Evangelicals and fundamentalists have never agreed on how best to live out the scriptural directive that Christians be in the world, but not of it. (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. tippy('#footnote_plugin_tooltip_1524_1_46', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_46').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The paradox of The Martins's Homecoming reputation as masters of classic gospel hymnody and their much wider stylistic reach and renown before and beyond the Homecoming stage suggests that there is more to their appeal to southern gospel audiences than can be accounted for by their music. "Northern urban" gospel is the historical forerunner of today's Contemporary Christian Music (CCM). Business as Mission . . 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. Absence of biographical detail about The Martins clears space for the Arkansas imaginary to operate. 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. 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. This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. A journal about real and imagined spaces and places of the US South and their global connections. For a fuller discussion of "southern" as a racial signifier and readings of race and white gospel see Harrison, Then Sings My Soul, 96103. This element of cultural separatism has reemerged in the past generation within southern gospel. . . Join the. She has two children. And I've never been more sure of the path I've chosen." From Arkansas With Love demonstrates southern gospel's influence. "Home" functions primarily in southern gospel as a meaning-making tool for experience in this life, not the next. The peer reviewers for Southern Spaces provided generous feedback that sharpened my thinking and refined the essay's argument considerably. 1 (1997): 7582; and Harrison, "Grace To Catch a Falling Soul." Bob Joyce died December 10, 1981, in San Francisco, CA, USA. 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. tippy('#footnote_plugin_tooltip_1524_1_38', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_38').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Certainly this is true of southern gospel. Rooted in the professional identity crisis Bill Gaither experienced in the late 1980s and early 1990s as an minence grise in Christian entertainment who was struggling to figure out what to do next, Homecoming "has succeeded and thrived by using religious music entertainment to address a wider crisis of relevance afflicting" southern gospel and contemporary evangelicalism. Arkansas has long been defined by poverty and isolation born of the cashless frontier societies of the state's uplands and the agrarian barter economies that prevailed in the lowlands.55Morris Arnold, "The Significance of the Arkansas Colonial Experience," Arkansas Historical Quarterly 51 (Spring 1992): 7880. 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. Their mother, Wylma, who also is a gifted singer, served as booster and vocal coach for her three children. "6Not that "southern gospel" never made an appearance before the 1970s and 1980s. Between highlights, Bill Gaither interviews Joyce, Judy, and Jonathan,54The 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. 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. Instead, CCM performers and fans came together around a common commitment to reclaim the devil's music for God. Durham: Duke University Press, 2003. Mae is her 18-year-old daughter. The interplay of praxis and imagination is crucial. 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. 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. The overwhelming majority of fans and professionals in contemporary southern gospel are white Christians who are "culturally southern, socially conservative, and Anglo-American. "Andy Griffith Dies." "Fundamentalism" indicates evangelicals for whom militancy in resistance to liberalism is the defining feature of lived religion.22George Marsden, Understanding Fundamentalism and Evangelicalism (Grand Rapids: Eerdmans, 1991), 15. "Southern" gospel has its own difficulties, not least the fact that not all gospel from, of, or appealing to people in the South is a white enterprise. 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. New York: Knopf, 2012. 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. UrbanaChampaign: University of Illinois Press, 2012. The popularity of Homecoming derives from its emergence duringand its response tothe declension crisis in southern gospel. That finally holds who You are. Harrison, Douglas. 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. But professional southern gospel has always been strongly grounded its history and identity in the male quartet. In cultural geography, "sense of place" refers to the feelings and emotions a place evokes and that help constitute it.14Tim Cresswell, Place: A Short Introduction (London: Wiley-Blackwell, 2004), 169. tippy('#footnote_plugin_tooltip_1524_1_14', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_14').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); More than just feelings or emotions, such sense of place encompasses perceptions, assumptions, and habits of thought and behavior of people who are part of a place. Joyce Martin is married to Paul Michael Sanders, who has had periodic jobs as a southern gospel singer. This dynamic was captured in the 2014 Grammys. 