Mud, set in the Arkansas Mississippi River Delta, powerfully evokes the fluidity of class, ethnicity, and geography as defining features of identity in a region where the flux of life is so heavily dependent on, shaped by, and intertwined with the flow of the river. Then Sings My Soul: The Culture of Southern Gospel Music. 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. Edit. 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. Courtesy of Douglas Harrison. .52The Martins, interview by J. 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. See Harrison, Then Sings My Soul, 75180. 'Cause I've waited my whole life. 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. Before then the music was simply known to its practitioners and fans as gospel. Such work is as welcome as it is needed. Joyce Martin Sanders lives in Nashville, Tennessee with her husband Paul, and she has two children. The southern gospel tradition carries on primarily through the cultivation of a musical sensibility connected to an underlying set of cultural affiliations. Directed by Bill Gaither. Modern Social Imaginaries. Today it designates right-leaning North American Protestantism defined in large part by its opposition to cultural, theological, and political liberalism. Joyce Martin Sanders is an American singer who, along with her siblings Jonathan Martin and Judy Martin Hess, is best known as a member of the Christian country trio The Martins. The precipitous decline in "Christian/Gospel" has devastated most sectors of the market. The Arkansas imaginary explored here is not a totalizing way of understanding the vernacular music of white fundamentalists. Christian vocalists The Martins Joyce Martin Sanders, Jonathan Martin and Judy Martin Hess perform at the Missouri Theater at 7:30 p.m. Feb. 17. In the process, The Martins's music and cultural valence become revalued and highly desirable within the network of associations and commitments merging at the intersection of white conservative Christianity, right-wing cultural politics, and a "global service economy. "Andy Griffith Dies." Bill Gaither, Tallahassee, Florida, 2006. Alexandria, Ind. 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). 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. Joyce Martin is a well known gospel singer. Southern gospel has found itself in alliances with black gospel traditions and the black church. Christ's return coincides with the rapture of living Christians and the raising of the righteous dead to heaven. 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. See Shearon, email to H-Southern Music Network mailing list, March 27, 2009. 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. Directed by Debra Granik. 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. The core of this essay began as a conference paper for the 2013 conference of the Society for American Music. See Heilbut, "Black Urban Hymnody." Shearon, Stephen, Harry Eskew, James C. Cowney, and Robert Darden. 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. 3,147) where they became a popular regional Christian music act. "Home" functions primarily in southern gospel as a meaning-making tool for experience in this life, not the next. The siblings have been making music together since she was 10 and she has penned many of their hit songs through the years. The interplay of praxis and imagination is crucial. See Robert K. Whalen, "Premillennialism," The Encyclopedia of Millennialism and Millennial Movements, ed. She is divorced and has been for some time, but the date of her divorce is not listed. 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. 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. 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. 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. For "homecoming" as a practice and concept in southern fundamentalism, see Jeff Todd Titon, Powerhouse for God: Speech, Chant, and Song in Appalachian Baptist Church (Austin: University of Texas Press, 1988). 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 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. 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. A journal about real and imagined spaces and places of the US South and their global connections. But professional southern gospel has always been strongly grounded its history and identity in the male quartet. 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]. Again: Continuing the Debate between Donald Dayton and George Marsden," in The Continued Relevance of Wesleyan Theology: Essays in Honor of Laurence Wood, ed. Winter's Bone, set in the rural Ozarks, vividly portrays the psychosocial costs of geographical isolation, lack of economic and educational opportunity, and sense of cultural confinement associated with life in the deep woods of Ozark hill country. With respect to The Martins, the same music on an album titled From Hyde Park With Love, or even From Hilton Head With Love, would likely not be considered southern gospel by most of its intended audiences. At face value, much of The Martins's stylistically hybridized and contemporary music would seem to commit many of the very musical sins that southern gospel culture has long cited as justification for disparaging most other major forms of Christian music entertainment (except, perhaps, bluegrass).47The 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. 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. Southern gospel has found itself in alliances with black gospel traditions and the black church. Recording companies experienced similar contractions. Joyce Martin is a well known gospel singer. This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. Bill never comes out into the foyer but Gloria does. Created by: siremidor on 28-March-2013 - Last Edited by admin on 07-January-2016. 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. 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/). 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. 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. Lower 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. See Robert K. Whalen, "Premillennialism,". 1 (2008): 2758. The cultural difference between the Ozark/Ouachita and Mississippi Delta regions of Arkansas is aptly captured by/in two recent films. 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/. Religion Dispatches. 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. 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. "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. 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. "Southern gospel" remains the preferred term in the study of white gospel music of the South. More deeply, the decline in market share and cultural capital has eroded southern gospel's self-concept and induced a crisis of authenticity. The Martins's music signals that what makes this trio a southern gospel group is its commitment to a worldview and way of life that is place-based, class-bound, and consistent with values and assumptions that prevail in white, fundamentalist evangelicalism. With the dissolution of the "Christian-cultural synthesis," fundamentalists, Noll concludes, "made a virtue of their alienation. Bob Joyce died December 10, 1981, in San Francisco, CA, USA. . 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. Douglas Harrison is Associate Professor of English and Assistant Director of the Center for Faculty Innovation at James Madison University. Premillenialists espouse a literalist interpretation of scripture that foresees the imminent return of Christ to earth. Sign up for updates about Better Together on TBN. 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. 