Wednesday, April 3, 2013

Symbiotic bacteria program daily rhythms in squid using light and chemicals

Symbiotic bacteria program daily rhythms in squid using light and chemicals [ Back to EurekAlert! ] Public release date: 2-Apr-2013
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Contact: Jim Sliwa
jsliwa@asmusa.org
202-942-9297
American Society for Microbiology

Glowing bacteria inside squids use light and chemical signals to control circadian-like rhythms in the animals, according to a study to be published on April 2 in mBio, the online open-access journal of the American Society for Microbiology. The Hawaiian bobtail squid, Euprymna scolopes, houses a colony of Vibrio fischeri bacteria in its light organ, using the bacteria at night as an antipredatory camouflage while it ventures out to hunt. The results of the study show that, in addition to acting as a built-in lamp, the bacteria also control when the squid expresses a gene that entrains, or synchronizes, circadian rhythms in animals.

"To our knowledge, this is the first report of bacteria entraining the daily rhythms of host tissues," says corresponding author Margaret McFall-Ngai of the University of Wisconsin - Madison. If bacteria can entrain daily rhythms in an animal, McFall-Ngai says, it's reasonable to think these influences will eventually be found in other animals. It's possible that microbial partners in the human gut, for instance, could similarly influence human daily rhythms through chemical signaling.

Like all animals, squids make proteins that set their inner clock to environmental light. E. scolopes produces two of these "light entrainment" proteins (cryptochromes, or CRYs), and one is regulated in the squid's head, just like every other animal. McFall-Ngai and her co-authors noticed that escry1, the gene that encodes the other protein, is most highly expressed in the light organ, where the squid houses its glowing bacterial symbionts. "The animal uses the luminescence in the evening, so the luminescence is greatest at night. The gene escry1 cycles with the bioluminescence of the animal and not with environmental light," says McFall-Ngai.

But is it the bacterial luminescence that synchronizes the cycling, or is it the bacteria themselves? It's both, says McFall-Ngai.

The bacteria are necessary for cycling, she says, since squid grown without their bacterial symbionts do not cycle their expression of escry1, and mimicking the bacterial light with a blue light did not induce the cycling.

And they showed that the light is also necessary, because squids grown with defective V. fischeri symbionts that lack the ability to luminesce didn't cycle their expression of escry1 either. With light-defective bacteria in their light organs, squids exposed to the blue light got back on track, cycling escry1 production as usual.

What is it about the bacteria that could be signaling to the squid? Long experience taught McFall-Ngai where to turn next: microbe-associated molecular patterns (MAMPs), molecules that signal the presence of microbes to other creatures. "In this system we have found again and again that bacterial surface molecules are active at inducing all kinds of cellular behavior in the host," says McFall-Ngai.

Her hunch was right. MAMPs plus light turned cycling on. In squid grown without symbionts, light, combined with MAMPs (either the lipid A component of lipopolysaccharide or the peptidoglycan monomer), could induce some degree of cycling. The squid did not respond fully, though, maybe because the MAMPs were only injected into their seawater habitat, not presented directly to the light organ.

The fact that a bacterium can control a daily rhythm in a squid is exciting for other areas of biology, says McFall-Ngai, because all animals, including humans, have clock genes like escry1.

"Recently, in two different studies, biologists have found that there is profound circadian rhythm in both the epithelium [of the human gut] and the mucosal immune system of the gut that is controlled by these clock genes. What are we missing? Are the bacteria affected by or inducing the cycling of the tissues with which they associate?" We don't know," says McFall-Ngai, but it's an area ripe for study.

Moving forward with the squid symbiosis, McFall-Ngai says her lab will try to tie in the transcription of escry1 with cycling in the squid's metabolism to see what changes the squid actually experiences while it's under the spell of its bacterial symbionts.

###>

mBio is an open access online journal published by the American Society for Microbiology to make microbiology research broadly accessible. The focus of the journal is on rapid publication of cutting-edge research spanning the entire spectrum of microbiology and related fields. It can be found online at http://mbio.asm.org.

The American Society for Microbiology is the largest single life science society, composed of over 39,000 scientists and health professionals. ASM's mission is to advance the microbiological sciences as a vehicle for understanding life processes and to apply and communicate this knowledge for the improvement of health and environmental and economic well-being worldwide.


