Helen Bertram was an American actress and singer in comic opera and musical theatre. She was known for her tumultuous private life. Lula May Burt was born in 1865 in Tuscola, the daughter of William Neal Burt and Caroline Burr Burt, she was raised in Indianapolis, Indiana. She studied voice with Tecla Vigna at the Cincinnati Conservatory of Music. Bertram sang in comic opera with the Emma Abbott Opera Company, the Heinrich Conried Opera Company, the Bostonians, the McCaull Comic Opera Company, Henry E. Abbey's English Opera Company, the Carl Rosa Opera Company, her roles included Selena in Mignon, Serpolette in The Chimes of Normandy, Arline in The Bohemian Girl, Adalgisa in Norma, Prince Julius in The King's Fool, Farina in The Tar and the Tartar, Stella in Clover. On Broadway, she appeared in musicals Robin Hood, The Viceroy, Foxy Quiller, The Prince of Pilsen, The Gingerbread Man, The Land of Nod and the Song Birds, again in Robin Hood. Bertram appeared in two films, The Lightning Conductor, a silent picture which included her daughter in the cast, Rhythm on the River, with Bing Crosby and Mary Martin.
She appeared in vaudeville shows. She and her daughter were both active in the suffrage movement in Los Angeles. Events in Helen Bertram's private life were detailed in newspapers, including adultery, divorce and bankruptcy. Among her reported eccentricities, she wore a gold locket or chamois pouch containing her second husband's ashes, for several years after his death. Bertram married three times, to Italian musician Achille Tomasi, English actor Edward J. Henley, a younger brother of poet William Ernest Henley, English actor Edward J. Morgan, she divorced Tomasi. She had one daughter with Tomasi and screenwriter Rosina Henley, who took and kept her stepfather's name. Bertram moved to Los Angeles in 1910. Helen Bertram died in 1953, aged 88 years, in Los Angeles. Helen Bertram on IMDb Helen Bertram at the Internet Broadway Database Helen Bertram in the Library of Congress Newspaper Archives A cigarette card featuring Helen Bertram, in the George Arents Collection, New York Public Library Digital Collections
How Opal Mehta Got Kissed, Got Wild, Got a Life is a young adult novel by Kaavya Viswanathan, who wrote it just after she graduated from high school. Its 2006 debut was publicized while she was enrolled at Harvard University, but the book was withdrawn after it was discovered that portions had been plagiarized from several sources, including the works of Salman Rushdie and Meg Cabot. Viswanathan apologized and said any similarities were "completely unintentional and unconscious." All shelf copies of Opal Mehta were recalled and destroyed by the publisher, Viswanathan's contract for a second book was canceled. While attending Bergen County Academies, Viswanathan showed her writing – including a several-hundred-page novel on Irish history she had completed – to Katherine Cohen of IvyWise, a private college admissions consultancy which Viswanathan's parents had hired to help with their daughter's application process. Through Cohen, Viswanathan was signed by the William Morris Agency under senior agent and William Morris partner Jennifer Rudolph Walsh and referred to book packaging company 17th Street Productions, a media firm responsible for packaging the Gossip Girl and The Sisterhood of the Traveling Pants book series, among others.
On the basis of an outline and four chapters of the novel that would become Opal Mehta, Viswanathan signed a two-book deal with Little and Company for an advance reported to be $500,000. She began writing the book the summer before college, finished it during her freshman year at Harvard College, while taking a full course load. Opal Mehta was published on April 4, 2006, Viswanathan was profiled by The New York Times on April 6, 2006. Opal Mehta centers on an academically oriented Indian-American girl who, after being told by a Harvard College admissions officer that she is not well-rounded, doggedly works to become a typical American teen: ultrasocial, shopping- and boy-driven, carelessly hip. With Publishers Weekly calling the book "Legally Blonde in reverse," Viswanathan stated that her own college prep experience had inspired the novel: "I was surrounded by the stereotype of high-pressure Asian and Indian families trying to get their children into Ivy League schools." When asked about her influences in an interview given to The Star-Ledger of Newark, New Jersey, Viswanathan responded that "nothing I read gave me the inspiration" to write the novel.
Michael Pietsch told The New York Times that Viswanathan’s advance for her two-book deal was less than the publicized amount of $500,000, that it was split between the author and Alloy Entertainment. Alloy President Leslie Morgenstein asserted that while the firm helped Viswanathan "conceptualize and plot the book," it did not help with the actual writing. Though Alloy was no longer involved once the book was sold to Little, the company shares the copyright with Viswanathan, her agent Walsh told The New York Times that the plot and writing of Opal Mehta had been "1,000 percent" Viswanathan's. The novel was edited by Asya Muchnick at Little and the movie rights to the book were sold to DreamWorks SKG in February 2006. Opal Mehta garnered mixed reviews, many of which described Viswanathan as an author of "chick lit." On April 23, 2006, The Harvard Crimson reported that several portions of Opal Mehta appeared to have been plagiarized from Megan McCafferty's first two "Jessica Darling" novels, Sloppy Firsts and Second Helpings, noting over a dozen similar passages.
