EIAJ-1 Format Videotape

Sony 1/2 inch VTR, Model A3500 at DC Video, [1],
Media type	Magnetic Tape
Encoding	NTSC, PAL
Developed by	Sony
Usage	Home movies, Industrial & educational video production

EIAJ-1, developed by the Electronic Industries Association of Japan (in conjunction with several Japanese electronics manufacturers) in 1969, was the first standardized format for industrial/non-broadcast videotape recorders (VTRs). It was developed in response to most non-broadcast industrial VTRs on the market at the time relying on proprietary formats exclusive to the make (and sometimes model) of VTR, instead of using an industry-standard format. As a result, video tapes recorded on one make and/or model of VTR could only be interchanged with the same, hampering compatibility. EIAJ-1 did away with all of this, giving those manufacturers a standardized format interchangeable with almost all the VTRs that they manufactured.

The EIAJ-1 standard paved the way for consumer oriented non-professional analog recording technology to become more affordable and widespread, with many businesses, schools, government agencies, hospitals, and even some consumers to immediately adopt the format in the early 1970s. Some of the first public-access television stations that went on the air in that same era also used EIAJ-1 extensively, due to its portability, low cost, and versatility.

The format offered black-and-white (and later colour) video recording and playback on 1/2" magnetic tape on a 7"-diameter open reel, with portable units using smaller 5"-diameter reels. Another version, EIAJ-2, was released that used a single-reel cartridge (with the take-up reel being built-in to the VTR) instead of an open reel (otherwise it was the same as EIAJ-1).

External links[link]

• Information & specifications on EIAJ-1
• - DC Video 1/2 VTR page
• - Video interchange change video history on EIAJ 1/2" Half Inch Open Reel Video Tape
• - Information & specifications on Sony EIAJ-1
• - Experimental TV Center Panasonic 1/2" specs
• - Sony CV Series Video information

June Rose Callwood, CC OOnt (June 2, 1924 – April 14, 2007) was a Canadian journalist, author and social activist. She was born in Chatham, Ontario and grew up in nearby Belle River.^[1][2]

Early life and career[link]

Callwood began her journalism career at Brantford Collegiate Institute, her high school, where she was editor of the school paper. She dropped out of school to work for the Brantford Expositor. In 1942, she was offered a job with The Globe and Mail and moved to Toronto. She married journalist Trent Frayne two years later, but continued to use her own surname because The Globe and Mail at that time did not employ married women.^[3]

She ultimately left the Globe and Mail to raise a family but later resumed her career by becoming a freelance journalist, writing books and magazine pieces, many for Maclean's. Callwood ghost-wrote close to ten autobiographies for such prominent Americans as broadcaster Barbara Walters, film director Otto Preminger and Dr. Charles William Mayo.^[4] Frayne and Callwood also hosted the CBC Television talk show The Fraynes in the 1954-55 television season.

Callwood later entered television journalism, hosting the series In Touch on CBC Television from 1975 to 1978. She also hosted two series, National Treasure and Caregiving with June Callwood, for Vision TV.

Callwood's career was marked by a strong concern for social justice, especially on issues affecting children and women. She became one of Canada's most famous social justice activists, founding or co-founding over 50 Canadian social action organizations including youth and women's hostels. She founded Casey House (a Toronto hospice for people with AIDS), PEN Canada, the Canadian Civil Liberties Association, and Feminists Against Censorship.^[5]

In 1978, she was made a member of the Order of Canada. She was promoted to Officer in 1985, and promoted again to Companion in 2000.^[6] In 1988, she was awarded the Order of Ontario. In 2004, the City of Toronto noted its intention to name a street in Callwood's honour. Callwood requested that an existing street not be renamed for her, and specified that it be a new or currently unnamed street near a school or a playground. The street is June Callwood Way and is in the neighbourhood of Queen Street East and Broadview Avenue.

In 2004, Callwood went public about her battle with cancer. She refused treatment and continued to be active until she succumbed to the disease in the morning of April 14, 2007. Callwood was last seen on TV on April 2, 2007 in the CBC show The Hour, interviewed by George Stroumboulopoulos.^[3]

In July 2005, a Toronto park ^[7] was named after Callwood. A professorship in social justice was also established at Victoria College, University of Toronto in her honour.^[8] A biography, written by Anne Dublin and entitled June Callwood: A Life of Action, was published in March 2007.

Personal life[link]

Callwood and Frayne had four children together: two daughters and two sons. The daughters are noted authors Jesse and Jill Frayne, and the elder son is Brant Frayne. The second son and youngest child, Casey Frayne, was killed on April 19, 1982, when he was 20 years old, by a drunk driver ^[9] on Highway 401 as he returned home from Queen's University. Callwood's death came only days before the 25th anniversary of her son's death.