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AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert! system.


Symbiotic bacteria program daily rhythms in squid using light and chemicals [ Back to EurekAlert! ] Public release date: 2-Apr-2013
[ | E-mail | Share Share ]

Contact: Jim Sliwa
jsliwa@asmusa.org
202-942-9297
American Society for Microbiology

Glowing bacteria inside squids use light and chemical signals to control circadian-like rhythms in the animals, according to a study to be published on April 2 in mBio, the online open-access journal of the American Society for Microbiology. The Hawaiian bobtail squid, Euprymna scolopes, houses a colony of Vibrio fischeri bacteria in its light organ, using the bacteria at night as an antipredatory camouflage while it ventures out to hunt. The results of the study show that, in addition to acting as a built-in lamp, the bacteria also control when the squid expresses a gene that entrains, or synchronizes, circadian rhythms in animals.

"To our knowledge, this is the first report of bacteria entraining the daily rhythms of host tissues," says corresponding author Margaret McFall-Ngai of the University of Wisconsin - Madison. If bacteria can entrain daily rhythms in an animal, McFall-Ngai says, it's reasonable to think these influences will eventually be found in other animals. It's possible that microbial partners in the human gut, for instance, could similarly influence human daily rhythms through chemical signaling.

Like all animals, squids make proteins that set their inner clock to environmental light. E. scolopes produces two of these "light entrainment" proteins (cryptochromes, or CRYs), and one is regulated in the squid's head, just like every other animal. McFall-Ngai and her co-authors noticed that escry1, the gene that encodes the other protein, is most highly expressed in the light organ, where the squid houses its glowing bacterial symbionts. "The animal uses the luminescence in the evening, so the luminescence is greatest at night. The gene escry1 cycles with the bioluminescence of the animal and not with environmental light," says McFall-Ngai.

But is it the bacterial luminescence that synchronizes the cycling, or is it the bacteria themselves? It's both, says McFall-Ngai.

The bacteria are necessary for cycling, she says, since squid grown without their bacterial symbionts do not cycle their expression of escry1, and mimicking the bacterial light with a blue light did not induce the cycling.

And they showed that the light is also necessary, because squids grown with defective V. fischeri symbionts that lack the ability to luminesce didn't cycle their expression of escry1 either. With light-defective bacteria in their light organs, squids exposed to the blue light got back on track, cycling escry1 production as usual.

What is it about the bacteria that could be signaling to the squid? Long experience taught McFall-Ngai where to turn next: microbe-associated molecular patterns (MAMPs), molecules that signal the presence of microbes to other creatures. "In this system we have found again and again that bacterial surface molecules are active at inducing all kinds of cellular behavior in the host," says McFall-Ngai.

Her hunch was right. MAMPs plus light turned cycling on. In squid grown without symbionts, light, combined with MAMPs (either the lipid A component of lipopolysaccharide or the peptidoglycan monomer), could induce some degree of cycling. The squid did not respond fully, though, maybe because the MAMPs were only injected into their seawater habitat, not presented directly to the light organ.

The fact that a bacterium can control a daily rhythm in a squid is exciting for other areas of biology, says McFall-Ngai, because all animals, including humans, have clock genes like escry1.

"Recently, in two different studies, biologists have found that there is profound circadian rhythm in both the epithelium [of the human gut] and the mucosal immune system of the gut that is controlled by these clock genes. What are we missing? Are the bacteria affected by or inducing the cycling of the tissues with which they associate?" We don't know," says McFall-Ngai, but it's an area ripe for study.

Moving forward with the squid symbiosis, McFall-Ngai says her lab will try to tie in the transcription of escry1 with cycling in the squid's metabolism to see what changes the squid actually experiences while it's under the spell of its bacterial symbionts.

###>

mBio is an open access online journal published by the American Society for Microbiology to make microbiology research broadly accessible. The focus of the journal is on rapid publication of cutting-edge research spanning the entire spectrum of microbiology and related fields. It can be found online at http://mbio.asm.org.

