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. The precipitous decline in "Christian/Gospel" has devastated most sectors of the market. Though the publication of "He Leadeth Me" predates the popularization of the term of "gospel hymns" (which is most commonly sourced to Philip P. Bliss's, While David Fillingim argues that "home" as a concept in southern gospel allows its participants to imagine and explore a flight from material hardship and social marginalization in this world (in favor of an eternal home of magnificence in heaven), my research suggests that in southern gospel "home" serves to give concrete, graspable shape to abstract theological concepts and spiritual experiences for ordinary Christians in the here and now. "Home" functions primarily in southern gospel as a meaning-making tool for experience in this life, not the next. See Harrison, Then Sings My Soul, 13. Professional black gospel, which has a historically longstanding relationship with African American worship traditions to a much greater extent than commercial white Christian music has with white Protestant churches, has remained creatively vibrant. "17On "lived religion," see David D. Hall, Lived Religion: Toward a History of Practice (Princeton: Princeton University Press, 1997), 321. 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. "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. 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. 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. Jonathan Martin and his wife, Dara, live in Des Moines with their six children (Craig Harris, ", In the 1990s and early 2000s, Gaither Homecoming was popular on the now-defunct TNN cable channel. 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. [South Barrington, IL: Willow Creek Association, 2007]). 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. DVD. "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.

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