Callwood had one sister, Jane Labbe (née Callwood) who lives with her husband Marcel Labbe in Northern Ontario.

Callwood had five grandchildren: Marie, Emma, Lucy, and Jack Manchester (children of Jesse); and Bree Fitzgerald (daughter of Jill).

Callwood obtained her pilot's licence in the late 1940s^[5] and maintained the licence throughout her life.^[3]

Callwood was an atheist throughout life. She stated in a very last interview that she still did not believe in God nor an afterlife, but instead believed in kindness.

Selected works[link]

• Love, Hate, Fear and Anger — 1964
• Canadian Women and the Law — 1974
• The Law Is Not for Women — 1976
• Emma — 1984
• Emotions — 1986
• Twelve Weeks in Spring — 1986
• Jim: A Life With AIDS — 1988
• The Sleepwalker — 1990
• Portrait of Canada — 1991
• Trial Without End — 1994
• June Callwood's National Treasures — 1994
• The Man Who Lost Himself: The Terry Evanshen Story — 2000 (about CFL player Terry Evanshen)

Notes and references[link]

External links[link]

• Casey House website
• June Callwood Centre for Women and Families
• June Callwood biography at Library and Archives Canada
• CBC Digital Archives – June Callwood: Canada's Conscience
• Globe and Mail obituary: Journalist, Activist June Callwood Dies at 82
• CBC Obituary
• CityNews Obituary retrieved April 14, 2007
• Toronto Star Obituary retrieved April 14, 2007

Related video[link]

• June Callwood interviewed about assisted suicide, CBC News: The Hour, November 16, 2005
• June Callwood's last interview, on The Hour, April 2, 2007

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2009)

Jack Teagarden
Photo by Ralph F. Seghers
Background information
Birth name	Weldon Leo "Jack" Teagarden
Also known as	Vernon, Texas
Born	(1905-08-20)August 20, 1905 New Orleans, Louisiana
Died	January 15, 1964(1964-01-15) (aged 58)
Genres	Jazz
Occupations	Bandleader, trombonist, composer, vocalist
Instruments	trombone, vocalist
Years active	1927–1964
Associated acts	Peck Kelley Louis Armstrong Earl Hines Benny Goodman Bix Beiderbecke Glenn Miller Paul Whiteman

Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964), known as "Big T" and "The Swingin' Gate", was an influential jazz trombonist, bandleader, composer, and vocalist, regarded as the "Father of Jazz Trombone".^[1]

Early life[link]

Born in Vernon, Texas, his brothers Charlie and Clois "Cub" and his sister Norma also became noted professional musicians. Teagarden's father was an amateur brass band trumpeter and started young Jack on baritone horn; by age seven he had switched to trombone. He first heard jazz music played by the Louisiana Five and decided to play in the new style.

Career[link]

Teagarden's trombone style was largely self-taught, and he developed many unusual alternative positions and novel special effects on the instrument. He is usually considered the most innovative jazz trombone stylist of the pre-bebop era, and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists was his ability to interject the blues or merely a "blue feeling" into virtually any piece of music.

By 1920 Teagarden was playing professionally in San Antonio, including with the band of pianist Peck Kelley. In the mid 1920s he started traveling widely around the United States in a quick succession of different bands. In 1927, he went to New York City where he worked with several bands. By 1928 he played for the Ben Pollack band.

Within a year of the commencement of his recording career, he became a regular vocalist, first doing blues material ("Beale Street Blues", for example), and later doing popular songs. He is often mentioned as one of the best white male jazz vocalists of the era; his singing style is quite like his trombone playing, in terms of improvisation (in the same way that Louis Armstrong sang quite like he played trumpet). His singing is best remembered for duets with Louis Armstrong and Johnny Mercer.

In the late 1920s he recorded with such notable bandleaders and sidemen as Louis Armstrong, Benny Goodman, Bix Beiderbecke, Red Nichols, Jimmy McPartland, Mezz Mezzrow, Glenn Miller, and Eddie Condon. Glenn Miller and Teagarden collaborated to provide lyrics and a verse to Spencer Williams' Basin Street Blues, which in that amended form became one of the numbers that Teagarden played until the end of his days.

In the early 1930s Teagarden was based in Chicago, for some time playing with the band of Wingy Manone. He played at the Century of Progress exposition in Chicago. Teagarden sought financial security during the Great Depression and signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. The contract with Whiteman's band provided him with financial security but prevented him from playing an active part in the musical advances of the mid-thirties swing era.