The American Society for Microbiology is the largest single life science society, composed of over 39,000 scientists and health professionals. ASM's mission is to advance the microbiological sciences as a vehicle for understanding life processes and to apply and communicate this knowledge for the improvement of health and environmental and economic well-being worldwide.


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AAAS and EurekAlert! are not responsible for the accuracy of news releases posted to EurekAlert! by contributing institutions or for the use of any information through the EurekAlert! system.


Source: http://www.eurekalert.org/pub_releases/2013-04/asfm-sbp032913.php

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Tuesday, April 2, 2013

Bomb-laden truck kills 7 at Iraqi police station

BAGHDAD (AP) ? A suicide bomber drove a fuel-laden truck into a police station in central Iraq on Monday, killing seven policemen, officials said.

The morning attack in Tikrit, north of Baghdad, also wounded more than 30, said Iraqi health official Raed Ibrahim.

Qutayba al-Jabouri, a lawmaker from the Salahuddin province to which Tikrit belongs, also confirmed the incident.

There was no immediate claim of responsibility, but the attack was typical of al-Qaida's Iraq branch, the Islamic State of Iraq.

The militant Sunni group frequently uses car bombs, suicide bombers and coordinated blasts to target Shiites and those working with the Shiite-led government of Prime Minister Nouri al-Maliki.

Iraqi intelligence officials say that the country's al-Qaida branch is strengthening as it takes advantage of chaos in neighboring Syria to smuggle in arms, weapons and fighters.

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/cae69a7523db45408eeb2b3a98c0c9c5/Article_2013-04-01-Iraq/id-ca0221a480f7474a9bd62d297eabb6c8

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Interview With Peter Gotcher, Executive Chairman Of Dolby - Hypebot

He has served on the board of directors of fifteen public and private companies, including Line6, Avnera, Dash Navigation, Zing Systems, and Pandora. Peter has a BA degree from the University of California at Berkeley and is member of the Board of Trustees at the Berklee College of Music.

The interview starts by looking back at Gotcher?s earlier achievements but quickly turns to the current juncture and his direct involvement with Pandora and Topsin. Gotcher also touches on Daisy, a new streaming service that will launch later this year and which we write about at more length later in this issue.

MBJ: How did ProTools become the standard for recording and music production??

Peter Gotcher: I started Digidesign with Evan Brooks in 1983 and we were not into recording systems. Our products were digitized drum and percussion sounds on chips that could be put into drum computers to make them sound better. When digital sampling keyboards and the Macintosh came along, things took off. The Mac was the first personal computer that could display a waveform, and our sound editing capabilities evolved dramatically. Today, ProTools has many components: the main application, different audio interfaces, and a universe of third party plugins.

But it all goes back to having a visual waveform that you can edit and a traditional mixer element; to this day most of the work in ProTools happens there. There doesn?t seem to be a new paradigm to rethink how we record, edit, and process audio yet. Still, much innovation is happening in the world of virtual instruments and plugins.

MBJ: How do you remember the transition into Wall Street?

PG: Digidesign went public in 1993. I was in my early thirties and pretty terrified because I was the youngest CEO of a public company at the time we went public. I would argue that there was a short transitional period of time where I kind of dropped the ball. Going public really limited the amount of time I could stay focused on the product side of the company. I was in effect its Senior Product Manager, although I didn?t necessarily write code or design the hardware. Now there were many new activities to spend time on, and investor relations needed work early on. The IPO roadshow itself was about fifty meetings and fifty presentations over a couple of weeks. Fortunately, I had mentors among my board members; one of them was a CEO of a publicly traded company and there were several with deep business experience.

MBJ: You are also known as the founder of Topspin, a software-marketing company, especially for new artists.

PG: I was on the board of a company named MusicMatch whose software was bundled with the iPod for Windows before Apple came out with a Windows version of iTunes. The company had about twenty million users but its search engine tended to recommend artists that were already popular. I was wrestling with a question: how does a new artist get traction with a search engine and get recommended sooner rather than later?

