joyce martin sanders biography

"Home" functions primarily in southern gospel as a meaning-making tool for experience in this life, not the next. 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. 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. 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. Just as I Am: 30 Favorite Old Time Hymns, was nominated for a 1998 Grammy in the same category. More deeply, the decline in market share and cultural capital has eroded southern gospel's self-concept and induced a crisis of authenticity. 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. That finally holds who You are. .52The Martins, interview by J. The siblings have been making music together since she was 10 and she has penned many of their hit songs through the years. 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. 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." At first, this meant reclaiming (or sonically imitating) mainly rock 'n' roll, but ultimately it came to encompass almost any kind of popular mainstream American music heard on commercial radio, especially among teen and youth audiences. Sign up for updates about Better Together on TBN. This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. From Arkansas With Love demonstrates southern gospel's influence. 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. [4] Judy Martin Hess (b. 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." See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music,". It's a new day for Southern Gospel. 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. 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. Structural Info Filmography Known for movies Saved! tippy('#footnote_plugin_tooltip_1524_1_6', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_6').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); If, as Anthony Heilbut has noted, "gospel" is a vexingly "vague and inadequate" term for a wide and shifting range of sacred music within Anglo-European and African American Protestantism,7Anthony Heilbut, "Black Urban Hymnody," on Brighten the Corner Where You Are: Black and White Urban Hymnody (New World, 1978, NW-224). 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. . Anthony Heilbut, "Black Urban Hymnody," on, Stephen Shearon, Harry Eskew, James C. Downey, and Robert Darden, "Gospel Music,". Kim Hopper, Joyce Martin Sanders, Shane McConnell - Official Video for "Love At Home (Live)", available now!Buy the full length DVD/CD 'Give The World A Smil. 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. The Martins. Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. Cine d'aventuras. She has two children. Bill Gaither, Tallahassee, Florida, 2006. 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. tippy('#footnote_plugin_tooltip_1524_1_60', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_60').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); What emerges in The Martins's interview echoes Anthony Harkins's observations about constructed hillbilly rusticity: "Middle-class white Americans [can] see these people [hillbillies] as a fascinating and exotic 'other' akin to Native Americans or Blacks, while at the same time sympathize with them as poorer and less modern versions of themselves. 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. Ann Arbor: University of Michigan Press, 2009. This element of cultural separatism has reemerged in the past generation within southern gospel. 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. 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? 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. 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. 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. Jonathan Martin lives in West Des Moines, Iowa with his wife, and their six children, including twin boys, one of which has cerebral palsy. "Andy Griffith Dies." This transformation left untouched only the Ozarks and Ouachita to the north and west. "Southern gospel" remains the preferred term in the study of white gospel music of the South. Alexandria, Ind. 436 (1997): 169188. The southern gospel tradition carries on primarily through the cultivation of a musical sensibility connected to an underlying set of cultural affiliations. 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. 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. Mae is her 18-year-old daughter. Modern Social Imaginaries. Joyce Martin Sanders Weight Loss In essence, we are an agricultural area. 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. To Serve God and Wal-Mart. 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 I've never been more sure of the path I've chosen." When and where did baseball player Bob Joyce die? 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. But professional southern gospel has always been strongly grounded its history and identity in the male quartet. Jonathan Martin and his wife, Dara, live in Des Moines with their six children (Craig Harris, "Martins Storm Back onto the Scene," sgnscoops.com, December 17, 2013 [accessed January 31, 2014)]. 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). 33 Southern gospel product sales He just finished getting a tech degree in musical engineering. What is the birth name of Marty Joyce? Such work is as welcome as it is needed. 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. 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. 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. Chapel Hill: University of North Carolina Press, 2011. 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. 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 only subgenre of white Christian music that remains relatively strong is Praise and Worship music, whose fortunes have been buoyed by the demand for choruses in non-denominational evangelical churches. Although southern gospel is undoubtedly white, not all white gospel is southern, and not all gospel of the US South is white.11Following 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. Finally, I'm grateful to The Martins and so many other southern gospel performers for making music that has held me in thrall and demanded to be taken seriously. See "Music Album Sales in the United States in 2012, by Genre,"Statistica.com, 2012, accessed January 28, 2014, http://www.statista.com/statistics/188910/us-music-album-sales-by-genre-2010/; Natalie Gillespie, "Gospel Music Sees Record-Setting RIAA Numbers," CCM Update, March 29, 1999; and Lindy Warren, "Top 15 Impact-Makers in 1997," CCM Update, December 22, 1997. 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. 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. Joyce Martin McCollough . 