joyce martin sanders biography

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. (See Harrison, Then Sings My Soul, 182183). See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music," Studies in Popular Culture 20, no. See Jones, Faith and Meaning in the Southern Uplands (UrbanaChampaign: University of Illinois Press, 1999), 9. 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. Douglas Harrison is Associate Professor of English and Assistant Director of the Center for Faculty Innovation at James Madison University. Dayton, The Theological Roots of Pentecostalism (Grand Rapids: Francis Asbury Press, 1987); and Dodrill, "Evangelicalism Examined . Martin Jarvis; Randy Edelman; David Jason; Michael Hordern; Oliver Williams; Community. Joyce Martin is a well known gospel singer. 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. 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. Recording companies experienced similar contractions. This pan-stylistic hybridity was apparent in the group's repertoire before their Gaither affiliation. 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. 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. Taylor, Charles. The Martins's singing by the sea resonates with the disjunction of three "kids" from a cold-water backwoods shack harmonizing in an exotic locale with an international gospel touring company. Goff, Close Harmony, 264282, traces these and other important bluegrass groups in southern history. The Martins grew up in Northeast Louisiana, where their parents encouraged them to make a joyful noise. 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. 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. Joyce Martin-Sanders says she really can't believe her luck. "Andy Griffith Dies." In short, whiteness remains strongly associated with southern gospel performance and fan culture.10Ibid., 203, especially note 53. tippy('#footnote_plugin_tooltip_1524_1_10', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_10').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Front cover of Crowning Day (Dayton, VA: Ruebush-Kieffer, 1900). 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. Sharing her life with transparency is her passion. The music remains popular among white evangelicals and many African American Protestants, though its market sharelike that of most sectors of the music industryhas declined considerably.21Sales 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. Navigate. This transformation left untouched only the Ozarks and Ouachita to the north and west. tippy('#footnote_plugin_tooltip_1524_1_56', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_56').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); A particular Arkansas primitivism merits attention here. 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. tippy('#footnote_plugin_tooltip_1524_1_9', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_9').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); My own research has been the first to document at length how, throughout much of the twentieth century, the music's unsavory history of explicit racism, affiliation with supremacist ideas and politicians, and its largely unreconciled relationship to this past echo jarringly in any use of the term "southern gospel." Just as significantly, while From Kentucky With Love, or From the Smoky Mountains With Love, would probably be received with the same warmth and enthusiasm that greeted The Martins's music, the precise structure of a Kentucky imaginary or a Smoky Mountain imaginary would be located in the meaning-making of those places. This reputation is curious, because most of the music the group has written, recorded, and performed outside Homecoming merrily mixes and merges stylistic features from adjacent genres and traditions: most notably, CCM, country, southern and urban gospel, choral music, inspirational, light rock, pop, and classic hymnody. The Willow Creek megachurch, under the leadership of Bill Hybels, is the most prominent example of a seeker-sensitive church. "6Not that "southern gospel" never made an appearance before the 1970s and 1980s. Grammy.com, July 3, 2013, accessed October 1, 2013, http://www.grammy.com/blogs/andy-griffith-dies. Bethany Moreton, To Serve God and Wal-Mart (Cambridge: Harvard University Press, 2009), 5. Geography and biography merge in the Arkansas imaginary to redefine and authenticate The Martins's musical personae and southern gospel as a mode of fundamentalist and conservative evangelical experience. Business as Mission . Start the wiki Similar Artists Charlotte Ritchie 703 listeners Bill & Gloria Gaither 10,674 listeners The Isaacs 11,665 listeners Show more With the dissolution of the "Christian-cultural synthesis," fundamentalists, Noll concludes, "made a virtue of their alienation. 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. Then Sings My Soul: The Culture of Southern Gospel Music. "The Gospel Church and the Ruining of Gay Lives: An Interview with Anthony Heilbut," interview by Douglas Harrison. 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. 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. (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. Joyce Martin Sanders is listed in the credits for the following albums: Year Artist Album Role ; 2013: Jason Crabb: Love Is Stronger: Guest Vocals : Joyce Martin Sanders. [South Barrington, IL: Willow Creek Association, 2007]). She tells Bill, "you have to hear these kids sing." 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. Judy Martin Hess lives in Columbus, Georgia with her husband Jake Hess Jr. and their four children. 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. "30Mark Noll, The Scandal of the Evangelical Mind (Grand Rapids: Eerdmans, 1994), 67, 211. Directed by Bill Gaither. 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? Religion Dispatches. 436 (1997): 169188. Joyce Martin Sanders is one third of the award-winning gospel trio, The Martins. Join the. . 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. November 13, 2001, accessed September 23, 2013, http://www.crosswalk.com/1108828/. Its fans and participants aspire to transcend or dissolve regional expectations, theological boundaries, and denominational classifications. Stephen Marini has provided the most sustained interpretive examination of bluegrass families in southern gospel: Sacred Song in America: Religion, Music, and Public Culture (UrbanaChampaign: University of Illinois Press, 2003), 296320. 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. Lord, is this my heart. . See Heilbut, "Black Urban Hymnody." tippy('#footnote_plugin_tooltip_1524_1_23', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_23').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Within commercial Christian music, most white fundamentalist fans and professionals left cold by CCMand committed to traditional modes of evangelistic outreachcoalesced around "southern" gospel. It's a new day for Southern Gospel. Movies. Kim Hopper, Joyce Martin Sanders, Shane McConnell - Official Video for "Love At Home (Live)", available now!Buy the full length DVD/CD 'Give The World A Smil. The MartinsJoyce Martin McCullough, Judy Martin Hess, and Jonathan Martingrew up in Hamburg, Ark., (pop. tippy('#footnote_plugin_tooltip_1524_1_24', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_24').