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The articles heading the Radio Front Page

Category: Radio
Read Time: 5 mins
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   Philco EWCMI Radio Radio180
EWCMI Online Radio

Old Time Radio  Show
  Your Online Radio Alternative  
 The Great Gildersleeve
 Introduction  :
   The Great Gildersleeve (1941-1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton P. Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catch phrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of "Gildersleeve's Diary" on the Fibber McGee and Molly series (10/22/40).
He soon became so popular that Kraft Foods - looking primarily to promote its Parkay margarine spread - sponsored a new series with Peary's Gildersleeve as the central, slightly softened, and slightly befuddled focus of a lively new family.
  Voices / Artists : 
Role Artist Note
  Throckmorton P. Gildersleeve  Harold Peary
 Birdie Lee Coggins
Lillian Randolph Cook
 Marjorie Lurene Tuttle  Later played by Louise Erickson and mary Lee Robb
Leroy Walter Tetley  
Walter "Bronco" Thompson Richrd Crenna  
Horace Hooker Earle Ross The Judge
Richard Q. Peavey Richard LeGrand Pharmacist
Floyd Munson Arthur Q Bryan Barber (played by Mel Blanc in the first year)
Donal Gates Ken Christy Police Chief
great gildersleeve
Harold Peary as
Throckmorton P. Gildersleeve

Lillian randolph birdie 1955Lillian Randolph as
Birdie Lee Coggins
  Wiki Info : 
A key figure in the Gildersleeve home was (black) cook and housekeeper Birdie Lee Coggins (Lillian Randolph). In the first season, under writer Levinson, Birdie was often portrayed as less than intelligent, but she slowly developed as the real brains and caretaker of the household under Whedon and other writers.
Marjorie (originally played by Lurene Tuttle, later by Louise Erickson and Mary Lee Robb) matured to a young woman through the 1940s. During the ninth season (September 1949-June 1950) she met and married Walter "Bronco" Thompson (Richard Crenna), star football player at the local college. Look devoted five pages in its May 23, 1950, issue to the wedding. After living in the same household for a few years, the newlyweds moved next door.
Leroy (Walter Tetley), who remained age 10–11 during most of the 1940s, began to grow up in the spring of 1949, establishing relationships with the girls in the Bullard home across the street. He developed interests in driving, playing the drums and dreaming of a musical career.   
Outside the home, Gildersleeve's closest association was with the executor of his brother-in-law's estate, Judge Horace Hooker with whom he had many battles during the first few broadcast seasons. After a change in scriptwriters in January 1943, the confrontations slowly subsided and the two men became friends. During the second season, pharmacist Richard Q. Peavey (Richard LeGrand) and barber Floyd Munson (Mel Blanc for the first year, Arthur Q. Bryan from December 1942 onward) joined Gildersleeve's circle of acquaintances.

In the fourth season, these three friends, along with Police Chief Donald Gates (Ken Christy), formed the nucleus of the Jolly Boys Club, whose activities revolve around practicing barbershop quartet songs between sips of Coca-Cola.
Starting in mid-1952, some of the program's long-time characters (Judge Hooker, Floyd Munson, Marjorie and her husband, Bronco) were missing for months at a time. In their place were a few new ones (Mr. Cooley the Egg Man, and Mrs. Potter the hypochondriac) who would last only a month or so. By 1953, Gildersleeve's love life took center stage over his family and friends. His many love interests were constantly shifting, and women came and went with great frequency.
In 1954 the show's format changed drastically. After missing the fall schedule, it finally appeared in November as 15-minute episodes that aired five times a week. Only Gildersleeve, Leroy and Birdie remained on a continuing basis. All other characters were seldom heard, and gone were Marjorie and her family as well as the studio audience, live orchestra and original scripts.

  Decca Label
  Running Time :   August 31, 1941  -- 1958
  External Links :
Category: Radio
Read Time: 2 mins
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Iglesia De Jesucristo Palabra MielPalabra De Miel

While at a great and wonderful Concert of Paul Wilbur and the Austin Hispanic, Messianic Community in Austin Texas, we listened to the worship of Iglesia De Jesucristo Palabra Miel from Fullerton CA.
We are very proud to anounce that this wonderful group will be included within the play lists of EWCMI Online Radio as of January 2017.

Even when we had a very hard time understanding all that was said, the Holy Spirit moved in such a wonderful way that the flame of the anointing just sparked and filled the room and our hearts.