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. The most prominent, From Arkansas With Love, is full of original material, almost all written by Joyce Martin. tippy('#footnote_plugin_tooltip_1524_1_24', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_24').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); If much of CCM musically enciphers the aspirations of evangelicalism's dominant demographicsuburban, white, seeker-centered25"Seeker" sensitive models of congregational development and worship emerged in the 1970s and 1980s as part of the so-called church-growth movement, an organized effort to expand church membership and participation beyond traditional populations. 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]). This pan-stylistic hybridity was apparent in the group's repertoire before their Gaither affiliation. 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. See Jones, Faith and Meaning in the Southern Uplands (UrbanaChampaign: University of Illinois Press, 1999), 9. 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. 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. When she came out, Mark grabbed her arm and said, "You have to hear these kids sing!" Mae is her 18-year-old daughter. Dochuk, Darren. New York: Knopf, 2012. "6Not that "southern gospel" never made an appearance before the 1970s and 1980s. 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. 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." For the past forty years or so, "southern gospel" has named a professional musical style associated with white fundamentalists and evangelicals in the US South.1For an extended discussion of "southern gospel" see, Douglas Harrison, Then Sings My Soul: The Culture of Southern Gospel Music (UrbanaChampaign: University of Illinois Press, 2012), 25, 80109. Joyce Martin-Sanders. My use of "evangelical" follows George Marsden's, denoting Protestant thought and action shaped by Reformed theology. Trey is 20 and lives and works in Nashville only a few miles from his mom. "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. 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. Family, friend, or fan, this family history biography is for you to remember Joyce E. (Sanders) Martin. There is an associationalas opposed to primarily musicallogic to this appeal that tracks with broader "patterns of cultural experience and affiliation." What started in Hawaii more than a decade earlier ends in Studio A in Andersonville, Indiana, with Gaither presiding as witness to The Martins's musical authenticityby sea, in the studio, (notionally) on command, at home among southern gospel's Homecoming Friends or in faraway lands. Interested in submitting your work to Southern Spaces. Bill Clinton's presidential campaign used the Traveler name and image as a way to strengthen his populist appeal running against a Washington insider. 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. Help; Joyce Martin-Sanders View source History 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. "63Emphasis added. 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. 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. 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. Instead, CCM performers and fans came together around a common commitment to reclaim the devil's music for God. 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. A fan's review of The Best of The Martins video on Amazon.com captures this dynamic succinctly: "I wouldn't consider the Martins southern gospel," the reviewer writes, "as their sound is more contemporary but they have a love of the Lord and that comes across strong in their work and their lives. 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. The camera cuts back and forth between The Martins and Gaither, occasionally taking in the four of them in a wide shot. Southern gospel performers often emulate black gospel styleincluding arrangements, vocal techniques, and use of choirs as backing voices. Joyce Martin-Sanders says she really can't believe her luck. Joyce Martin was married to Alton G. Martin on October 1, 1983 in Rockwall County, Texas. For a recording of the set piece associated with Gerald Wolfe's time with the Dumplin' Valley Boys, see. 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. Everyone sits on risers around a piano and sings: old songs, new songs, gospel songs, hymns, inspirational ballads, spiritual anthems, praise and worship choruses, even a few secular tunes now and then (Bill Withers's "Lean on Me," or an arrangement of Barry Manilow's "One Voice"). EIN: 95-2844062. 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). . The southern gospel condemnation of CCM has long and deep roots.28Although 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. Averyfineline.com, September 24, 2012, accessed October 1, 2013, http://averyfineline.com/2012/09/24/slouching-toward-pigeon-forge/. From Arkansas With Love. See Harrison. 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"). 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." But professional southern gospel has always been strongly grounded its history and identity in the male quartet. Winter's Bone. Harrison, Douglas. Roger Bennett played piano for the Cathedral Quartet for nearly twenty years, and throughout his career, he was introduced as a child prodigy at the keyboard from Strawberry, Arkansas. Lord, is this my time. This model "avoided conventional church approaches, using . So we sang next day on the video [Precious Memories], "He Leadeth Me" . Joyce Martin is married to Paul Michael Sanders, who has had periodic jobs as a southern gospel singer. The trio performed an a capella arrangement of the 1862 gospel hymn, "He Leadeth Me," a standby in the culture of Homecoming's fan base.44"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." tippy('#footnote_plugin_tooltip_1524_1_17', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_17').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Such an approach asks how southern gospel artists (most from beyond the state) use Arkansas's status as an imaginative resource to make sense of themselves and their music in late twentieth and early twenty-first century fundamentalist Protestantism.18I have in mind the period in American conservative and fundamentalist evangelicalism inaugurated by Richard Nixon's conjuring of the "silent majority" of cultural traditionalists who opposed the advance of liberal policies and social practices in the US. 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. 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. DVD. It is in this tradition of pietistic, blood-bought, soul-saving, life-giving harmony of the one true way to Christ that The Martins were raised and trained. 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. For more on cultural-geographic conceptualizations of place, see John Agnew, The United States in the World Economy: A Regional Geography (London: Cambridge University Press, 1987), and Cresswell, Place. . 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. Their mother, Wylma, who also is a gifted singer, served as booster and vocal coach for her three children. 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. tippy('#footnote_plugin_tooltip_1524_1_58', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_58').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Blevins links the emergence of the Ozark image to the cultivation of cotton, which transformed the lowlands and delta of Arkansas's east, middle, and south into vast mechanized agricultural zones. 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.
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