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); If much of CCM musically enciphers the aspirations of evangelicalism's dominant demographicsuburban, white, seeker-centered25"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. 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. 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. 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. Slanted Records and The Martins. Its primitive construction and the faded color photo intensify the contrast between rustic lifeways and the warmly lit, generously appointed, and contemporarily decorated set in which The Martins appear comfortable, coiffed, and professionally poised. 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. 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). More deeply, the decline in market share and cultural capital has eroded southern gospel's self-concept and induced a crisis of authenticity. Joyce Rogers. Since at least the late 1970s, southern gospel's fortunes, measured by market standards, have trended downward, a decline attributed to broader trends within commercial Christian music entertainment and more broadly within fundamentalist and evangelical Protestantism.As the fortunes of southern gospel have declined, those of Contemporary Christian Music (CCM) have risen. There is an associationalas opposed to primarily musicallogic to this appeal that tracks with broader "patterns of cultural experience and affiliation." 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. Consequently, much of conservative Christian culture challenged secular narratives and norms. His interview enacts a modern gospel version of the venerable Arkansas Traveler colloquy in which a high-born southerner (the Traveler) engages an Arkansas Squatter in a dialogue about the differences of class and geography.60Bill Clinton's presidential campaign used the Traveler name and image as a way to strengthen his populist appeal running against a Washington insider. Joyce Martin McCollough . 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. DVD. See Harrison, Then Sings My Soul, 13. 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. 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. 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 full bio . Her story of brokenness and restoration encourages thousands on social media and from the stage. The precipitous decline in "Christian/Gospel" has devastated most sectors of the market. Photograph by Judy Baxter. Researched in the 1990s and published in 2002, Close Harmony traces the music's development from the nineteenth century. Dochuk, Darren. 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. But I'll say this: I've never been more honored to sing about Jesus and for Jesus. Through southern gospel, participants "develop the capacity to think and act as modern pluralists or situational relativists when necessary, while retaining their identification with antimodern religious traditions that notionally believe in timeless, unchanging absolutes. Gaither's remark associates a universality to The Martins, who are legitimated by the origins their music is purported to transcend. The American Spirit: Who We Are and What We Stand For (2017) is a collection of McCulloughs speeches. Interested in submitting your work to Southern Spaces. "Home" functions primarily in southern gospel as a meaning-making tool for experience in this life, not the next. The Arkansas imaginary explored here is not a totalizing way of understanding the vernacular music of white fundamentalists. 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. After that we did a few Gaither dates, then [we] were signed to Spring Hill Records [a recording company in which Gaither Music had substantial holdings at the time]. tippy('#footnote_plugin_tooltip_1524_1_34', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_34').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); For the past fifteen years or so, professional southern gospel groups, including The Martins, regularly dissolved and re-formed, or disbanded outright under the constant pecuniary strain of small crowds and even smaller free-will love offerings, and the upheavals these instabilities introduce into private life. Joyce: So we went into the bathroom. tippy('#footnote_plugin_tooltip_1524_1_41', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_41').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This dearth conforms to a tendency in southern gospel to celebrate those performers who seem to embody orthodox cultural values, religious beliefs, and pietistic practices, as opposed to those who provide rich and particularized details about their personal lives. The collective effect forms the social imaginary, a way to understand self- and group-concepts in postmodern life.15Charles Taylor, Modern Social Imaginaries (Durham: Duke University Press, 2003), 3. 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. Southern Gospel's Decline and the Sister-Bertha-Better-Than-You Effect, The Cultural Consolations of the Hillbilly, Tradition, Progress, and Cultural Instability, Music Album Sales in the United States in 2012, by Genre, The Gospel Church and the Ruining of Gay Lives: An Interview with Anthony Heilbut, Natalie Grant Responds after Leaving Grammys Early, National Quartet Convention Ending Long Run in Louisville, Then Sings My Soul: The Culture of Southern Gospel Music. 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. 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. 33 Southern gospel product sales "17On "lived religion," see David D. Hall, Lived Religion: Toward a History of Practice (Princeton: Princeton University Press, 1997), 321. Compact Disc. Southern gospel denotes "an overlapping, commercialized national network of musical products, professionals, and their fans, commonly referred to as 'the industry'" (Harrison, Then Sings My Soul, 45). [5] Jonathan Martin (b. "Place" signifies a physical location, a material culture, a set of affiliated social relations, and more nebulous meanings associated with place as a concept. My focus on professional southern gospel music is distinct from the avocational or amateur tradition, known as convention singing. Judy Martin Hess (b. "I've many thoughts about the show tonight," she tweeted, "most of which are probably better left inside my head. 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. My use of "evangelical" follows George Marsden's, denoting Protestant thought and action shaped by Reformed theology. 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. 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. She has two children. Joyce Martin is married to Paul Michael Sanders, who has had periodic jobs as a southern gospel singer.

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