Thank you Iglesia De Jesucristo Palabra Miel

A Solas Con Dios

Canto De MI Amado

A Solas Con Dios Canto de Mi Amado
01 Canto de Mi Amado
02 La Bendicion de Jehova
03 Yo con gozo cantare
04 Elohim Adonai
05 Cantare a mi Senor
06 Jehova Vive
07 Comprados a Precio de Sangre
08 A pesar de mi
09 Que tu Palabra se haga Realidad en mi
10 Que grande y Maravilloso es pensar
11 Me Parece que fue ayer
12 La grandeza del Dios que tengo
13 Agradecimiento
14 Outro
01 Canto de Mi Amado
02 La Bendicion de Jehova
03 Yo con gozo cantare
04 Elohim Adonai
05 Cantare a mi Senor
06 Jehova Vive
07 Comprados a Precio de Sangre
08 A pesar de mi
09 Que tu Palabra se haga Realidad en mi
10 Que grande y Maravilloso es pensar
11 Me Parece que fue ayer
12La grandeza del Dios que tengo
13 Agradecimiento
Category: Radio
Read Time: 7 mins
Hits: 10008


On this radio station you will find the following music styles;
excerpt from a Jews for Jesus Article and Galilee of the Nations

Messianic Music

Music styles have changed over the years, but one thing does not change, and this is the association that we have with our memories.

Certain kinds of music will always resonate deeper with us than others. I enjoy the sound of Bob Marley, but I suspect that Get up, stand up, stand up for your rights" carries more meaning for Jamaicans from Marley's generation. I love Indian food, but it's not as familiar as my grandma's rugelach. Remember the scene in the film Ratatouille where the food critic is instantly transported back to the sounds and smells of his mother's home by eating one bite of ratatouille? Music is similar.

Some Background on Messianic Music

It was this resonance that made Messianic music in the 70s and 80s fresh, unique and instantly recognizable.
Joel Chernoff, Paul Wilbur and Stuart Dauermann were among those who produced an array of Messianic music that listeners both Jewish and non-Jewish could enjoy.
Often, they fused Eastern European Jewish minor chord progressions, danceable freilachs and Israel-focused lyrics.
It was a familiar, lively sound that is still pulsing through many Messianic congregations today.

When Jews for Jesus began in the early 70s, there were many young, talented Jewish believers who were seeking ways to express their Jewishness and their "Jesus-ness." Fortunately for the budding Messianic Jewish movement, they were encouraged to use their gifts. Some of this encouragement came from the churches who were interested in hearing fresh Jewish cultural expressions of faith.

At that time the landscape of the Jewish community was different than today.
Many Jewish believers had been raised within a first or second-generation Jewish immigrant community and were familiar with Eastern European Jewish culture.
Some had grown up with Yiddish-speaking parents or grandparents and many had firsthand experience of anti-Semitism.
Most were also first-generation in their faith and paid a price for following Y'shua, sometimes being cut off from family and friends.

Consequently, the Liberated Wailing Wall reflected American Jewish culture and the personal faith journeys of its members.
Much of the music reflected an Eastern European Jewish sound; the performances had a Fiddler on the Roof look and feel.
Though the team accomplished a lot, times have changed.
Today, fewer and fewer Jewish people relate to that kind of music.
The Jewish community has become increasingly diverse.
Sephardic Jewish culture, for example, has gotten belated recognition from Ashkenazic Jews.
Jewish people tend to be less connected than in previous generations to Eastern European shtetl culture.

Tuvya Zaretsky did his doctoral work on ministry to Jewish intermarried couples.
He noted that at the time he wrote, about 2004, the intermarriage rate among American Jews stood at around 50%, while in the case of cohabiting Jewish people, 81% lived with Gentiles.
The children of Jewish-Gentile couples also intermarried 75% of the time. Many of these Gentile partners had some kind of Christian background.

This means that for many Jewish people today, Jesus and the church are not as far removed from Jewish upbringing as they once were.
And intermarriage has broadened the ethnic diversity of the Jewish people.

Music, Worship and Truth

Throughout history, music has played an important role in worship, the expression of truth and the affirmation of peoplehood.
Jewish people have an especially rich history of musical expression. The Scriptures were memorized and meditated upon through chanting and singing.
Theological truths were often conveyed through the poetry.
The Psalms carried theological significance that was set to a meter and melody familiar to the people of Israel.
The work of the psalmists helped foster corporate Jewish identity and provided a context for approaching God's truth.
The Psalms served as the songbook of the worshiping people of God throughout the ages.

Songs memorialized God's faithfulness and the history of Israel. Psalm 98:1-9 called Israel to "sing a new song." Moses did just that upon crossing the Red Sea (Exodus 15:1–18). Deborah sang a victory song after the king of Canaan was killed (Judges 5:1–31). David sang a song of lament over the death of Saul and Jonathan in 2 Samuel 1:17–21.

