Comparatively little has been published about The Martins's biography beyond birth, marriages, and professional accomplishments.41The basic details provided here derive largely from The Martins's disclosures on stage, press coverage, conservations I have had with industry professionals, and my experience. Recording companies experienced similar contractions. 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. Bob Joyce died December 10, 1981, in San Francisco, CA, USA. Spring Hill, 2005, CMD 1807. 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. Today southern gospel is found in areas of the United States and lower Canada with concentrated populations of white fundamentalist evangelicals.5For more on the demographic profile of southern gospel see Harrison, Then Sings My Soul, 175180. Sometimes this includes black gospel, particularly the performers who take inspiration from the mainstream music industry (pop, rock, R&B, and hip-hop). Absence of biographical detail about The Martins clears space for the Arkansas imaginary to operate. 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. 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). Joyce Martin Sanders Overview Tracks Albums Photos Similar Artists Events Biography More Biography We don't have a wiki for this artist. That finally holds who You are. They live in Nashville and have two children (Martin Sanders was married previously to Harrie McCullough, with whom he had a child). Joyce Rogers. The precipitous decline in "Christian/Gospel" has devastated most sectors of the market. By leveraging anxieties about cultural authenticity and relevance roiling conservative evangelical and fundamentalist culture, Homecoming creates "a musical screen onto which people from a wide range of Christian cultural traditions within the American middle class can project their own religious concerns and spiritual aspirations. 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. 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. Claiming a home in southern gospel grounds The Martins in an imagined identity that they in turn hold out for fans seeking models of stability and reassurance in an extended moment of great cultural change and instability for white evangelical fundamentalist religious culture. 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. 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. Grammy.com, July 3, 2013, accessed October 1, 2013, http://www.grammy.com/blogs/andy-griffith-dies. Bill Clinton's presidential campaign used the Traveler name and image as a way to strengthen his populist appeal running against a Washington insider. "I've many thoughts about the show tonight," she tweeted, "most of which are probably better left inside my head. The songs are structurally derivative and lyrically conventional, but this music is interesting for what it suggests about The Martins's cultural temperament and expressive style, best described in these early years as one of rustic post-teen southern evangelical angsty spiritual wonderment. In the late 1980s and early 1990s, The Martins performed mostly in the southern half of the Mississippi Delta region and recorded self-financed albums. Joyce: We went to Indianapolis [in 1992] with Michael English and Mark Lowry [of the Gaither Vocal Band and the Gaithers' inner circle]. Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. Directed by Bill Gaither. 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. 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. Joyce Martin-Sanders. Taylor, Charles. Joyce Martin Sanders Weight Loss - HealthMd Search She keeps it real and points the way out of despair with an admonishing heart. Decade. 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. April 13, 2013, accessed October 15, 2013, http://bber.unm.edu/. Copyright 2023 TBN - Trinity Broadcasting Network. These distortions and elisions are at work in the Gaither video biography of The Martins that points to aspects of the Arkansas imaginary distinct from generalized assumptions about white trash and hillbillies. She has two children. 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. "Northern urban" gospel is the historical forerunner of today's Contemporary Christian Music (CCM). 827-2340 or reach Martin R Mccullough at (253) 720-5263. This essay is interested in how the imagining of a place shapes and is shaped by understandings of vernacular sacred music and the shifting identities this music contains. See Shearon et al., "Gospel Music," and Heilbut, The Gospel Sound: Good News in Bad Times (Milwaukee, WI: Hal Leonard, 2001 [1979]) and Harrison, "Why Southern Gospel Music Matters," Religion and American Culture 18, no. 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." 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. 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. 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. It emphasizes the unfolding of God's dealings with humanity in phases or eras ("dispensations"). 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. Mark Noll has described this process as one focused on the formation of a parallel but separate evangelical culture meant to preserve pietistic thought and action perceived to be under attack and threat of extinction by secularization. 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. 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. 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. 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. Joyce E. (Sanders) Martin (born 1946) - Texas 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. It emphasizes the unfolding of God's dealings with humanity in phases or eras ("dispensations"). Joyce Martin-Sanders says she really can't believe her luck. Any Arkansas setting becomes synonymous with the Ozark hillbilly. But I'll say this: I've never been more honored to sing about Jesus and for Jesus. Interested in submitting your work to Southern Spaces. Jennifer Lena has exhorted scholars of music culture to deemphasize sounds and instead examine "social structures and collective actions. Before then the music was simply known to its practitioners and fans as gospel. Such work is as welcome as it is needed. What is the birth name of Marty Joyce? joyce martin mccullough biography - Stmatthewsbc.org 32 Their success in the late 1980s and early 1990s coincided with the resurgence of cultural separatism that has come to dominate southern gospel discourse. 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. 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. Lord, let it be so, not just a dream. 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. Dochuk, Darren. Though the publication of "He Leadeth Me" predates the popularization of the term of "gospel hymns" (which is most commonly sourced to Philip P. Bliss's, While 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.
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