See Shearon et al., "Gospel Music." 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. "I've many thoughts about the show tonight," she tweeted, "most of which are probably better left inside my head. Joyce: So we went into the bathroom. And I've never been more sure of the path I've chosen." 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. Directed by Bill Gaither. 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. 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 Gospel Songs [1874] and Bliss and Ira D. Sankey's Gospel Hymns and Sacred Songs [1875]), the song's style anticipates the dominant features of the gospel hymn and is customarily treated by gospel singers and fans as part of the corpus of gospel hymns that remain popular in southern gospel. Here the Arkansas imaginary is in operation. It emphasizes the unfolding of God's dealings with humanity in phases or eras ("dispensations"). 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. Bob Joyce died December 10, 1981, in San Francisco, CA, USA. 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. 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. All Rights Reserved. Compact Disc. Music publishers of seven-shape notational gospel music and the convention singing tradition to which these publishers catered were familiar with the term for much of the twentieth century. 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. Winter's Bone. For an extended discussion of "southern gospel" see, Douglas Harrison. + Add or change photo on IMDbPro . 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. 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. He just finished getting a tech degree in musical engineering. Researched in the 1990s and published in 2002. 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. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. Man, Crosswalk.com. "Gospel Music." Interestingly, Willow Creek leaders published a study conducted by the church in 2008 that indicated the seeker-sensitive model did not reliably lead to consistently reported levels of spiritual development or maturity among those who were attracted to the church by its seeker sensitivity (Greg Hawkins and Cally Parkinson, Reveal: Where Are You? tippy('#footnote_plugin_tooltip_1524_1_48', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_48').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); What continues to distinguish The Martins is their acoustic style full of complex harmonies, modulations, and voicings that reflect influences of country, bluegrass, folk, old-time, choral, black gospel, and vocal jazz styles and arrangements. "Southern gospel" remains the preferred term in the study of white gospel music of the South. Natural Acts: Gender, Race, and Rusticity in Country Music. Joyce Martin McCollough . 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. Her story of brokenness and restoration encourages thousands on social media and from the stage. Joyce: We went to Indianapolis [in 1992] with Michael English and Mark Lowry [of the Gaither Vocal Band and the Gaithers' inner circle]. 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. 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. 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. Who is martin p joyce? Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. Courtesy of Judy Baxter. Judy Martin is married to Jake Hess, Jr., the son of the legendary southern gospel lead singer Jake Hess. Dochuk, Darren. See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. While growing up poor in rural Arkansas, the three often practiced singing together, and released their self-titled debut album in 1994 on Chapel Records. Their continuing appeal has involved a narrative about their Arkansas identity as proof of authenticity as individual performers and for the genre of southern gospel. The popularity of Homecoming derives from its emergence duringand its response tothe declension crisis in southern gospel. Blevins, Brooks. See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music,". Many fans and most observers interpreted her actions and words as a rebuke of a mass wedding of gay and straight couples performed during the broadcast. 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. Nominated in the "Gospel/Contemporary Christian Music" category, CCM soloist Natalie Grant attended the ceremony, only to leave before the show ended. (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. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. Pamela Fox has noted that "while academia has for the most part abandoned the authentic as any kind of meaningful analytic category," the vernacular music of southern, white, rustic life and experience has "tended to preserve it. "39Jennifer Lena, Banding Together: How Communities Create Genres in Popular Music (Princeton: Princeton University Press, 2012), 2. tippy('#footnote_plugin_tooltip_1524_1_39', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_39').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); My approach attends to southern gospel as a musical style,40Lower compositional sophistication, more uneven production quality, and rougher cuts by commercial standardsall defining features of the southern gospel sound of the past twenty yearscan function for many evangelicals and fundamentalists as indices of a more real music and catalysts for a more authentic experience of the religious self. Not that "southern gospel" never made an appearance before the 1970s and 1980s. Judy Martin Hess lives in Columbus, Georgia with her husband Jake Hess Jr, and their four children. They live in Columbus, Georgia, and have five children. . Spring Hill, 2005, CMD 1807. More conventional black gospel singers (such as Angie Primm and the late Jessy Dixon, both of whom have appeared on Gaither Homecoming videos) and black gospel choirs are generally held in high regard in southern gospel. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. tippy('#footnote_plugin_tooltip_1524_1_40', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_40').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); while emphasizing cultural texts and discourses. 