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. Through southern gospel, participants "develop the capacity to think and act as modern pluralists or situational relativists when necessary, while retaining their identification with antimodern religious traditions that notionally believe in timeless, unchanging absolutes. "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. At the same time, the group evinces no interest in stylistic purity or generic fealty to a specific tradition, even as the album titleincluding the florid and flowing cover typographyframes their music as a filiopietistic missive from the old home place that is a staple of the southern gospel imagination.46While 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. [5] Jonathan Martin (b. 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. Joyce Martin was married to Alton G. Martin on October 1, 1983 in Rockwall County, Texas. Again: Continuing the Debate between Donald Dayton and George Marsden," in The Continued Relevance of Wesleyan Theology: Essays in Honor of Laurence Wood, ed. 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. "Home" functions primarily in southern gospel as a meaning-making tool for experience in this life, not the next. He just finished getting a tech degree in musical engineering. The Best of the Martins. This movement was popular among (though not exclusive to) non-denominational evangelical megachurches. "Gospel," as Heilbut has noted, is "the favored term for what working-class black congregations [do,] often to the exclusion to white traditions." Their mother, Wylma, who also is a gifted singer, served as booster and vocal coach for her three children. This pan-stylistic hybridity was apparent in the group's repertoire before their Gaither affiliation. Shearon, Stephen, Harry Eskew, James C. Cowney, and Robert Darden. Its fans and participants aspire to transcend or dissolve regional expectations, theological boundaries, and denominational classifications. Courtesy of Judy Baxter. Join the. See Apostles of Reason: The Crisis of Authority in American Evangelicalism (New York: Oxford, 2013). There is an associationalas opposed to primarily musicallogic to this appeal that tracks with broader "patterns of cultural experience and affiliation." "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 overwhelming majority of fans and professionals in contemporary southern gospel are white Christians who are "culturally southern, socially conservative, and Anglo-American. This dynamic was captured in the 2014 Grammys. The interplay of praxis and imagination is crucial. Oxford: Oxford University Press, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224388. tippy('#footnote_plugin_tooltip_1524_1_23', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_23').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Within commercial Christian music, most white fundamentalist fans and professionals left cold by CCMand committed to traditional modes of evangelistic outreachcoalesced around "southern" gospel. Sharing her life with transparency is her passion. . "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. For a recording of the set piece associated with Gerald Wolfe's time with the Dumplin' Valley Boys, see. 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. Toward the end of his life, Andy Griffith recorded multiple southern gospel albums. 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. (See Harrison, Then Sings My Soul, 182183). And that was actually the first time Bill heard us sing. 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. Joyce E Martin 1946 Born c. 1946 Last Known Residence Texas Summary Joyce E Martin of Texas was born c. 1946. Siblings, Joyce, Jonathan and Judy, collectively known as The Martins, have enjoyed count- less radio hits and performances at concert halls, arenas, auditoriums and churches worldwide. tippy('#footnote_plugin_tooltip_1524_1_8', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_8').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); So it is tempting to assume that the emergence of "southern" to describe the music since the 1960s matters only as an unsubtle substitute for the more racially antagonistic "white." 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. 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. When she came out, Mark grabbed her arm and said, "You have to hear these kids sing!" My use of "evangelical" follows George Marsden's, denoting Protestant thought and action shaped by Reformed theology. See Harrison, Then Sings My Soul, 75180. For discussions of the Traveler trope see ". Bethany Moreton, To Serve God and Wal-Mart (Cambridge: Harvard University Press, 2009), 5. Bill never comes out into the foyer but Gloria does. 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. 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. 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. (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. Arkansas/Arkansaw: How Bear Hunters, Hillbillies, and Good Ole Boys Defined a State. It emphasizes the unfolding of God's dealings with humanity in phases or eras ("dispensations"). : Gaither Music, 2011. tippy('#footnote_plugin_tooltip_1524_1_31', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_31').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); 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.32For more on The Martins's biography, see the following section and note 41. tippy('#footnote_plugin_tooltip_1524_1_32', { content: jQuery('#footnote_plugin_tooltip_text_1524_1_32').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Their success in the late 1980s and early 1990s coincided with the resurgence of cultural separatism that has come to dominate southern gospel discourse.33This element of cultural separatism has reemerged in the past generation within southern gospel. Joyce Martin Sanders (b. January 6, 1968) lives in Nashville, Tennessee with her husband Paul, and she has two children. 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. See David Fillingim, "A Flight From Liminality: 'Home' in Country and Gospel Music," Studies in Popular Culture 20, no. 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. The Arkansas imaginary explored here is not a totalizing way of understanding the vernacular music of white fundamentalists. 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. 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. 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. Certainly there are southern and rural imaginaries writ large and available for scholarly scrutiny. 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. Los Angeles, CA: Roadside Attractions, 2010. 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. . The hottest acts in Christian music appropriated the musical conventions and performance styles of rock, pop, adult contemporary, heavy metal, and later, jazz, R&B, rap, hip-hop, and punk. Goff, On backwoods virtuosi, see Harrison, "Grace to Catch a Falling Soul. 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.

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