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. Rather than denoting a style or sound of vernacular sacred musicmaking, "southern gospel" as a term and a set of at-best partially unexamined social practices and religious beliefs "indicate the music and culture of those people who choose to associate themselves with this tradition. Cine d'aventuras. 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. 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. Randall Balmer, My Eyes of Have Seen the Glory: A Journey Into the Evangelical Subculture in America (New York: Oxford University Press, 2006); and Donald Dayton and Robert Johnson, eds., The Variety of Evangelicalism, (Knoxville: University of Tennessee Press, 2001). Family, friend, or fan, this family history biography is for you to remember Joyce E. (Sanders) Martin. Spring Hill, 2005, CMD 1807. tippy('#footnote_plugin_tooltip_1524_1_43', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_43').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Martins first appeared in 1993 on an early Gaither Homecoming video, Precious Memories. Lord, let it be so, not just a dream. The videos still air regularly on many local-access religious television channels, but sales today are largely driven through merchandizing at concerts, the Gaither, "Gospel hymns" refer to a repertoire of American sacred songs that "first appeared in religious revivals during the 1850s, but which flourished with the urban revivalism that arose in the English-speaking world in the last third of the nineteenth century and continued into the twentieth century." 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. Lord, is this my time. 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. See Shearon, email to H-Southern Music Network mailing list, March 27, 2009. Fayetteville: University of Arkansas Press, 2009. Dayton, The Theological Roots of Pentecostalism (Grand Rapids: Francis Asbury Press, 1987); and Dodrill, "Evangelicalism Examined . Created by: siremidor on 28-March-2013 - Last Edited by admin on 07-January-2016. 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. Many southern gospel performers and groups incorporate covers of traditional black gospel songs and spirituals into their repertoire. No Sympathy For the Devil: Christian Pop Music and the Transformation of American Evangelicalism. To see the King. From Bible Belt to Sunbelt: Plain-Folk Religion, Grassroots Politics, and the Rise of Evangelical Conservatism. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. 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. November 13, 2001, accessed September 23, 2013, http://www.crosswalk.com/1108828/. We sang "He Leadeth Me" a cappella for Gloria Gaither, in the ladies bathroom, in Anderson, Ind. 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. 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]). 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. Douglas Harrison is Associate Professor of English and Assistant Director of the Center for Faculty Innovation at James Madison University. See Harrison, Then Sings My Soul, 75180. 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." Bill Gaither, Tallahassee, Florida, 2006. "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. The core of this essay began as a conference paper for the 2013 conference of the Society for American Music. tippy('#footnote_plugin_tooltip_1524_1_37', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_37').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); On the surface, these indicators suggest the clear shift in tastes within Christian music entertainment away from southern gospel's preference for close harmony sung in the ensemble. But it also resonates with less militant but hardly less conservative evangelicalsmostly whitewho respond powerfully to its organizing themes: proud piety, traditionalist notions of family, and unapologetic sentimentality about evangelistic faith and religious community. . What is the birth name of Marty Joyce? 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. Heilbut, Anthony. See Harrison, Then Sings My Soul, 13. 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). tippy('#footnote_plugin_tooltip_1524_1_18', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_18').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); I explore the Arkansas imaginary through the state's most famous southern gospel sibling trio, The Martins, their music, and their reception since approximately 1990.191990 coincides roughly with the emergence of what would become the Bill and Gloria Gaither Homecoming Friends video (later concert) series. More deeply, the decline in market share and cultural capital has eroded southern gospel's self-concept and induced a crisis of authenticity. This model "avoided conventional church approaches, using . Man, Crosswalk.com. Here the Arkansas imaginary is in operation. 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. See full bio . New York: W. W. Norton, 2011. However, a 1993 appearance on the Gaither Homecoming series helped transform The Martins from an avocational regional trio into a professional act with a national following in fundamentalist Christian entertainment. 3,147) where they became a popular regional Christian music act. 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. Arkansas ranks forty-fifth in median income in the United States and, by official self-description since the 1970s, is culturally "the natural state." 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. 