'Cause it's worth every . Examining the rise of the gospel singing trio The Martins and the deployment of their rural Arkansas roots to shape their popularity in Christian music entertainment, this essay reveals how an evocation of place functions in the practice of religious life within commercial southern (white) gospel music and fundamentalist Protestantism. Bill Clinton's presidential campaign used the Traveler name and image as a way to strengthen his populist appeal running against a Washington insider. "6Not that "southern gospel" never made an appearance before the 1970s and 1980s. 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. During the 1990s, The Martins rose to national and international success, showcasing their stunning and distinctive harmonies before a vast array of audiences . John F. Mooney, review of The Best of The Martins, directed by Bill Gaither, Amazon.com, July 29, 2013, accessed October 15, 2013, http://www.amazon.com/review/R399G8O3TFUQHH/. To see the King. Sharing her life with transparency is her passion. This pan-stylistic hybridity was apparent in the group's repertoire before their Gaither affiliation. 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. Jonathan Martin (b. This dynamic was captured in the 2014 Grammys. "45Harrison, Then Sings My Soul, 3. 33 Southern gospel product sales 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. Sign up for updates about Better Together on TBN. 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. (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. They live in Nashville and have two children (Martin Sanders was married previously to Harrie McCullough, with whom he had a child). tippy('#footnote_plugin_tooltip_1524_1_15', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_15').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Arkansas has undergone considerable stereotyping in the US imagination.16Brooks Blevins, Arkansas/Arkansaw: How Bear Hunters, Hillbillies, and Good Ole Boys Defined a State (Fayetteville: University of Arkansas Press, 2009), 4. tippy('#footnote_plugin_tooltip_1524_1_16', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_16').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); To speak of an "Arkansas imaginary" in this essay is to conceptualize Arkansas as a siteparticularly among poor and working-class white evangelicals and fundamentalistsfor the practice of religious life, or "lived religion. The Martins appear to possess an unadorned, God-given popularity that abides in their embodiment of white tradition and progress. The video cuts from the Hawaiian excerpt back to the homey interview setting. 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. Ann Arbor: University of Michigan Press, 2009. Decade. Such an assumption would not be wholly unjustified.9The conflation of "southern" and "white" to describe this music circulates widely among scholars and non-specialists, but has only been tentatively stated in scholarship. Modern Social Imaginaries. Created by: siremidor on 28-March-2013 - Last Edited by admin on 07-January-2016. Grammy.com, July 3, 2013, accessed October 1, 2013, http://www.grammy.com/blogs/andy-griffith-dies. Fox's work on rusticity and identity suggests that any crisis of authenticity in popular music from the South will register across a range of cultural texts and products. 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. Today's professional southern gospel includes many family and mixed gender foursomes and trios, configurations that were and are common in the singing convention world that dominated southern gospel in the late nineteenth century and early twentieth century. Joyce Martin-Sanders photos, including production stills, premiere photos and other event photos, publicity photos, behind-the-scenes, and more. Recording companies experienced similar contractions. Such work is as welcome as it is needed. Judy Martin Hess (b. His book Then Sings My Soul: The Culture of Southern Gospel Music was published by the University of Illinois Press in 2012. Trey is 20 and lives and works in Nashville only a few miles from his mom. Arkansas ranks forty-fifth in median income in the United States and, by official self-description since the 1970s, is culturally "the natural state." Photograph by Judy Baxter. 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. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. October 14, 1928 in San. See Jones, Faith and Meaning in the Southern Uplands (UrbanaChampaign: University of Illinois Press, 1999), 9. 1 (1997): 7582; and Harrison, "Grace To Catch a Falling Soul." See Goff, Close Harmony, 233236, 269274. There is an associationalas opposed to primarily musicallogic to this appeal that tracks with broader "patterns of cultural experience and affiliation." This transformation left untouched only the Ozarks and Ouachita to the north and west. 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. For discussions of the Traveler trope see "The Arkansas Traveler" entries in the online resources of the Historic Arkansas Museum, accessed October 1, 2013, http://www.arkansas-traveler.org, and on Arkansas.com, Arkansas Department of Parks and Tourism. So we sang next day on the video [Precious Memories], "He Leadeth Me" . 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. Marty Joyce's birth. See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music," Studies in Popular Culture 20, no. Dayton offers an alternative account of "evangelicalism," emphasizing the rise of Pentecostalism and holiness traditions, which, as Jonathan Dodrill notes, "do not seem so bent to ward off liberalism." Within southern gospel, perhaps the most polarizing figure thought to embody this accommodationist dynamic is Amy Grant, who began as a CCM ingnue ("Father's Eyes," "El Shaddai" and "Angels") and subsequently landed crossover hits in American pop during the 1980s (her debut outside of CCM came in a duet with Peter Cetera, "The Next Time I Fall In Love"). 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. 