Teagarden then started leading his own big band. Glenn Miller wrote the song "I Swung the Election" for him and his band in 1939.^[2] In spite of Teagarden's best efforts, the band was not a commercial success, and he was brought to the brink of bankruptcy.

In 1946 Teagarden joined Louis Armstrong's All Stars. Armstrong and Teagarden's work together shows a wonderful rapport, in particular their duet on "Rockin' Chair". In late 1951 Teagarden left to again lead his own band, then co-led a band with Earl Hines, then again with a group under his own name with whom he toured Japan in 1958 and 1959.

From left: Jack Teagarden, Sandy DeSantis, Velma Middleton, Fraser MacPherson, Cozy Cole, Arvell Shaw, Earl Hines, Barney Bigard. At the Palomar Supper Club, March 17, 1951.

Teagarden appeared in the movies Birth of the Blues (1941), The Strip (1951), The Glass Wall (1953), and Jazz on a Summer's Day (1960), the latter a documentary film of the 1958 Newport Jazz Festival. He was an admired recording artist, featured on RCA Victor, Columbia, Decca, Capitol, and MGM Records discs. As a jazz artist he won the 1944 Esquire magazine Gold Award, was highly rated in the Metronome polls of 1937-42 and 1945, and was selected for the Playboy magazine All Star Band, 1957-60.

Teagarden was the featured performer at the Newport Jazz Festival of 1957. Saturday Review wrote in 1964 that he "walked with artistic dignity all his life," and the same year Newsweek praised his "mature approach to trombone jazz."

Richard M. Sudhalter writes (in 'Lost Chords: White Musicians and Their Contribution to Jazz', Oxford University Press, 1999): "The late trumpet player Don Goldie, who spent four years in Teagarden's band and had known him since childhood said that he 'always got a feeling that a lot of happiness was locked away inside Jack, really padlocked, and never came out..."

"Jack Teagarden died, alone, of a heart attack complicated by bronchial pneumonia in his room at the Prince Conti Hotel in the French Quarter of New Orleans on January 15, 1964. He was only 58. "I sometimes think people like Jack were just go-betweens," Bobby Hackett told a friend. "The Good Lord said, 'Now you go and show 'em what it is', and he did. I think everybody familiar with Jack Teagarden knows that he was something that happens just once. It won't happen again. Not that way..."

"...Connie Jones, the New Orleans cornetist working with Jack Teagarden at the time of the trombonist's death, was a pallbearer for the wake, held at a funeral parlor on leafy St. Charles Avenue: 'I remember seeing him there in a coffin, a travelling coffin. They were going to fly him to Los Angeles for burial right after that. The coffin was open and I remember thinking 'Boy he really looks uncomfortable in there'.

"'Not that he was that tall. Maybe five foot ten or so, at most. But he was kinda wide across the shoulders - and most of all he just gave you the impression he was a big man, in every way. In that coffin, - well, I can't really explain it, but he seemed to be scrunched up into a space that was too small to contain him'".

He was buried at Forest Lawn Memorial Park, Hollywood Hills in Los Angeles, California.

The coda of Teagarden's recording career is the album Think Well of Me, recorded in January 1962 and made up of his singing and trombone playing, accompanied by strings, on compositions by his old musical associate Willard Robison: available on Verve CD 314 557 101-2.

Compositions[link]

Jack Teagarden's compositions included "I've Got 'It'" with David Rose, "Shake Your Hips", "Big T Jump", "Swingin' on the Teagarden Gate", "Blues After Hours", "A Jam Session at Victor", "It's So Good", "Pickin' For Patsy" with Allan Reuss, "Texas Tea Party" with Benny Goodman, "I'm Gonna Stomp Mr. Henry Lee" with Eddie Condon, "Big T Blues", "Dirty Dog", "Makin' Friends" with Jimmy McPartland, "That's a Serious Thing", and "Jack-Armstrong Blues" with Louis Armstrong, recorded on December 7, 1944 with the V-Disc All-Stars and released as V-Disc 384A.

Honors[link]

In 1985, Jack Teagarden was inducted into the Big Band and Jazz Hall of Fame.

See also[link]

• Red River Valley Museum

References[link]

External links[link]

Wikimedia Commons has media related to: Jack Teagarden

• Jack Teagarden discography (Music City)
• Jack Teagarden - A short Biography
• Jack Teagarden at the Internet Movie Database
• Jack Teagarden: Photos & Gravesite
• http://www.jackteagarden.info/