We also find songs in the Good News. Mary bursts into praise in Luke 1:46-55 after being chosen to be the mother of the Messiah; Philippians 2:1-30 is considered one of the earliest New Testament hymns.

And many throughout history have continued to contribute to this tradition, from Syriac sacral music to Martin Luther, a music lover whose hymns such as "A Mighty Fortress is Our God" are still sung in churches around the world today.
The American Moravian movement, for instance, used music to express their faith, writing a huge corpus of sonnets and arias, many of which are highly esteemed by classical music listeners today.

Music and Social Change

Music has united people for social change. We see this in both the secular and Jewish arenas.
Sometimes the change is for the better, sometimes for the worse, but it is undeniable.

In the Jewish world, the Jewish national movement was spurred on by composers both in Israel and abroad.
The St. Petersburg Society for Jewish Folkmusic, founded in 1908, was comprised of graduates of the St. Petersburg and Moscow Conservatories who rediscovered their Jewish national roots and created a new genre of Jewish art music.
Numerous Israeli composers have been important in affirming Israeli identity, such as Paul Ben Haim, who was known for nationalistic themes.
Today, Matisyahu has raised the Jewish profile through his Hasidic image and as of late a return to a western image with a shaved, beardless face.

Music, a Catalyst for Personal Change

Music not only can bring about social change, but personal change as well. Sometimes it does this by bypassing the usual channels of information and truth.

Aaron Abramson wrote ;

When I was serving with Jews for Jesus in New York, I went to Yale University one summer for a time of outreach. There I met a Jewish student who was an English major.
He had been studying Milton's Paradise Lost and had become rather spiritually interested.
But ultimately it was the evocative Christian lyrics of an artist named David Bazan of the band Pedro the Lion that had raised the issue of Jesus in a way that caused him to pursue more answers. We were able to discuss the New Testament in more depth as a result.

Similarly, Moishe Rosen's wife Ceil became receptive to the gospel after listening to Christmas carols.
There was something about the music that made the truths of the gospel approachable for her.

A stylistic mix with a message

As we this history from Jews for Jesus on Messianic music we understand that the messianic music truly spans styles from Classical to Rock but with a deep root in the middle eastern sounds, in a language mixed with Hebrews and Jiddish.
Galilee of the Nations write;

While Jews and Christians everywhere commemorated the miracle of the restoration of the Jewish people to their Land, another restoration of sorts was also occurring there: the restoration of an ancient sound, one reminiscent of those that once echoed through the halls of King David's palace, and along the corridors of Solomon's temple—a harmony of harps and lyres, of trumpets and tambourines, of Levites singing Hodu L' Adonai Ki Tov (Give thanks to the Lord, for He is good) with the company of Israel replying, Ki L'Olam Chasdo (His mercy endures forever)" (Psalm 107, 118 and 136).

That restored sound would flourish by way of a newly-formed record label, Galilee of the Nations (GOTN) and its inaugural Messianic praise and worship album, Adonai.
This was the first project of its kind, a first-rate production featuring Messianic recording artists from the Land of Israel, including Karen Davis, Barry and Batya Segal, Esther "Eti" Horesh and others. The compilation received immediate international acclaim, securing distribution in 160 countries and selling over 250,000 CDs—and still counting.

Category: Radio
Read Time: 2 mins
Hits: 13416

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Sheep Laughs Comedy Show

The Sheep Laughs Comedy Show is a weekly 15 minute professionally- produced and family-friendly variety radio show, featuring clean comedy by Christian comedians. Standup, skits and songs, all under one hoof!

fredpassmoreFred Passmore

Produced by long-time radio and comedy veteran Fred Passmore, of Sheep Laughs Records, The Sheep Laughs Comedy Show is available for radio airplay, for listening while on this page, or for downloading to your iPod to take along with you.

Each week, you can enjoy a new fifteen minute program that showcases a wide range of Christian comedy talent. There's a lot of dedicated talent out there... and Fred is rounding it up and herding it all together for you to enjoy.


Jeremiah the Janitor


Plus, you'll be "swept away" by the janitor with the jokes, "Jeremiah,"

heard just about every week on the program!Beginning with program #10, Jeremiah often stops by the studio ("coincidentally" only while I'm taping) to tell one of his humorous stories, as only he can!


All this now from Monday to Friday at 02 AM and 02 PM CST on your own Eagle Wings Online Radio.

With thanks to Fred Passmore for providing this Great Clean, Christian Fun.

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