At the time, Viswanathan's novel had reached 32nd on The New York Times's hardcover fiction bestseller list. McCafferty's third Jessica Darling novel, Charmed Thirds, had just been released a week after Opal Mehta, was No. 19 on the same list. McCafferty stated that she had learned about Viswanathan's plagiarism through a fan's e-mail on April 11, 2006, the same day Charmed Thirds was released and nearly two weeks before the story went public. According to McCafferty, the email's subject read: "'Flattery or a case for litigation.' I thought, oh my God, somebody's suing me." Prompted by the email's allegations, McCafferty looked at Opal Mehta and said that reading Viswanathan's book was like "recognizing your own child's face. My own words were just leaping out at me page after page after page." Contacted by the Crimson the day before they broke the story, McCafferty responded via email, “I’m aware of this situation, so is my publisher... After reading the book in question, finding passages and plot points in common, I do hope this can be resolved in a manner, fair to all of the parties involved.”On April 24, 2006, Brown issued a statement from Viswanathan: "When I was in high school, I read and loved two wonderful novels by Megan McCafferty, Sloppy Firsts and Second Helpings, which spoke to me in a way few other books did.
I was surprised and upset to learn that there are similarities between some passages in my novel... and passages in these books... While the central stories of my book and hers are different, I wasn't aware of how much I may have internalized Ms. McCafferty's words. I am a huge fan of her work and can say that any phrasing similarities between her works and mine were unintentional and unconscious. My publisher and I plan to revise my novel for future printings to eliminate any inappropriate similarities... I sincerely apologize to Megan McCafferty and to any who feel they have been misled by these unintentional errors on my part." Viswanathan's agent Walsh stated, "Knowing what a fine person Kaavya is, I believe any similarities were unintentional. Teenagers tend to adopt each other's language." The day after Viswanathan's admis
The Reatards were an American garage punk band formed in Memphis, Tennessee, in 1995. A one-man project by guitarist Jay Reatard, the group's sound was marked by raw, stripped-down instrumentals and lo-fi recording quality. After distributing pressed cassettes and EPs, most notably Fuck Elvis, Here's the Reatards, the band released their debut album Teenage Hate in 1998, followed by Grown Up, Fucked Up a year later. By 1999, the group only sporadically performed as Reatard began exploring other endeavors, but in 2005 he reformed the band for their third and final studio album. Much of the Reatards' discography remains a subject of interest, leading to reissues of their work years later. Credited with directly inspiring his sojourn into music, the garage punk band the Oblivians' crude style motivated Jay Reatard to form his own one-man band, the Reatards, to record homemade demo tapes influenced by the Oblivians' distorted, lo-fi garage sound, his earliest recordings, completed when Reatard was 15 years-old, are primitive.
Reatard was so enamoured with the Oblivians' music, he sent their guitarist Eric Friedl some of his home recordings, impressing Friedl enough to arrange a record deal on his independent label, Goner Records. In 1997, Goner distributed the Reatards' debut EP, titled Get Real Stupid, which featured four brief tracks with a running time under seven minutes. Another Oblivians member, drummer Greg Cartwright, was impressed by Reatard's recordings and joined him for his second EP, Fuck Elvis, Here's the Reatards. By 1998, the Reatards evolved into a more proper band with the inclusion of guitarist Steve Albundy "Reatard" and drummer Ryan Elvis "Wong Reatard"; the trio recorded and released their first studio album Teenage Hate, an assortment of gritty and manic punk fare, in the same year. Music critic Mark Deming described the album's sound as "teenage angst at its harshest", as well as "simple, but they're memorable, with actual hooks and bellow-along choruses to go with the heavyweight crash of the guitars and feral vocals".
Along with band originals, Teenage Hate includes cover versions of Fear, the Dead Boys, Buddy Holly. The Reatards released two more EPs in 1998 and 1999, Get Out of Our Way and Your So Lewd, before distributing the band's second studio album Grown Up, Fucked Up on Empty Records, in November 1999; the album was as primitive, albeit more structurally sound, as Teenage Hate but came at a time that the group was competing for time with Reatard's other side projects, most notably the Lost Sounds. Deming notes Grown Up, Fucked Up as a transitional album where "one can hear faint clues of the somewhat more sophisticated music he would make with Lost Sounds and as a solo artist". In the same year, before committing to other bands, the Reatards toured the West coast and Europe; when the Lost Sounds disbanded in 2005, Reatard reformed the Reatards to play live shows, release the group's third and final studio album, Not Fucked Enough, on Empty Records. However, the Reatards broke up for the last time a year as Reatard embarked on a solo career.