I had spent time and brainstormed this topic with Shamal Ranasinghe, so I hired him. MusicMatch went with it, and we spun an early version of Topspin there. But Yahoo later acquired MusicMatch and did not follow through. At the time, the concept was based around targeted marketing for new artists, including the identification of strong correlations with symbiotic artists for purposes of reaching more fans. But we were now free from Yahoo and could get behind a broader mission, and this became ?let?s just let artists go direct to fans and offer an alternative to the traditional label structure.? Shamal really deserves credit for keeping the idea going and restarting the new Topsin. I provided some seed funding with him as a co-founder. After that, we hired a small team of about five or six people. We ended up raising several rounds of venture capital and the company is doing well.

MBJ: Can you tell us a little bit about Topspin since CEO Ian Roger?s departure?

PG: Ian is going to run a project called Daisy, which is a new on demand music service. He?s staying involved with Topspin and has become the chairman of the board. He?s actually taking my place in that role. He has been a fantastic evangelist for the company and we feel that in his role at Daisy he is going to have so much artist interaction ? and Topspin will be integrated into Daisy ? that it will probably continue to promote Topspin?s interests as well.

I would defer to Ian to give you the full story, but what they are trying to do differently with Daisy is to both allow artists to manage their presence and profile pages, and to make offers directly within the service. Today, if you are on another music service and you click on the artist?s bio, you typically get some pretty stale info that they?ve licensed from the All Music Guide or one of those other data sources. Many of the postings are old. A better alternative is to let artists claim their space on the service by uploading pictures and videos, making comments, and placing their own Topspin offers as well.

MBJ: Daisy will be a streaming service. Are you bullish about the medium?

PG: Yes. I?m a believer that streaming is the way of the future and that downloads are probably just a transitional format, and probably won?t last a full thirty-year cycle like others have. Streaming is where the big audiences are; think about terrestrial radio: its audience went out to the record stores and bought CDs and even with a fairly low conversion rate it made a difference.

The economics of streaming are, of course, challenging. Look at Pandora being basically break-even and Spotify losing many tens of millions of dollars; artists, on the other hand, complain about the size of their payouts from such services. But also, expectations of how much, when and if you pay for music have just really changed dramatically. The root of all this is the unbundling of the album and the establishment of the single song economy. In my view, fighting piracy is like trying to get toothpaste back in the tube.

The challenge for artists and services like Daisy is what to do with these very large audiences they will be creating. I think of Pandora: we had over 10,000 artists that were played for more than 250,000 uniques last year. Radio never had that kind of reach. The problem now is closing that loop. We should let artists get head-to-head with that listening activity, make offers to acquire more fans, and exchange a free track for an email address. All of that classic direct to fan stuff works much better when you have large-scale exposure. With that many impressions, fan acquisition is easy and you don?t need to convert many to generate transactions. (Editor?s note: Gotcher is a Round B investor in Pandora.)

MBJ: Do you think there is room for both Pandora and Daisy?

PG: Yes, I think they are fairly complementary services. It will be interesting to see what Daisy does in terms of a ?radio offering?. When Spotify came out people thought it would cannibalize Pandora and that hasn?t happened at all. Pandora?s market share of U.S. Internet radio is about 72% now. Ironically, the high royalties stifle competition and innovation from other streaming radio services

MBJ: Please compare Pandora and Spotify for us. Are Pandora?s programming methods more reliant on the human touch?

PG: Well it?s a mix. There?s the Music Genome Project, which is made of trained music analysts who listen to the music and capture all kinds of ?genes? as we call them, i.e. the traits of the music. That?s the starting point. Then, we also have so many users that we have billions of these ?thumbs up? and ?thumbs down? events. So we use that as well. And Pandora?s primary focus is ?let?s build the best possible playlists for you.? That?s where a lot of our R&D goes. The user interface of Pandora hasn?t really changed all that much. We want to keep it simple. But a lot of the innovation is happening under the hood ? trying to make the playlists better and better. That seems to trump everything else in terms of driving user engagement and satisfaction.

Besides, the services are different. Spotify is an on-demand service. Pandora can?t do on-demand under the terms of its statutory license. When you look at music-listening habits, about 80% of music listening is passive meaning it?s radio and you?re not picking every track. In the case of Spotify, you can do that. And there are a lot of passionate music fans that want to have a completely active experience and pick every track they hear. But that?s really only about 20% of listening. A lot of people have asked, ?well why don?t you just have a subscription ad-on that is a track-on-demand product?? And we just feel like that?s been done fairly well and that we really do access a large enough market.

