Friday

Specials

• 2  -  3 AM Sheepslaugh

• 5  -  6 AM Old Time Radio - Our Miss Brooks

• 7  -  8 AM Theology - Teaching by Dr. J. Rodmann Williams

• 11 - 12 AM Sermonette - Short Message from some of the Greatest Teachers

• 2  -  3 PM Sheepslaugh

• 6   PM Start of Shabbath Programming

• 7  -  9 PM Shabbat ^{strongs 7676} Service

Music Styles

Style	Percentage	Rule
Messianic	31	M 5  - W  3
Praise and Worship	25	M 4  -  W 3
Contemporary Christian Music	19	M 3  -  W 4
Judaic	12	M 2  -  W 4
Youth	6	M 1  -  W 4
Brass	6	M 1   - W
Shabbath Programming 6 PM CST
Messianic	26.5	M 5  - W  2
Shabbos	21	M 4  -  W 2
Judaic	21	M 4  -  W 2
Praise and Worship	15.5	M 3  -  W 4
Choir	10.4	M 2  -  W 4
Brass	5.2	M 1  -  W 4

Theology Teachings

About Renewal Theology Renewal Theology deals with all the basic doctrines of the Christian faith. The three volumes were written especially for persons involved in the Pentecostal and charismatic renewal. Now published as three volumes in one, with the subtitle of Systematic Theology from a Charismatic Perspective, the whole of Renewal Theology is readily available. There have been numerous printings of the three volumes as well as foreign translations. Renewal Theology is used as a textbook in several colleges and seminaries. It has also been helpful to many people in study groups and for private reading. From Dr. Williams Renewal Theology is in one sense an expression of revitalization. When I came into the renewal in 1965, "God is dead" language was abroad in the land. What happened in my case and that of many others was God's own answer: a powerful self-revelation. John Calvin had long ago declared about God that "the recognition of him consists more in living experience than in vain and high-flown speculation." Now that there was an enhancement of "living experience" in my life, there came about a fresh zeal for teaching theology in its many facets. As I said later in The Era of the Spirit, "A new dynamic has been unleashed that has vitalized various theological categories." Renewal Theology is an expression of theological revitalization.  Finally, the concern of Renewal Theology in every area of study is truth. This is not an attempt to advance a particular cause but to understand in totality what the Christian faith proclaims. It is not only a matter of individual doctrines but also of the full round of Christian truth. With this in mind, it has been my prayerful desire that "the Spirit of truth" at every point will lead "into all the truth" (John 16:13).

About Dr. J. Rodman Williams J. Rodman Williams, born on August 21, 1918, in Clyde, North Carolina, son of John Rodman and Odessa Medford Williams. He was a Phi Beta Kappa graduate of Davidson College in 1939, earned his B.D., and Th.M degrees, 1943-44, from Union Theological Seminary in Virginia, and was ordained in the Presbyterian  Church in 1943.  He served during World War 2 in the Pacific as chaplain with the First Division of the Marine Corps, 1944-1946.  After the war, he earned a Ph.D. in philosophy of Religion and Ethics at Columbia University and Union Seminary. He became chaplain and professor of philosophy at Beloit College in Wisconsin 1949-1952, pastored the First Presbyterian Church of Rockford, Illinois 1952-1959, taught theology and philosophy of religion at Austin Presbyterian Seminary in Texas 1959-1972, and served as president and professor of theology at Melodyland School of Theology in Anaheim, California 1972-1982.  Beginning in the fall of 1982, he taught theology at Regent University School of Divinity in Virginia Beach, Virginia, and became Professor of Renewal Theology Emeritus there in 2002.