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. Their mix of rustic piety and sophisticated harmonizing (in The Best of video, much is made of their performance with the Homecoming Friends at Carnegie Hall) gives audiences powerful, palpable reassurance that despite shifts in taste, technology, and demographics of Christian entertainment during the past three decades, southern gospel music and values are thriving and persevering in the youthful artistry and rustic ethos of normatively white, middle class, evangelical traditionalism embodied in artists such as The Martins. I have in mind the period in American conservative and fundamentalist evangelicalism inaugurated by Richard Nixon's conjuring of the ", 1990 coincides roughly with the emergence of what would become the, Within 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). They live in Columbus, Georgia, and have five children. And both black and white gospel have "borrowed those aspects, reinterpreting them for their own cultures" and purposes. ", References to Bennett's birthplace in Strawberry, Arkansas, were staples of Cathedrals concerts, several of which I attended, in the 1980s and 1990s. 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. Just as I Am: 30 Favorite Old Time Hymns, was nominated for a 1998 Grammy in the same category. DVD. 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). 1 (2008): 2758. "Mom and Dad both instilled that in us that if you had a talent to sing, you should get up. Even though I do not have a better name for it, I remain deeply ambivalent about "northern urban gospel." 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. Joyce Martin is a well known gospel singer. Broadcasting Since 1973. 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. At the end of the nineteenth century and into the first three decades of the twentieth century, southern white gospel was dominated by convention singings that relied on the regular release of small octavo shape-note songbooks such as Crowning Day. 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. Actress. Then Sings My Soul: The Culture of Southern Gospel Music. The American Spirit: Who We Are and What We Stand For (2017) is a collection of McCulloughs speeches. November 13, 2001, accessed September 23, 2013, http://www.crosswalk.com/1108828/. Recording companies experienced similar contractions. Clearly this story of The Martins's beginning as Homecoming Friends is important to them because they are depicted in the narrative as so natively talented that Bill Gaither purportedly allows them to perform without ever having himself auditioned them. In its current, commercial form, this tradition "is most powerfully defined by common historical, economic, social, and cultural connections among professionals and fans to a constellation of corporate and professional organizations that anchor the creation, consumption, and commemoration of the music," Gaither Homecoming among them. 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. 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. 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. 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. The Martins hail from Hamburg near the Louisiana border in Ashley County, in the southeast quadrant of the state, where the west Gulf coastal plain meets the Mississippi Delta. 2014.grammys.criticized.as.political.stunt.to.push.gay.marriage.agenda.natalie.grant.responds.after.early.exit/35586.htm). "62 Bethany Moreton, To Serve God and Wal-Mart (Cambridge: Harvard University Press, 2009), 5. tippy('#footnote_plugin_tooltip_1524_1_62', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_62').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The gestalt of Arkansas rusticity associated with The Martins serves to understand their sophisticated harmonies. . Chapel Hill: University of North Carolina Press, 2011. 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? That finally holds who You are. Bill never comes out into the foyer but Gloria does. 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. Its fans and participants aspire to transcend or dissolve regional expectations, theological boundaries, and denominational classifications. "30Mark Noll, The Scandal of the Evangelical Mind (Grand Rapids: Eerdmans, 1994), 67, 211. "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." Gaither uses a repertoire of leading questions, strategic glosses of the singers' responses, folksy asides, and improvised amplifications to cultivate the image of The Martins as hill-country kids made good as gospel celebrities. NQC's leadership recently announced that the event will take up residence in a regional conference center at Pigeon Forge, Tennessee.36Sheldon Shafer, "National Quartet Convention Ending Long Run in Louisville," Louisville Courier-Journal.com, September 3, 2013, accessed October 1, 2013, http://www.courier-journal.com/article/20130903/SCENE04/309030069/. See Harrison. Morris Arnold, "The Significance of the Arkansas Colonial Experience,". Indeed, specific aspects of a performer's biography usually only come into play for southern gospel when an instance of individual characteristics, crisis, or great fortune serve to point audiences toward notionally transcendent truths of fundamentalist theology. In the early 1990s, two sisters and their brother, Judy, Joyce, and Jonathan, then in their late teens and performing as The Martins, began appearing with the Gaither Homecoming Friends. Music publishers of seven-shape notational gospel music and the convention singing tradition to which these publishers catered were familiar with the term for much of the twentieth century. 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. See full bio . 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. CCM emerged as the musical avatar of those conservative evangelicals who believed it was a mistake for Christians to concede entire swaths of popular culture to secular tastes and values in the name of resisting worldliness and impiety. 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. Molly Worthen has mapped contemporary evangelicalism's uneasy relationship with post-modernity and religious self concept. The Arkansas imaginary explored here is not a totalizing way of understanding the vernacular music of white fundamentalists. tippy('#footnote_plugin_tooltip_1524_1_28', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_28').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Professional southern gospel emerged from a Reconstruction-era subculture of poor and working-class white southerners.
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