MBJ: Pandora is offered in the U.S., New Zealand, and Australia. Why does it seem to be running into problems elsewhere?

PG: Almost none of the countries outside the U.S. have statutory licenses for Internet radio, although Canada may get there soon. From day #1, Pandora could play any artist. We just had to pay the statutory royalties to SoundExchange. Like terrestrial radio, no artist can tell us that we can?t play their songs. The royalties are fixed. We tried very hard, for example, to launch in the U.K. and we had to do direct deals with every label and every publisher; they are incredibly fragmented. It really is very challenging to pull off something like Pandora unless you can operate under a statutory license. We?re hoping that the way we do business in the U.S will be the logical evolutionary path for these other countries because it makes sense, but it?s an element that we don?t control.

MBJ: If licensing costs continue to be as high as they are, is Pandora?s business model viable?

PG: Well, increases are kicking in. We had one in January and we will have another one next year. At the end of the day, Pandora will survive if we do a really great job of selling advertising ? primarily mobile ? and we continue to make our subscription offerings better. I don?t think we?re waving the flag that ?Pandora?s going out of business if we don?t get lower royalties?. We did that three or four years ago because royalties then would have put us out of business in pretty short order. Fortunately, that changed, but the revisions are still tough for us to take.

Pandora?s survival is not at risk. We?re a much less valuable business with high royalties but that?s not the end of the world. I believe that the high royalty rates are stifling innovation and preventing Pandora?s competitors from being funded.

MBJ: Could you please elaborate?

Most V.C.s that understand the online space look at Pandora?s cost of content and say, ?we can?t build a business at that level.? You can?t do subscription-only radio and get more than a few hundred thousand subscribers. That?s been tried. I think the reality of it is that radio, as it has been for many decades, needs to be free and ad-supported. Or at least have free and ad-supported components. And these royalty rates and the challenges of scaling an ad-sales organization make it an un-investable area.

David Pakman, the former CEO of eMusic, is a person who has a ton of domain expertise, experience and knowledge. Pakman was pretty articulately at the arbitration hearings. He knows the music-licensing world very well and went on to become a V.C. He made a very clear case about why new Internet radio companies are un-investable. I suppose you could look through one lens and say, ?maybe that?s good for Pandora ? keeping competition out of the market,? but I think it?s just bad for fans, artists, and innovation. More participants make a healthier market.

Now if the rates actually went up in 2015, that could be catastrophic but I don?t think anybody is predicting that.

MBJ: How do you see the market for new music business startups? What are you looking for as an investor?

PG: The truth is that the category is becoming overcrowded and generally less attractive from a financial investment standpoint. There?s no shortage of entrepreneurial creativity. People are coming up with a lot of interesting ideas. But, there are all the content licensing issues, whether it is statutory royalties or the realities of having to do content deals directly with the labels. That?s a tremendous risk factor in starting a new digital music service.

Now in the case of Daisy, they are very well funded by a very successful business, Beats. They are going to try to take a different tack. And they are going to have all the benefits of the celebrity marketing muscle that Beats can bring to the game. They are not funded by traditional V.C.s.

My advice is, if you want to do a fundable music startup, the key is to stay away from requiring direct content licenses from labels. The whole transition of this industry to direct-to-fan is happening more slowly than any of us would like but I?m still a firm believer that it will happen. There will be continuing opportunities for companies that facilitate that transition.

There are some new music startups that I consider particularly interesting. For instance, Chromatik is a music education network and system for music teachers to interact with their students remotely. But what I?m most excited about in the online space is the stuff we?re doing at Berklee Music and the Coursera courses. (Editor?s note: Gotcher is also a Berklee Trustee). Berklee obviously has some credible faculty and curricula being developed all over the world. At Coursera, we?re able to give that away for free. I think there are 125,000 people signed up right now for those classes. And that?s good business, because it will be a driver for both the online and the brick and mortar school.

MBJ: What about music and the venture capital market?

Gotcher: There?s sort of a climate of ?haves? and have-nots? in a lot of venture-funded companies today. V.C.s and angels are doing more seed investing, with many companies getting some level of early stage funding. But there?s always been a high mortality rate of companies going from seed funding to doing a real series A financing. And it seems that today, especially, there will not be enough series A rounds for most of them.

