See Apostles of Reason: The Crisis of Authority in American Evangelicalism (New York: Oxford, 2013). See ". . Start the wiki Similar Artists Charlotte Ritchie 703 listeners Bill & Gloria Gaither 10,674 listeners The Isaacs 11,665 listeners Show more The Martins's success draws upon an Arkansas imaginary that features a racially unconflicted working-class identity as well as a constellation of musical associations, cultural affinities, and attitudes grounded in piety, rusticity, and close harmony. 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. Goff, Close Harmony, 264282, traces these and other important bluegrass groups in southern history. tippy('#footnote_plugin_tooltip_1524_1_47', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_47').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Yet The Martins remain beloved members of the Homecoming cast and reputational avatars of gospel traditionalism carried on in the music of a new generation of songbirds. When she came out, Mark grabbed her arm and said, "You have to hear these kids sing!" 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. 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. tippy('#footnote_plugin_tooltip_1524_1_11', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_11').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The rise of "southern" gospel emerged in response to a network of cultural tensions, social conflicts, and religious instabilities.12These longstanding conflicts precede the twentieth century. 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]. 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. However, in light of the subsequent collapse of most of the southern gospel industry not affiliated with the Homecoming Series, Close Harmony offers an overly optimistic view of southern gospel prospects in the twenty-first century (283287). Bethany Moreton, To Serve God and Wal-Mart (Cambridge: Harvard University Press, 2009), 5. 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. 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. "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. 5 [September, 1996]: 386405). "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." . Jonathan Martin (b. "38Pamela Fox, Natural Acts: Gender, Race, and Rusticity in Country Music (Ann Arbor: University of Michigan Press, 2009), 7. [4] Judy Martin Hess (b. 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. See Harrison, Then Sings My Soul, 13. 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. Absence of biographical detail about The Martins clears space for the Arkansas imaginary to operate. Researched in the 1990s and published in 2002, Close Harmony traces the music's development from the nineteenth century. 1 (1997): 7582; and Harrison, "Grace To Catch a Falling Soul." After Grant's divorce from Gary Chapman, her symbolic function in southern gospel expanded to include the corrupting effect of musical compromises on personal morality and the heternormative family.Southern gospel's disdain of CCM can come off as a kind of "Sister Bertha Better Than You" self-righteousness.27Here, I am borrowing an image first popularized by Ray Stevens in "Mississippi Squirrel Revival," on He Thinks He's Ray Stevens (Universal, 1987, MCAC-5517). No Sympathy For the Devil: Christian Pop Music and the Transformation of American Evangelicalism. Courtesy of Judy Baxter. Joyce Martin McCollough . 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. 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. Copyright 2023 TBN - Trinity Broadcasting Network. 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. So we sang next day on the video [Precious Memories], "He Leadeth Me" . This period was followed by the mobilization of right-leaning Protestants (and many conservative Catholics) into a political base for the Republican Party in the Reagan Era and a power base for evangelical leaders (including Jerry Falwell's Moral Majority, Pat Robertson'sand later Ralph Reed'sChristian Coalition, and, more recently, Donald Wildmon's American Family Association, and Tony Perkins's Family Research Council); and the not-entirely unrelated realignments within conservative and fundamentalist Protestantism wrought by the rise of non-denominational evangelical mega-churches and the Tea Party. 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. 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. "2Ibid., 2. tippy('#footnote_plugin_tooltip_1524_1_2', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_2').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This tradition is distinctive for its cultivation of close harmony sung in ensemblestraditionally male quartets, a formation that dominated the commercial sector of southern gospel through roughly the first half of the twentieth century, and more recently, mixed-gender foursomes and trios, often comprising family members.3Today'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. tippy('#footnote_plugin_tooltip_1524_1_30', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_30').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Indeed, the style of four-part male harmony for which professional southern gospel is most well-known has been historically linked to the practice of piety and lived religious devotion in the premillennial dispensationalist tradition.31Premillennial dispensationalism has been the dominant theological paradigm for fundamentalist evangelicals in the United States since the mid-nineteenth century. In 2013, the Doves moved back to Nashville, not to the Grand Ole Opry House but to the auditorium of a small religious college in the suburbs (Dave Paulson, "Dove Awards Fly Back to Nashville," USAToday.com, October 14, 2013, accessed January 28, 2014, http://www.usatoday.com/story/life/music/2013/10/14/dove-awards-nashville/2984327/). Key figures include Ira Sankey (the evangelist Dwight Moody's song leader), Homer Rodeheaver (Billy Sunday's music director), and George Beverly Shea (Billy Graham's most famous soloist). It's a new day for Southern Gospel. Navigate. 