SheepLaughs

About Sheep Laughs The Sheep Laughs Comedy Show was a weekly 15 minute professionally-produced and family-friendly variety show, featuring clean comedy by Christian comedians. Standup, skits and songs, all under one hoof! At EWCMI Online Radio we are now happy to present Sheep Laughs twice a day. Produced by long-time radio and comedy veteran Fred Passmore, of Sheep Laughs Records, The Sheep Laughs Comedy Podcast is available for download to your PC or iPod, to take along with you. Each week, you can enjoy a new fifteen minute program featuring stand-up, skits and songs from the best Christian comedians around the country.
		Fred Passmore My name is Frederick Passmore, and I’m the creator of the Christian Skit Scripts site, among others. I was born at a very early age in Macon, Georgia on October 14, 1958. Since my step-father was in construction and liked to follow the work according to the weather, we moved on the average of every four months. So as I grew up, I attended nearly 20 schools and lived in about 40 different places, mainly over the states of Georgia, Florida, and West Virginia, and Ohio.  I accepted Christ, a turning point in my life that changed it forever, as you will see as evidenced in my career choices and creative expressions. I met my wife Patty in West Virginia during a revival in 1979, and we married in 1981. After working at a secular job for a few years, I finally realized that radio and radio production was a major interest, so I began work at a Christian radio station in WV in 1984. At that point I accepted a position with Coral Ridge Ministries in Ft. Lauderdale, FL, and went to work for Dr. James Kennedy, editing and engineering the national radio program “Truths That Transform.” While there long-time friend Jon Lawhon and I formed the Christian Comedy team “Prime Example,”  (1993 to 2003). Dr. Guido passed away in 2009, and I no longer work full-time, but maintain the ministry website, social media, program CD duplication and radio program uploads. I also do freelance production at home; the most recent was for Phil Waldrep Ministries new radio program, “Living With Joy!” In 2002 I officially opened this site, Christian Skit Scripts, to supply skits and soundtracks for churches and drama teams. The soundtracks are recorded in my home studio and released on the Sheep Laughs Records independent label. My family moved to a home in Reidsville, GA in 2008 where I have a home office and production studio, and am now self-employed as operator of Sheep Laughs Records.

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Our Miss Brooks

Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high-school English teacher. It began as a radio show broadcast on CBS from 1948 to 1957. Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, at the time CBS's West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role.[2] Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and did not audition. Then CBS chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script—Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal—Arden agreed to give the newly revamped show a try.[3] Constance Brooks is a witty professional woman as the central character of the old time radio show, Audiences can relate to Connie Brooks as a clever, sarcastic, kindhearted teacher.  Produced by Larry Berns and written and directed by Al Lewis, Our Miss Brooks premiered on the network on July 19th, 1948. The show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap (Palmolive soap, your beauty hope), Lustre Creme shampoo, and Toni hair.  The old time radio series continued until 1957, a year after its television life ended.  Our Miss Brooks show featured a number of memorable and unique characters, whose trials and tribulations offered zany humor for old time millions of listeners. Critics and fans alike applauded Our Miss Brooks. Radio Mirror magazine nominated Eve Arden as the top-ranking comedienne two years in a row for her portrayal as Miss Brooks.  The National Education Association and other teaching organizations awarded Arden for sympathic portrayal of teachers.  After the old time radio show Our Miss Brooks ended its run, Eve Arden was offered positions as a High School English teacher at a number of High Schools.  Eve Arden won a radio listeners' poll by Radio Mirror magazine as the top-ranking comedienne of 1948–49, receiving her award at the end of an Our Miss Brooks broadcast that March. "I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton," she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne.

Eve Arden (April 30, 1908 – November 12, 1990) was an American film, stage, and television actress, and comedian. She performed in leading and supporting roles over nearly six decades. Beginning her career on Broadway in the early 1930s, Arden's first major role was in the RKO Radio Pictures drama Stage Door (1937) opposite Katharine Hepburn, followed by roles in the comedies Having Wonderful Time (1938) and At the Circus (1939), the latter starring the Marx Brothers. Arden would go on to earn an Academy Award nomination for Best Supporting Actress for her role in Mildred Pierce (1945). In the latter part of her career, she played the sardonic but engaging title character of a high school teacher in Our Miss Brooks, winning the first Primetime Emmy Award for Outstanding Lead Actress in a Drama Series, and as the school principal in the musicals Grease (1978) and Grease 2 (1982). Arden was born Eunice Mary Quedens in Mill Valley, California on April 30, 1908[1][2][3] to Charles Peter Quedens, son of Charles Henry Augustus and Meta L. (née Dierks) Quedens, and Lucille (née Frank) Quedens, daughter of Bernard and Louisa (née Mertens) Frank, both of German descent. Lucille, a milliner, divorced Charles over his gambling, and went into business for herself. Although not Roman Catholic, young Eunice was sent to a Dominican convent school near Modesto, and later attended Tamalpais High School, a public high school in Mill Valley until age 16. After leaving school, she joined a stock theater company.[4] Arden's ability with witty scripts made her a natural talent for radio; she became a regular on Danny Kaye's short-lived but memorably zany comedy-variety show in 1946, which also featured swing bandleader Harry James and gravel-voiced character actor-comedian Lionel Stander.[17] Kaye's show lasted one season, but Arden's display of comic talent and timing set the stage for her to be cast in her best-known role, Madison High School English teacher Connie Brooks in Our Miss Brooks. Arden portrayed the character on radio from 1948 to 1957. Arden's character clashed with the school's principal, Osgood Conklin (played by Gale Gordon), and nursed an unrequited crush on fellow teacher Philip Boynton (played originally by future film star Jeff Chandler. Except for Chandler, the entire radio cast of Arden, Gordon, Richard Crenna (Walter Denton), Robert Rockwell (Mr. Philip Boynton), Gloria McMillan (Harriet Conklin), and Jane Morgan (landlady Margaret Davis) played the same roles on television.[18] Arden's portrayal of the character was so popular that she was made an honorary member of the National Education Association, received a 1952 award from the Teachers College of Connecticut's Alumni Association "for humanizing the American teacher", and even received teaching job offers.[16] Her wisecracking, deadpan attitude as the character ultimately became her public persona as a commedienne as well.[16]