But at the other end of the spectrum, you see a company like Spotify, which has obviously generated a fair amount of market traction while losing a substantial amount of money ? they reputably raised another $100 million dollars at a $3 billion valuation.

It?s almost as if there a few hot companies that get very high valuations but it?s a struggle for everybody else. Series B and series C financing rounds are not as buoyant as they have been in the past.

MBJ: You recently joined the board at Trion. Why did you choose to invest in a video game company?

PG: Yes, that one was a little bit off the beaten path for me. I?ll tell you why: I have four sons and they range in ages from seventeen to twenty-two; they all played video games to a greater or lesser degree?including some shooting games which made me think that ?I?m definitely going to limit the amount of time you spend doing this.?

But as I look back over the last few years, a couple of my boys have become interested in massive multi-player strategy games. In these games an ad-hoc team is formed with people from all over the world. They collaborate to solve pretty complicated problems. So a light went off in my mind. I think I also heard a TED talk on the topic. I now believe this collaborative game dynamic is going to be ingrained in the behavior and culture of their generation, and inform problem solving moving forward.

When the V.C. investors at Trion approached me and asked me to join their board, my first reaction was ?well, I don?t know anything about the gaming industry, I?m not a gamer, you don?t want me.? Their response was ?well, we have a lot of gaming experts and you have had success in other entertainment and media related businesses, and we think we could benefit from those perspectives.? We talked about it for a long time and I finally joined. I?m learning a ton about this industry. It?s living up to my expectations that it?s going to be a fascinating area to watch.

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Source: http://www.hypebot.com/hypebot/2013/03/interview-with-peter-gotcher-executive-chairman-of-dolby-laboratories-and-chairman-of-topspin-media-1.html

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The Small Business Watchdog - Sba

Dreams came true this entrepreneurial season as New Orleans Entrepreneur Week (NOEW) drew to a close last Friday.? To the winners went the spoils?over $200,000 in cash prizes to local start-ups with the best ideas and business pitch. This year?s NOEW was abuzz with activity, engaging more than 3,000 individuals in small business dialogue, including numerous entrepreneurs who competed on eight stages for cash prizes and technical assistance?all focused on helping to strengthen locally based businesses.

NOEW, an annual spring event, is the culmination of the Idea Village?s?annual entrepreneur season which starts the previous July; the event allocates over $2.5 million in capital and strategic consulting resources to hundreds of local entrepreneurs through numerous events and outreach sessions. At the heart of NOEW is the IDEAcorps which is a team of seven MBA programs (Tulane, Loyola, Harvard, Yale, Columbia, Stanford, Cornell, and Dartmouth) that descend upon NOLA every spring break to provide free technical assistance to the entrepreneurs in the Idea Village network. Local entrepreneurs receive a solid week of one-on-one assistance from MBA students who also help prepare the entrepreneurs to compete at NOEW for additional capital and technical assistance resources.?

The final NOEW pitch on Fulton Street.

The final NOEW pitch on Fulton Street.

??The apex of the entrepreneurial celebration and the end of the NOEW season takes place on Friday night on Fulton Street. Thousands of locals gather together to root for 15 entrepreneurs who compete to become one of three finalists who pitch for a chance to win $50,000 in cash prizes awarded by a celebrity panel. This year?s panel included political strategist Mary Matalin, actor Wendell Pierce, billionaire investor Jim Coulter and Archie Manning, the former New Orleans Saints quarterback.

The roar of the crowd produced a tie for first place: Lorenzo Castillo, owner of Education Everytime, a music curriculum business that enhances student engagement and school efficiencies; and Erik Frank, owner of Your Nutrition Delivered, a delivery service for organic pre-cooked meals. The third entrepreneur pitching on the Fulton Street stage was Webster Pierce, owner of WaveRobber, a porous plastic structure that gathers and distributes sediment (from wave action) ?to rebuild wetlands. Pierce finished as a runner-up, but he did not leave NOEW empty-handed, having won the $50,000 Water Challenge?earlier in the week. He now joins other visionary Water Challenge winners, NanoFex (an environmental technology firm) and Tierra Resources (a carbon offsetting company).