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. 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. [South Barrington, IL: Willow Creek Association, 2007]). In the broadest sense, The Martins here evince how "the interaction of lyrics, music, and religious experience in southern gospel functions as a way for evangelicals to cultivate the social tools and emotional intelligence necessary for modern living." ", References to Bennett's birthplace in Strawberry, Arkansas, were staples of Cathedrals concerts, several of which I attended, in the 1980s and 1990s. tippy('#footnote_plugin_tooltip_1524_1_25', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_25').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); conservatives primarily in denominationally unaffiliated megachurchessouthern gospel has come to voice the revanchist critique of non-denominational evangelicalism offered by old-line denominational fundamentalists (namely, Southern Baptists, General Baptists, Free Will Baptists, and Independent Baptists; Nazarenes; Church of God; Church of Christ; Assemblies of God; and the more fundamentalist strains of Methodism).26These denominations were most frequently represented in original ethnographic research I have conducted into the contemporary culture of southern gospel. Joyce Rogers. And I've never been more sure of the path I've chosen." 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. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. Natural Acts: Gender, Race, and Rusticity in Country Music. tippy('#footnote_plugin_tooltip_1524_1_4', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_4').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This musical culture subsequently spread across trans-Appalachia, and then later throughout the Midwest, Southwest, and, after the Great Migration of white southerners in the postWorld War II era, into other parts of the United States influenced by southern migration. 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. When was singer Joyce Bryant born? She keeps it real and points the way out of despair with an admonishing heart. 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. Recording companies experienced similar contractions. 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. tippy('#footnote_plugin_tooltip_1524_1_53', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_53').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); If The Martins's Arkansas origins are not revealed in this story, their roots surface in a 2011 Gaither Homecoming video, The Best of The Martins, a collection of performances over the preceding nineteen years. "43Harrison, Then Sings My Soul, 124. The southern gospel tradition carries on primarily through the cultivation of a musical sensibility connected to an underlying set of cultural affiliations. 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. More deeply, southern gospel functioned as a figurative space of cultural retrenchment against the music's loss of reputational capital within white evangelical popular culture.24For more on southern gospel's shift within Christian entertainment from a "dominant" to a "residual" status, see Harrison, Then Sings My Soul, 103109. 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. See Shearon et al., "Gospel Music." His book Then Sings My Soul: The Culture of Southern Gospel Music was published by the University of Illinois Press in 2012. 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 (b. January 6, 1968) lives in Nashville, Tennessee with her husband Paul, and she has two children. . 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. See Harrison, Here, I am borrowing an image first popularized by Ray Stevens in ", Although CCM borrows heavily from mainstream secular music and performance styles, it does so to cultivate a canon of popular music that signifies Christianity's cultural relevance and the music's evangelistic savvy, while claiming a special status derived from CCM's pious commitments to conservative evangelical values and theological positions. 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." 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. 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. The Martins grew up in Northeast Louisiana, where their parents encouraged them to make a joyful noise. Judy Martin Hess lives in Columbus, Georgia with her husband Jake Hess Jr, and their four children. But professional southern gospel has always been strongly grounded its history and identity in the male quartet. "I've many thoughts about the show tonight," she tweeted, "most of which are probably better left inside my head. 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. . 