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Artists

Vlaardingen Band of the Salvation Army	Maranatha Hymns	Gaither Hymns	8th Day
Chicago Staff Band of the Salvation Army	Brooklyn Tabernacle Choir	Shane and Shane	Michae'el Eliyahu Ben David
Amsterdam Staff Band of the Salvation Army	Steven Curtis Chapman	Church of Antioch	Phillip Stanley Klein
Canadian Staff Band of the Salvation Army	Michael W. Smith	Lamb	Sally Klein O'Conn
BeBe Winans	Andrae Crouch	Fred Hammond	Israel and New Breed
Youth for Christ	Hillsong Music Australia	Passion Worship Band	Kurt Carr
Matisyahu	Ronen Shalom	Ted Pearce	Paul Wilbur
Avner & Rachel Boskey	Sons of Korah	Isreal's Hope	Joshua Aaron

And Many, Many More

Styles

On this radio station you will find the following music styles;

Contemporary Worship Music (CWM) (Praise and Worship Music)

Contemporary worship music (CWM) is a loosely defined genre of Christian music used in contemporary worship. It has developed over the past sixty years and is stylistically similar to pop music. The songs are frequently referred to as "praise songs" or "worship songs" and are typically led by a "worship band" or "praise team", with either a guitarist or pianist leading. It is becoming a common genre of music sung in Western churches, particularly in Pentecostal churches, both denominational and nondenominational. Also many non-Charismatic Protestant Churches use this type of music. Some do so exclusively. Others have services that are just traditional along with services that are just contemporary. Others simply mix this type of music in with traditional. Some Protestant churches avoid this music and remain traditional. Also, Roman Catholic churches are using this type of music in some parishes. Some mix it in with more traditional music; others have certain masses with just contemporary worship music along with traditional masses; others only use contemporary; many others steer clear of contemporary worship and stick with traditional.

History and development

In the early 1950s, the Taizé Community in France started to attract youths from several religious denominations with worship hymns based on modern melodies.

In the 1950s and 1960s the Christian Church began to place particular emphasis on reaching to the youth. Christian Unions in university environments hosted evangelistic talks and provided biblical teaching for their members, Christian cafes opened with evangelistic aims, and church youth groups were set up.  Amateur musicians from these groups began playing Christian music in a popular idiom. Some Christians felt that the Church needed to break from its stereotype as being structured, formal and dull to appeal to the younger generation. By borrowing the conventions of popular music, the antithesis of this stereotype, the Church restated the claims of the Bible through Christian lyrics, and thus sent the message that Christianity was not outdated or irrelevant. The Joystrings were one of the first Christian pop groups to appear on television, in Salvation Army uniform, playing Christian beat music. The Jesus People in America also had particular influence,  and began to create their own musical subculture, sometimes referred to as Jesus music— essentially hippie-style music with biblical lyrics. This Jesus music gradually bifurcated into Christian rock (music played for concerts) and 'praise music' (music for communal worship).

Churches began to adopt some of these songs and the styles for corporate worship. These early songs for communal singing were arguably the first examples of contemporary worship music, and were characteristically simple,  'Youth Praise', published in 1966, was one of the first and most famous collections of these songs and was compiled and edited by Michael Baughen and published by the Jubilate Group.