The Office of Advocacy was also featured prominently in NOEW. Chief Counsel for Advocacy Winslow Sargeant participated as a panelist as part of the Water Challenge?a day that focused on fostering public-private dialogue on integrated water management issues and innovation around water-related technologies. ?Dr. Sargeant joined four other notable panelists from Coca Cola, Tulane University, Nunez Community College, and NanoFex to dialogue about ways to grow and strengthen New Orleans? water-based economy. Panelists discussed issues stretching from streamlining federal assistance programs for funding efficiency to helping small entrepreneurs connect with larger corporations to solve complex water-related challenges.

Dr. Winslow Sargeant participates on a panel dialogue discussing entrepreneurship,  innovation and integrated water management as part of this year?s NOEW.

Dr. Winslow Sargeant participates on a panel dialogue discussing entrepreneurship, innovation and integrated water management as part of this year?s NOEW.

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Webster Pierce (right) wins this year?s  Water Challenge business competition and is joined by past winners, Sara Mack of Tierra Resources (middle) and David Culpepper of NanoFex.

Webster Pierce (right) wins this year?s Water Challenge business competition and is joined by past winners, Sara Mack of Tierra Resources (middle) and David Culpepper of NanoFex.

In addition to the Water Challenge, NOEW also featured some outstanding panel dialogues and pre-eminent speakers including Walter Isaacson, President and CEO of the Aspen Institute, and Tina Wells, CEO and Founder of Buzz Marketing Group. Many of the NOEW speakers shared a similar mindset and opined about the importance of sustaining momentum through constant re-invention and living (not just thinking) outside the box. Both speakers stressed that creativity and an independent mind set are key to entrepreneurial success and that no other city reflects this so naturally as New Orleans.??

Another less cerebral but equally important dialogue enjoyed by many was one entitled ?Failure Fest,? where a panel of young and old entrepreneurs gathered together to discuss their best and worst failures. One (older) panelist, a prominent architecture and engineering businessman, noted that his greatest failure is ongoing?a struggle of not having and/or planning for diverse executive leadership. This entrepreneur emphasized the need to embrace all manners of diversity at an earlier business stage, citing that his inability to do so may ultimately undermine the firm?s long-term viability.

Interestingly, the same theme of diversity and social inclusion echoed throughout various sessions, including a mayoral dialogue on sustaining the larger regional entrepreneurial ecosystem. Some participants noted that more active engagement is needed to ensure that the entrepreneurial movement is as inclusive and diverse as possible. The local chapter of the Association for Corporate Growth (ACG) also recognized this challenge and as part of this year?s NOEW, they along with co-host sponsors, decided to tackle the diversity debate by launching a panel discussion entitled ?Louisiana?s Got Talent: A Bridge to Business Growth? which focused on fostering a cultural mindset of doing more business with small diverse, local businesses. Perhaps next year?s NOEW will actively accelerate this nascent movement by doing what it does best?connecting a diverse array of entrepreneurs, and the network that supports them, to dialogue and problem solve about the opportunities and challenges of sustaining an entrepreneurial ecosystem.

Tim Williamson, co-founder of the Idea Village, will tell you that the Idea Village and, by extension NOEW, were formed on the back of a napkin (in a bar) in response to a parochial leadership mindset that feared failure. To this day, that same napkin is now framed, hanging on a wall that boasts news articles about the robustness of the New Orleans entrepreneurial economy (which is 40 percent above the national average).

Rather than fear failure, local entrepreneurs, and a diverse array of organizations supporting them, opted for re-invention. These collective efforts helped redefine New Orleans as the ?Coolest Startup City in America? (so named by Inc.com), where with each entrepreneurial season crazy ideas are championed, solutions to real problems are discovered and businesses are launched.? I?m already looking forward to next season.?

?Caitlin Cain, Region VI Advocate

Caitlin Cain is the Office of Advocacy?s regional advocate? for Arkansas, Louisiana, New Mexico, Texas, and Oklahoma.?She can be reached at caitlin.cain@sba.gov.