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. New York: W. W. Norton, 2011. (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. Man, Crosswalk.com. It was Mark, Mike, of course the three Martins, Gloria and two or three other people. But professional southern gospel has always been strongly grounded its history and identity in the male quartet. "Southern gospel" remains the preferred term in the study of white gospel music of the South. The Gospel Music Association (GMA), Christian music's umbrella professional organization that administers the Dove Awards (Christian Music's Grammys), classifies this type of black Christian music as "traditional gospel," as distinct from "contemporary gospel," which encompasses black gospel in the style of mainstream R&B. "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. Douglas Harrison is Associate Professor of English and Assistant Director of the Center for Faculty Innovation at James Madison University. 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. Arkansas ranks forty-fifth in median income in the United States and, by official self-description since the 1970s, is culturally "the natural state." Joyce Martin Sanders lives in Nashville, Tennessee with her husband Paul, and she has two children. . The conversation encourages audiences to understand The Martins's music as a cultural practice connected to the Arkansas backcountry. 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. (2004) as Soundtrack Skip to My Lou (1941) 436 (1997): 169188. Who is martin p joyce? 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. And see Jos Casanova, Public Religions in the Modern World (Chicago: University of Chicago Press, 1994). In this case, we can buy coal protein shakes for weight loss from Russia in keto diet Joyce Martin Sanders: "My Childhood Christmas Miracle" Joyce Martin Sanders: "My Childhood Christmas Miracle"https://www.youtube.com watchhttps://www.youtube.com watch Any Arkansas setting becomes synonymous with the Ozark hillbilly. Ann Arbor: University of Michigan Press, 2009. Fayetteville: University of Arkansas Press, 2009. 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. The values implied by customs and conditions are elemental in stereotypes of "Arkansas" as hillbilly territory. The notion of The Martins's music as culturally transcendentnot despite but because of its particularized rusticityis reinforced in another clip from The Best of The Martins in which the trio sings on the 1998 Hawaiian Homecoming. He was very busy and was getting ready for the next day's video. Edit. See Harrison, Then Sings My Soul, 75180. Sharing her life with transparency is her passion. Chapel Hill: University of North Carolina Press, 2011. Sometimes this includes, Sales 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. Instead, CCM performers and fans came together around a common commitment to reclaim the devil's music for God. 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. And that was actually the first time Bill heard us sing. But I'll say this: I've never been more honored to sing about Jesus and for Jesus. 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. DVD. The American Spirit: Who We Are and What We Stand For (2017) is a collection of McCulloughs speeches. 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. 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. tippy('#footnote_plugin_tooltip_1524_1_42', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_42').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Each video or concert is a variation on a format: Bill and Gloria Gaither invite many of the aging stars of southern gospel's mid-twentieth-century golden age to join them and their musical friends, peers, and rising stars from southern gospel and a range of subgenres on the more traditional and conventional sides of North American Christian musiccountry gospel, bluegrass, inspirational, and choral and hymnody. For more on The Martins's biography, see the following section and note 41. Interested in submitting your work to Southern Spaces. tippy('#footnote_plugin_tooltip_1524_1_29', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_29').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); But the development of professional gospel resonates most powerfully as part of white fundamentalist evangelical withdrawal from mainstream secular society over the long twentieth century. See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. 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. Actress. "63Emphasis added. Arkansas, writes Brooks Blevins, "has become in many ways indistinguishable from concurrent stereotypes of backwoods southerners or of southern mountaineers and hillbillies," despite the geographical, cultural, and social differences between the Ozark and Ouachita hill country to the north of the state, the Mississippi River alluvial region to the east, and the "primeval swampland" in the state's southern half. Decade. "Mom and Dad both instilled that in us that if you had a talent to sing, you should get up. Oxford: Oxford University Press, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224388. They live in Columbus, Georgia, and have five children. Alexandria, Ind. 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/. Except [we didn't] know where to go, all the rooms were locked, too much going on in the auditorium, so Mark suggests we go into the bathroom. It emphasizes the unfolding of God's dealings with humanity in phases or eras ("dispensations"). 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. They live in Columbus, Georgia, and have five children. Sunday services to reach the unchurched through polished music, multimedia, and sermons referencing popular culture and other familiar themes. For more on Gaither Homecomings and their role and appeal in southern gospel and beyond, see ibid., 110136. 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. From Arkansas With Love demonstrates southern gospel's influence. 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.
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