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. "Southern" gospel has its own difficulties, not least the fact that not all gospel from, of, or appealing to people in the South is a white enterprise. More at IMDbPro Contact Info: View agent, publicist, legal on IMDbPro. 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. 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. tippy('#footnote_plugin_tooltip_1524_1_33', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_33').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Southern gospel product sales also experienced what now appears to be a last-gasp micro-surge of popularity, with market shares reaching an inflection point somewhere in the mid1990s, followed by a precipitous sales decline by as much as 90 percent in the decade between 2000 and 2010.34Goff's remains the most extensive and influential account of southern gospel's market decline. 1 (2008): 2758. When was singer Joyce Bryant born? 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. 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. 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. DVD. 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. EIN: 95-2844062. Recording companies experienced similar contractions. Mike Joyce was born February 12, 1941, in Detroit, MI, USA. Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. 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 tradition carries on primarily through the cultivation of a musical sensibility connected to an underlying set of cultural affiliations. . (See Harrison, Then Sings My Soul, 182183). Joyce Martin is a well known gospel singer. . Moreton, Bethany. "63Emphasis added. 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. 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). Ann Arbor: University of Michigan Press, 2009. tippy('#footnote_plugin_tooltip_1524_1_3', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_3').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The seven-shape notational system (and culture) of songwriting, singing, and music education that took root in the southern uplands in the late 1800s has heavily influenced the music of southern gospel and its values.4Here, following Loyal Jones, "Southern Uplands" designates the regions and people of trans-Appalachia and extends eastward into the Piedmont and westward to the Ozarks. Shearon, Stephen, Harry Eskew, James C. Cowney, and Robert Darden. Bethany Moreton, To Serve God and Wal-Mart (Cambridge: Harvard University Press, 2009), 5. 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. Joyce Martin-Sanders. Joyce Martin was married to Alton G. Martin on October 1, 1983 in Rockwall County, Texas. For more on The Martins's biography, see the following section and note 41. 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_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. In this context, gospel music functions as a style of vernacular religious entertainment and a form of evangelical cultural experience transcending denominations or confessional traditions. [4] Judy Martin Hess (b. Dionne Dismuke, Joyce Martin Sanders, Judy Martin Hess, TaRanda Greene - Official Video for 'I Stand Amazed (Live)', available now!Buy the full length DVD/CD. He just finished getting a tech degree in musical engineering. 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. 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). 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). 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. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. Such work is as welcome as it is needed. 579 11K views 2 years ago #christmas #bettertogether This week on Better Together, Joyce Martin Sanders shares her favorite childhood memory which was a Christmas miracle. Bill Gaither sighs contentedly, then adopts an avuncular, lightheartedly admonishing tone, commenting that The Martins had only sung the first verse and indicating, as if unplanned, that the trio should "finish it" on the couch at that moment. 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." 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. 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. Modern Social Imaginaries. tippy('#footnote_plugin_tooltip_1524_1_49', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_49').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Even if The Andy Griffith Show had not made small, rural towns with earthy-sounding names synonymous with culturally unsophisticated, plainspoken provincialism,50Toward the end of his life, Andy Griffith recorded multiple southern gospel albums. Joyce Martin-Sanders is known for Gaither's Pond (1997). Decade. Joyce Martin Sanders lives in Nashville, Tennessee with her husband Paul, and she has two children. Beyond the style it captures, this clip points to the structures of thought and feeling that underlie The Martins's appeal and southern gospel music more generally. With the dissolution of the "Christian-cultural synthesis," fundamentalists, Noll concludes, "made a virtue of their alienation. See Jones, Faith and Meaning in the Southern Uplands (UrbanaChampaign: University of Illinois Press, 1999), 9. 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. Joyce Martin Sanders is one third of the award-winning gospel trio, The Martins. She is divorced and has been for some time, but the date of her divorce is not listed. But I'll say this: I've never been more honored to sing about Jesus and for Jesus. I recommend this DVD highly. 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