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Source: http://weblog.sba.gov/blog-advo/?p=2246

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Monday, April 1, 2013

Engadget Podcast 337 - 03.28.13

Missed us live at our new weekly livestream home on YouTube at 3PM ET last Thursday? Fret not, because we've got you covered here with the video and audio recordings as usual. So, listen on your own time as Tim, Brian and Peter talk everything from OUYA to Angry Birds hand sanitizer. Stream it below, or catch the subscription links and video embed after the break. Happy weekend!

Hosts: Tim Stevens, Peter Rojas, Brian Heater

Producers: James Trew, Joe Pollicino

Hear the podcast

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Source: http://www.engadget.com/2013/03/31/engadget-podcast-337-03-28-13/

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Exxon Cleans up Arkansas Oil Spill; Keystone Plan Assailed (Voice Of America)

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Source: http://news.feedzilla.com/en_us/stories/politics/top-stories/295919338?client_source=feed&format=rss

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Geno, KC in feeling out stage

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New Dolphins DT Vaugn Martin says he had offers from the Pats, Eagles, Chargers, Chiefs, and Seattle.

Former Bills QB Frank Reich will hold his annual Call to Courage Award Breakfast on April 6; this year?s event includes a 20-year look back at the greatest comeback in NFL history.

WR Danny Amendola will wear No. 16 with the Pats, if it?s available.? (For now, it isn?t.)

The Jets won?t be hosting the Honey Badger before the draft, a fact that typically has little bearing on whether the player will be picked by the team in question.

Ravens secondary coach Teryl Austin is upbeat about the teams defensive backfield.

The Bengals will now try to find a safety, via free agency or the draft.

The Browns have ?very mild interest? in free-agent WR Domenik Hixon.

Former Steelers OL John Wiley died this week at the age of 92.? (He played in the first publicly-televised college football game, which was broadcast in 1939 by NBC.)

Former Texans LB Connor Barwin took out a newspaper ad thanking a variety of folks who helped his career in Houston ? including Jaguars QB Blaine Gabbert and ?my cleaning lady.?

Over the next couple of months, new Jaguars coach Gus Bradley will establish his vision for the team.

Colts QB Andrew Luck is among the candidates for the cover of an overhyped, underperforming football video game that inexplicably continues to sell millions of copies every year.

Someone actually believes that Ryan Fitzpatrick is an upgrade over Matthew Hasselbeck at backup quarterback for the Titans.

The Broncos hope to play as fast as possible on offense in 2013.

The Chiefs have explained the convoluted title of the man who once used the phrase ?programmatic non-fit? with a straight face.

Here?s a look at the Raiders? draft options with the third overall pick in 2013.

The agent for former Chargers LT Marcus McNeill says McNeill isn?t considering a comeback.

Cowboys QB Tony Romo talks about his new contract in a video that includes an image of Romo in front of a collection of trophies many think he?ll never touch and Romo?s young son rebuffing owner Jerry Jones? high-five attempt.

RB Tim Hightower?s workout with the Giants will occur early next week.

The Eagles reportedly have some lingering interest in OT Eric Winston.

The Redskins reportedly are eyeballing Miami CB Brandon McGee and Nevada safety Duke Williams.

The contract signed by new Bears OL Matt Slauson is worth more than the minimum salary.

Lions Hall of Famer Lem Barney has sued a former employer after he was fired for signing too many autographs.

CB Loyce Means, out of football in 2012, could be signed by the Packers early next week.

Should the Vikings focus on improving their front four?

The supposedly ultra-talented Falcons have a major hole at cornerback.

The effort to upgrade the Panthers? stadium with public money?continues to face opposition.

New Saints LB Victor Butler says that he was simply looking for a ?chance to compete and be a part of a winning team.?

How good will the Buccaneers? offensive line be in 2013, and beyond?

The Cardinals won?t be going to Flagstaff for training camp.

The Rams are ready to pull the plug on this year?s Pro Day circuit.

So who will be No. 2 on the depth chart behind Colin Kaepernick?

The Seahawks have put together 25 thinks to like about CB Richard Sherman on his 25th birthday.? (?Humility? is not on the list.)

Source: http://profootballtalk.nbcsports.com/2013/03/30/geno-smith-hopes-chiefs-are-legitimately-interested/related/

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