(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. No Sympathy For the Devil: Christian Pop Music and the Transformation of American Evangelicalism. 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). Researched in the 1990s and published in 2002, Close Harmony traces the music's development from the nineteenth century. 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. He just finished getting a tech degree in musical engineering. Goff, Close Harmony, 264282, traces these and other important bluegrass groups in southern history. She has Angelman Syndrome and is the happiest girl you will ever meet. Who is martin p joyce? 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 overwhelming majority of fans and professionals in contemporary southern gospel are white Christians who are "culturally southern, socially conservative, and Anglo-American. 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. See Shearon, email to H-Southern Music Network mailing list, March 27, 2009. Copyright 2023 TBN - Trinity Broadcasting Network. 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. 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). Bill never comes out into the foyer but Gloria does. They live in Nashville and have two children (Martin Sanders was married previously to Harrie McCullough, with whom he had a child). This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. The MartinsJoyce Martin McCullough, Judy Martin Hess, and Jonathan Martingrew up in Hamburg, Ark., (pop. 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). Their mother, Wylma, who also is a gifted singer, served as booster and vocal coach for her three children. 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." Again: Continuing the Debate between Donald Dayton and George Marsden," in The Continued Relevance of Wesleyan Theology: Essays in Honor of Laurence Wood, ed. 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. 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. From Arkansas With Love. And that was actually the first time Bill heard us sing. 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. Courtesy of Judy Baxter. Media releases promoting The Martins tout this diversity and eclecticism. 'Cause it's worth every . The conflation of "southern" and "white" to describe this music circulates widely among scholars and non-specialists, but has only been tentatively stated in scholarship. Photograph by Judy Baxter. Joyce Martin is married to Paul Michael Sanders, who has had periodic jobs as a southern gospel singer. 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. 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. For more on the demographic profile of southern gospel see Harrison. Mae is her 18-year-old daughter. These longstanding conflicts precede the twentieth century. 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). And I've never been more sure of the path I've chosen." See Apostles of Reason: The Crisis of Authority in American Evangelicalism (New York: Oxford, 2013). He was very busy and was getting ready for the next day's video. Certainly there are southern and rural imaginaries writ large and available for scholarly scrutiny. "45Harrison, Then Sings My Soul, 3. And I've never been more sure of the path I've chosen." Grove Music Online. tippy('#footnote_plugin_tooltip_1524_1_20', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_20').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In its early decades, CCM's creative and cultural home was Nashville and many performers and professionals still work there. Directed by Bill Gaither. 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. Singing and songwriting is what Joyce does. 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. 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. Gaither's remark associates a universality to The Martins, who are legitimated by the origins their music is purported to transcend. 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. Broadcasting Since 1973. 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. The Martins Biography by John Bush A brother-sisters trio of a cappella gospel harmonizers, the Martins consist of Joyce Martin McCollough, Jonathan Martin and Judy Martin Hess. 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. This dynamic was captured in the 2014 Grammys. 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_11', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_11').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The rise of "southern" gospel emerged in response to a network of cultural tensions, social conflicts, and religious instabilities.12These longstanding conflicts precede the twentieth century. . The popularity of Homecoming derives from its emergence duringand its response tothe declension crisis in southern gospel. "Mom and Dad both instilled that in us that if you had a talent to sing, you should get up. Audiocassette. DVD. 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. 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. [South Barrington, IL: Willow Creek Association, 2007]). She keeps it real and points the way out of despair with an admonishing heart. DVD. 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. 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. 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.
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