've many thoughts about the show tonight," she tweeted, "most of which are probably better left inside my head. 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. The Martin kids are still singing | Entertainment - LancasterOnline No Sympathy For the Devil: Christian Pop Music and the Transformation of American Evangelicalism. tippy('#footnote_plugin_tooltip_1524_1_15', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_15').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Arkansas has undergone considerable stereotyping in the US imagination.16Brooks Blevins, Arkansas/Arkansaw: How Bear Hunters, Hillbillies, and Good Ole Boys Defined a State (Fayetteville: University of Arkansas Press, 2009), 4. tippy('#footnote_plugin_tooltip_1524_1_16', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_16').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); To speak of an "Arkansas imaginary" in this essay is to conceptualize Arkansas as a siteparticularly among poor and working-class white evangelicals and fundamentalistsfor the practice of religious life, or "lived religion. Lord, is this my time. 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." I have in mind the period in American conservative and fundamentalist evangelicalism inaugurated by Richard Nixon's conjuring of the ", 1990 coincides roughly with the emergence of what would become the, Within 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). In this way, CCM musicalized the desires of many conservative Christians to perceive themselves as culturally relevant.23David Stowe, No Sympathy For the Devil: Christian Pop Music and the Transformation of American Evangelicalism (Chapel Hill: University of North Carolina Press, 2011) notes that the poly-generic style that defined the emergence of CCM in the 1980s was linked with the politicization of Christian music as part of the broader mobilization of evangelicals and social conservatives (246248). "Fundamentalism" indicates evangelicals for whom militancy in resistance to liberalism is the defining feature of lived religion.22George Marsden, Understanding Fundamentalism and Evangelicalism (Grand Rapids: Eerdmans, 1991), 15. Chapel Hill: University of North Carolina Press, 2011. 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." Joyce Martin is married to Paul Michael Sanders, who has had periodic jobs as a southern gospel singer. Michael actually took us there and Mark and Mike tried to figure out a way for Bill [Gaither] to hear us sing. 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. Sign up for updates about Better Together on TBN. "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. Ann Arbor: University of Michigan Press, 2009. 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. The interplay of praxis and imagination is crucial. The 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.

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