When Reatard unexpectedly died in 2010 at age 29, much of his work was reissued systematically after his death, including his recordings with the Reatards. In 2011, a deluxe version of Teenage Hate was released on CD with Fuck Elvis, Here's the Reatards. Reflecting on Teenage Hate and Reatard's most recent albums, David Bevan of Pitchfork said "All the energy one could hear in Reatard's better-known work is here in its rawest, most volatile form"; the group's second album, Grown Up, Fucked Up, was redistributed in 2015. Jay Reatard – Lead vocals, drums Steve Albundy "Reatard" – guitar, vocals Ryan Elvis "Wong Reatard" – drums, vocals Teenage Hate Grown Up, Fucked Up Bed Room Disasters Live Not Fucked Enough Get Out of Our Way Untitled Plastic Surgery "Get Real Stupid" – Goner Records, 1997 "You're So Lewd" – Empty Records, 1999 "Totally Shattered" – Ken Rock, 2005 "I Lie Too" – Zaxxon Records, 2006
Institut Mines-Télécom is a French public academic institution dedicated to Higher Education and Research for Innovation in the fields of engineering and digital technology, organized as a Collegiate University. Created in 1996, it was known as the "Groupe des écoles des télécommunications", or GET, followed by the "Institut Télécom"; the Mines schools, which were placed under the administrative supervision of the Ministry of Industry, joined the Institut in March 2012 when it took on its current name and gained the status of Grand établissement. It combines high academic and scientific legitimacy with a practical proximity to business and a unique positioning in 3 major transformations of the 21st century: Digital Affairs and Ecology, Industry, its training and research for innovation are rolled out in the Mines and Télécom Graduate Schools. The Institut falls under the administrative aegis of the General Council for the Economy, Industry and Technologies. Institut Mines-Télécom is a founding member of the Industry of the Future Alliance and the University of Paris-Saclay.
It has two Carnot Institutes. Every year around one hundred startup companies leave its incubators; the schools are accredited by the Commission des Titres d'Ingénieur to deliver the French Diplôme d'Ingénieur. In 1996, the France Télécom monopoly in telecommunications ended; the group of telecommunications schools was established in the form of an Établissement public à caractère administratif, for the purpose of managing the three schools: the École nationale supérieure des télécommunications. The group was renamed the "Institut Télécom" in 2008. On 1 March 2012, it was renamed the "Institut Mines-Télécom" and converted to an EPCSCP - Grand Établissement; the six Mines schools under the supervision of the Ministry for the Economy and Industry joined the Institut by convention. Institut Mines-Télécom is composed of eight schools: IMT Atlantique in Brest, Rennes and Toulouse, École des Mines-Télécom de Lille-Douai in Lille and Douai Télécom ParisTech in Paris and Sophia Antipolis Télécom SudParis in Évry IMT Mines Albi-Carmaux IMT Mines Alès École nationale supérieure des mines de Saint-Étienne Institut Mines-Télécom Business School in Évry and Paris Institut Mines-Télécom maintains close relations with strategic partners: ARMINES, research organization specific to the Mines schools École nationale supérieure des mines de Nancy, dependent on the Ministry of National Education EURECOM.
InSIC. Institut Mines-Télécom includes eleven associate schools: Télécom Nancy in Nancy. Télécom Saint-Étienne in Saint-Étienne. Télécom Physique Strasbourg in Strasbourg. ENSEIRB-MATMECA in Bordeaux. Sup'Com in Tunis. INP-ENSEEIHT in Toulouse. ENSIIE in Évry and Strasbourg. ENSG in Nancy IFMA in Clermond-Ferrand ESIGELEC in Saint-Étienne du Rouvray Grenoble École de Management in Grenoble ENIB in Brest Institut Mines-Télécom is a member of several PRES ParisTech through its Télécom ParisTech and Mines ParisTech schools which are founding members Paris Sciences et Lettres - Quartier latin via Mines ParisTech Université européenne de Bretagne via Télécom Bretagne Université de Lyon via Mines Saint-Étienne UniverSud Paris via Télécom École de Management and Télécom SudParis Université de Toulouse and Toulouse Tech via Mines Albi Université Montpellier Sud de France via Mines Alès University of Lille via the École des Mines-Télécom de Lille-Douai. Université Nantes Angers Le Mans via the École nationale supérieure des mines de Nantes.
The Institut is a member of the Plateau de Saclay Scientific Cooperation Foundation. A mobility agreement enables students of Institut Mines-Télécom schools to complete their 3rd year of study at a different school within the Institut Mines-Télécom; the agreement involves the 10 schools of the Institut Mines-Télécom, its 2 affiliate schools, Eurecom and Télécom Lille 1, its strategic partner, Mines Nancy. Students have access to the subjects available at each school. Grands établissements Grandes écoles Institut Mines-Télécom site Décret du 27 décembre 1996 Ministère délégué à l'Enseignement supérieur et à la Recherche
Blue Lou is an album led by drummer Louis Hayes, recorded in 1993 and released on the Danish SteepleChase label. "Blue Lou" – 6:29 "Quiet Fire" – 10:15 "Honey Dip" – 7:12 "Lament for Love" – 6:52 "The Walk" – 9:56 "Sweet and Lovely" – 9:36 "New Endings" – 7:55 "Spur of the Moment" – 7:15 Louis Hayes – drums Eddie Allen – trumpet Gerald Hayes – alto saxophone Javon Jackson – tenor saxophone Ronnie Mathews – piano Clint Houston – bass