As of the early 1990s, songs such as "Lord, I Lift Your Name on High", "Shine, Jesus, Shine" and "Shout to the Lord" had been accepted in many churches. Integrity Media, Maranatha! Music and Vineyard were already publishing newer styles of music. Supporters of traditional worship hoped the newer styles were a fad, while younger people cited Psalms 96:1, "Sing to the Lord a new song". Prior to the late 1990s, many felt Sunday morning was a time for hymns, and young people could have their music on the other six days. A "modern worship renaissance" helped make it clear any musical style was acceptable if true believers were using it to praise God. The changes resulted from the Cutting Edge recordings by the band Delirious?, the Passion Conferences and their music, the Exodus project of Michael W. Smith, and the band Sonicflood. Contemporary worship music became an integral part of Contemporary Christian music.^[1]

More recently songs are displayed using projectors on screens at the front of the church, and this has enabled greater physical freedom, and a faster rate of turnover in the material being sung. Important propagators of CWM today include Hillsong, Vineyard, Bethel Music and Soul Survivor.

Theology and lyrics

As CWM is closely related to the charismatic movement, the lyrics and even some musical features reflect its theology. In particular the charismatic movement is characterised by its emphasis on the Holy Spirit, personal encounter and relationship with God, and agape.
 

Styles

On this radio station you will find the following music styles;

Contemporary Christian Music or CCM

Contemporary Christian music (or CCM—and occasionally "inspirational music") is a genre of modern popular music which is lyrically focused on matters concerned with the Christian faith. It formed as those affected by the 1960s Jesus movement revival began to express themselves in a more contemporary style of music than the hymns, Gospel and Southern Gospel music that was prevalent in the church at the time. Today, the term is typically used to refer to pop, rock, or praise & worship styles.

It has representation on several music charts including Billboard's Christian Albums, Christian Songs, Hot Christian AC (Adult Contemporary), Christian CHR, Soft AC/Inspirational, and Christian Digital Songs as well as the UK's Official Christian & Gospel Albums Chart. Top-selling CCM artists will also appear on the Billboard 200. In the iTunes Store, the genre is represented as part of the Christian and gospel genre.^[1]

History

The growing popularity in the styles of Rock 'n 'Roll music in the 1950s was initially dismissed by the church because it was believed to encourage sinfulness. Yet as evangelical churches adapted to appeal to more people, the musical styles used in worship changed as well by adopting the sounds of this popular style.^[2]

The genre became known as contemporary Christian music as a result of the Jesus movement revival in the latter 1960s and early 1970s,^[3] and was originally called Jesus music.^[4] "About that time, many young people from the sixties' counterculture professed to believe in Jesus. Convinced of the bareness of a lifestyle based on drugs, free sex, and radical politics, 'hippies' became 'Jesus people'".^[5] However, there were people who felt that Jesus was another "trip".^[5] It was during the 1970s Jesus movement that Christian music started to become an industry within itself.^[6] "Jesus Music" started by playing instruments and singing songs about love and peace, which then translated into love of God. Paul Wohlegemuth, who wrote the book Rethinking Church Music, said "[the] 1970s will see a marked acceptance of rock-influenced music in all levels of church music. The rock style will become more familiar to all people, its rhythmic excesses will become refined, and its earlier secular associations will be less remembered."^[7]

Styles

On this radio station you will find the following music styles;

Classical Music

Our focus is mainly on the Christian Classical Music.
The Article Classical Music on wikipedia however gives a good overview;

Classical music is art music produced or rooted in the traditions of Western music, including both liturgical (religious) and secular music. While a similar term is also used to refer to the period from 1750 to 1820 (the Classical period), this article is about the broad span of time from roughly the 11th century to the present day, which includes the Classical period and various other periods.^[1] The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period. The major time divisions of classical music are as follows: the early music period, which includes the Medieval (500–1400) and the Renaissance (1400–1600) eras; the Common practice period, which includes the Baroque (1600–1750), Classical (1750–1820), and Romantic eras (1804–1910); and the 20th century (1901–2000) which includes the modern (1890–1930) that overlaps from the late 19th-century, the high modern (mid 20th-century), and contemporary or postmodern (1975–2015) eras.^{[citation needed]}