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Then Sings My Soul: The Culture of Southern Gospel Music. Gaither Gospel Series DVD cover. "Southern gospel" remains the preferred term in the study of white gospel music of the South. Joyce Martin Sanders | Christian Music Archive Joyce Martin Sanders biography | Last.fm Faithful to the cause | | newspressnow.com 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. 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." Nathaniel Crawford (Eugene: Wifp and Stock, 2011), 84. tippy('#footnote_plugin_tooltip_1524_1_22', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_22').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Southern gospel is overwhelmingly a product of evangelical fundamentalism. "Northern urban" gospel is the historical forerunner of today's Contemporary Christian Music (CCM). The Martins initially auditioned for Gaither in 1992; the video on which they appeared was not officially released until 1993. tippy('#footnote_plugin_tooltip_1524_1_52', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_52').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Martins's insistence upon their childlike wondermentthen and nowat the improbability of the audition's circumstances is overlaid with the immediately recognizable nature of The Martins's talent by music industry veterans. October 14, 1928 in San. To Serve God and Wal-Mart. Its fans and participants aspire to transcend or dissolve regional expectations, theological boundaries, and denominational classifications. 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. 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. 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. Chapel Hill: University of North Carolina Press, 2011. 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. The videos still air regularly on many local-access religious television channels, but sales today are largely driven through merchandizing at concerts, the Gaither Homecoming Magazine, syndicated radio shows on terrestrial and satellite radio, and not least of all through the Gaither online store. More deeply, the decline in market share and cultural capital has eroded southern gospel's self-concept and induced a crisis of authenticity. They live in Nashville and have two children (Martin Sanders was married previously to Harrie McCullough, with whom he had a child). And see Jos Casanova, Public Religions in the Modern World (Chicago: University of Chicago Press, 1994). 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. 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. (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. (2004) as Soundtrack Skip to My Lou (1941) 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. tippy('#footnote_plugin_tooltip_1524_1_44', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_44').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This performance is important not just because the group's knack for reimagining southern gospel harmonies in dazzling vocal arabesques led in short order to celebrity. "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. 2014.grammys.criticized.as.political.stunt.to.push.gay.marriage.agenda.natalie.grant.responds.after.early.exit/35586.htm). These congregations structured worship, congregational culture, and church outreach to target "those who had never established a relationship with Christ and the Church, and those trying to reconnect" (Lester Ruth, "Lex Agendi, Lex Orandi: Toward an Understanding of Seeker Services as a New Kind of Liturgy," Worship 70, no. 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. Take, for instance, Joyce and Judy's 2001 telling of how The Martins scored the chance to sing "He Leadeth Me" on the Homecoming stage. Although the male quartet continued to dominate southern gospel's self-image, the genre as a commercial enterprise became home for strains of more traditional white evangelical vernacular sacred musics, including explicitly pietistic bluegrass and country gospel. Heilbut notes that this vibrancy is driven by the rise of name-it-and-claim-it prosperity gospel in the black church, which is intensely homophobic and discourages its members from thinking in "broad sociological" categories in favor of a self-aggrandizing theology that links spiritual well-being with personal wealth (See "The Gospel Church and the Ruining of Gay Lives: An Interview with Anthony Heilbut," interview by Douglas Harrison, ReligionDispatches.com, July 30, 2013, accessed January 28, 2014, http://www.religiondispatches.org/books/culture/6221/the_gospel_church_and_the_ruining_of_gay_lives%3 A_an_interview_with_anthony_heilbut/; and Heilbut, The Fan Who Knew Too Much: Aretha Franklin, the Rise of the Soap Opera, Children of the Gospel Church, and Other Meditations [New York: Knopf, 2012]). The Willow Creek megachurch, under the leadership of Bill Hybels, is the most prominent example of a seeker-sensitive church. She keeps it real and points the way out of despair with an admonishing heart. 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. Home News Random Article Install Wikiwand Send a suggestion Uninstall Wikiwand Our magic isn't perfect From the start, the case of The Martins is linked to the state of their birth. 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. These were "places so divorced from the frenzied modernization of twentieth-century America" that they presented an easily caricatured type from which to generalize about the state as a whole.59Ibid., 516, 67. tippy('#footnote_plugin_tooltip_1524_1_59', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_59').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The conflation of The Martins's southern Arkansas bayou background with upstate Ozark hillbillyism emerges through the rhetoric of Bill Gaither as host and interlocutor. Joyce Martin-Sanders. Directed by Bill Gaither. That finally holds who You are. The Martins's performance of pious authenticity plays out in public in ways that take common celebrity narratives (the underdog or, as in the story below, the innocent) and recodes them within the logic of the Arkansas imaginary. "Gospel Music." Joyce Martin Sanders (b. January 6, 1968) lives in Nashville, Tennessee with her husband Paul, and she has two children. 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 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. 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.
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