joyce martin sanders biography

Joyce Martin Sanders Overview Tracks Albums Photos Similar Artists Events Biography More Biography We don't have a wiki for this artist. . The southern gospel condemnation of CCM has long and deep roots.28Although 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. For a fuller discussion of "southern" as a racial signifier and readings of race and white gospel see Harrison, Following 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. 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. [South Barrington, IL: Willow Creek Association, 2007]). See Shearon, email to H-Southern Music Network mailing list, March 27, 2009. My use of "evangelical" follows George Marsden's, denoting Protestant thought and action shaped by Reformed theology. 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. 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. She has two children. 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. When she came out, Mark grabbed her arm and said, "You have to hear these kids sing!" For more on Gaither Homecomings and their role and appeal in southern gospel and beyond, see ibid., 110136. Movies. . "The Gospel Church and the Ruining of Gay Lives: An Interview with Anthony Heilbut," interview by Douglas Harrison. She tells Bill, "you have to hear these kids sing." North American gospel history and the cultural realities of contemporary southern gospel defy further generalization. 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. Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. 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. 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. The peer reviewers for Southern Spaces provided generous feedback that sharpened my thinking and refined the essay's argument considerably. From Arkansas With Love demonstrates southern gospel's influence. Her story of brokenness and restoration encourages thousands on social media and from the stage. "Gospel Music." See Harrison, Then Sings My Soul, 75180. "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. He just finished getting a tech degree in musical engineering. 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. Trey is 20 and lives and works in Nashville only a few miles from his mom. tippy('#footnote_plugin_tooltip_1524_1_45', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_45').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In this light, and flowing from this initial performance of "He Leadeth Me," The Martins established a reputation as the pure-hearted "songbirds" of southern gospel, to borrow a description that Bill Gaither offers on a Homecoming video, The Best of the Martins. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. 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. 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 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. Bill Gaither, Tallahassee, Florida, 2006. 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). Updated: June 20, 2015 Biography ID: 102744141 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 discussions of the Traveler trope see ". Joyce: We went to Indianapolis [in 1992] with Michael English and Mark Lowry [of the Gaither Vocal Band and the Gaithers' inner circle]. During the last three decades of the twentieth century, these conservative evangelicals and fundamentalists ceased perceiving themselves in the Nixonian paradigm as a silent majority existing voicelessly and invisibly within mainstream US politics and culture. Joyce Martin McCollough . 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. "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. 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). 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. 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. 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. Arkansas, writes Brooks Blevins, "has become in many ways indistinguishable from concurrent stereotypes of backwoods southerners or of southern mountaineers and hillbillies," despite the geographical, cultural, and social differences between the Ozark and Ouachita hill country to the north of the state, the Mississippi River alluvial region to the east, and the "primeval swampland" in the state's southern half. "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." For them, Gaither's interview effectively constructs and encourages audiences to see in The Martins representative, unifying figures of white, evangelical populism whose home is, as Bethany Moreton has shown in her study of Wal-Mart and evangelicalism, the Ozarks of northern Arkansas and south-central Missourithe literal geographic location in which Gaither's colloquy imaginatively relocates The Martins. tippy('#footnote_plugin_tooltip_1524_1_26', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_26').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); From this traditionalist perspective, CCM's project of reclaiming the devil's music for the Lord amounts to little more than evangelical apologia set to music in "Jesus is my boyfriend" songs: notionally Christian tunes that overlay the stylistic trends and tastes of secular music with lyrics about a love beyond all measure, directed toward a pronominally vague beloved who could be divine, or more sublunary. Recording companies experienced similar contractions. Gaither's questions establish Jonathan's lifelong love of "huntin'" as linked to his Arkansas adolescence. . 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. Religion Dispatches. Goff, On backwoods virtuosi, see Harrison, "Grace to Catch a Falling Soul. Photograph by Judy Baxter. But I'll say this: I've never been more honored to sing about Jesus and for Jesus. 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. 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. A notable elision in this storyand it points to more general (mis)understandings about the Gaithers's personaeis the role of Gloria Gaither. Examples of changes and shifts within professional southern gospel since 1990 include the disbanding of numerous groups as well as the retirements and deaths of many of the mid-twentieth century singers who anchored the genre's golden era. Join the. Arkansas/Arkansaw: How Bear Hunters, Hillbillies, and Good Ole Boys Defined a State. So, we're in the little church in Anderson, Indiana, and they are rehearsing for the next day and we're in the foyer. 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. See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. 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. The overwhelming majority of fans and professionals in contemporary southern gospel are white Christians who are "culturally southern, socially conservative, and Anglo-American. Gaither Gospel Series DVD cover. Martin Jarvis; Randy Edelman; David Jason; Michael Hordern; Oliver Williams; Community. 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. 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. 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. Representative scholarly studies include Nancy Ammerman, Baptist Battles: Social Change and Religious Conflict in the Southern Baptist Convention (New Brunswick: Rutgers University Press, 2001); Susan Friend Harding, The Book of Jerry Falwell: Fundamentalist Politics and Language (Princeton: Princeton University Press, 2001); Darren Dochuk, From Bible Belt to Sunbelt: Plain-Folk Religion, Grassroots Politics, and the Rise of Evangelical Conservatism (New York: W.W. Norton, 2011); Mark Hulsether, Religion, Culture and Politics in the Twentieth Century United States (New York: Columbia University Press, 2007). 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." 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. .52The Martins, interview by J. "Home" functions primarily in southern gospel as a meaning-making tool for experience in this life, not the next. 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. See Apostles of Reason: The Crisis of Authority in American Evangelicalism (New York: Oxford, 2013). Home News Random Article Install Wikiwand Send a suggestion Uninstall Wikiwand Our magic isn't perfect 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. So we sang next day on the video [Precious Memories], "He Leadeth Me" . Dochuk, Darren. 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. Is Joyce Martin gospel singer - The Martins a Sanders or a McCollough? See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music,". 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. Similarly, Gerald Wolfe, also originally a pianist for the Cathedral Quartet and subsequently the owner and emcee of his own professional trio, Greater Vision, was famously plucked from obscurity (or so the story went onstage in his early years as a performer) while singing with the Dumplin' Valley Boys.49References to Bennett's birthplace in Strawberry, Arkansas, were staples of Cathedrals concerts, several of which I attended, in the 1980s and 1990s. She released her . UrbanaChampaign: University of Illinois Press, 2012. Premillenialists espouse a literalist interpretation of scripture that foresees the imminent return of Christ to earth. 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. In addition, "many of the characteristics and stereotypes considered [representative of Arkansas as a whole]," Blevins concludes, are "extensions of broader regional and cultural images" applied by others to Arkansans.57Blevins, Arkansas/Arkansaw, 39, 9. tippy('#footnote_plugin_tooltip_1524_1_57', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_57').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Arkansas is not unique in being treated as the home of the benighted white southerner, redneck, or hillbilly, and the Arkansas imaginary is but one sort of white, working class, rurality. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. Many fans and most observers interpreted her actions and words as a rebuke of a mass wedding of gay and straight couples performed during the broadcast. Mae is her 18-year-old daughter. 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. Anthony Heilbut, "Black Urban Hymnody," on, Stephen Shearon, Harry Eskew, James C. Downey, and Robert Darden, "Gospel Music,". It was Mark, Mike, of course the three Martins, Gloria and two or three other people. November 13, 2001, accessed September 23, 2013, http://www.crosswalk.com/1108828/. (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. 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"). 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. Judy Martin is married to Jake Hess, Jr., the son of the legendary southern gospel lead singer Jake Hess. Blevins, Brooks. 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. 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. 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.

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