Tuesday, March 12, 2013

Genome Of HeLa Cell Line Sequenced - Science 2.0

HeLa cells, named after Henrietta Lacks, whose cells which were cultured by George Otto Gey to create an immortal cell line for medical research, are the world's most commonly used human cell lines, and have served as a standard for understanding many fundamental biological processes.

In a new study published today, scientists announce they have successfully sequenced the genome of a HeLa cell line and their high-resolution genomic reference reveals the striking differences between the HeLa genome and that of normal human cells.?

For decades HeLa cells have provided effective and easily usable biological models for researching human biology and disease. They are widely regarded as the 'industry standard' tool for studying human biology. Studies using them have led to two Nobel prizes and a host of advancements in many areas, including cancer, HIV/AIDS and the development of the polio vaccine.

The HeLa genome had never been sequenced before, and modern molecular genetic studies using HeLa cells are typically designed and analysed using the Human Genome Project reference. This, however, misrepresents the sequence chaos that characterises HeLa cells, since they were derived from a cervical tumour and have since been adapting in laboratories for decades.

The scientists' analysis of the HeLa genome revealed widespread abnormalities in both the number and structure of chromosomes, as well as factors commonly associated with cancer cells like losing healthy copies of genes. In particular, the researchers found that countless regions of the chromosomes in each cell were arranged in the wrong order and had extra or fewer copies of genes.

This is a telltale sign of chromosome shattering, a recently discovered phenomenon associated with 2-3% of all cancers. Knowledge of the genetic landscape of these cells can inform the design of future studies using HeLa cells, and strengthen the biological conclusions that can be made from them.

"The results provide the first detailed sequence of a HeLa genome," explain Jonathan Landry and Paul Pyl from ?European Molecular Biology Laboratory in Heidelberg, who carried out the research. "It demonstrates how genetically complex HeLa is compared to normal human tissue. Yet, possibly because of this complexity, no one had systematically sequenced the genome, until now."

"Our study underscores the importance of accounting for the abnormal characteristics of HeLa cells in experimental design and analysis, and has the potential to refine the use of HeLa cells as a model of human biology," adds Lars Steinmetz from EMBL, who led the project. ?

The study provides a high-resolution genetic picture of a key research tool for human biology. It highlights the extensive differences that cell lines can have from the human reference, indicating that such characterisation is important for all research involving cell lines and could improve the insights they deliver into human biology.

Published in G3: Genes, Genomes and Genetics




Source: http://www.science20.com/news_articles/genome_hela_cell_line_sequenced-106181

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The Power of LinkedIn Groups: | Annmarie Communicates Insurance

An Interview with the Work Comp Analysis Group?s Mark Walls

Mark Walls, founder and manager, Work Comp Analysis Group on LinkedIn

Mark Walls, founder and manager, Work Comp Analysis Group on LinkedIn

Mark Walls? Work Comp Analysis Group might be the envy of traditional media. Having more than 18,000 members, Mark?s group is the largest Linked In workers? compensation group out of the 200+ groups available.

His group is also likely the largest social media vehicle for the industry. It proves that social media, despite intention, is both an adjunct to traditional media and its competitor.

The group?s surprising success proves the advice of social media experts is true. That is, when people sincerely contribute to social media, as opposed as viewing it solely as a marketing tool, people will pay attention and participate. Mark, an unassuming and approachable Midwesterner, has influence that should not be underestimated. If he likes your discussion or tweet, others do take notice.

Last week, Mark announced his new post as a consultant for Marsh, Inc. In the interview below, Mark discusses his LinkedIn Group, new job and hopes for improving the 50+ workers? compensation systems in the United States.

Annmarie: I often say that for most of us, workers ? compensation is like Denny?s. That is, we don?t plan a career in wc, we ?end up? there. How did you ?end up? in comp?

Mark: I graduated from Iowa State in 1988 with a degree in Speech Communications. At first, I planned on going to graduate school and possibly teaching. But I decided before enrolling that I had been a student long enough. After a couple entry-level jobs trying to find my place in the world, I saw an advertisement for a workers? compensation claims trainee. No experience necessary, college degree and one to two years of general work experience. I was the college debate team so the negotiation element of claims handling was intriguing to me. So I applied?and the rest is history!

I wanted a place where we could learn
from the experiences of others in the industry

??Mark Walls

Annmarie: The Work Comp Analysis Group has more followers than workers? comp media groups on LinkedIn. Tell me why you started the group and your reaction to its success?

Mark: I started the group in November 2008 to facilitate information sharing for the workers? compensation industry. Although work comp is state specific, many of the issues we deal with are the same nationwide. I wanted a place where we could learn from the experiences of others in the industry.

The success of the group has been a big surprise. The group reached 2000 members after the first year. Then the growth really exploded. We are currently well over 18,000 members representing every segment of the workers? comp industry. We have members from all 50 states, plus a large contingent from Australia and Canada.

Annmarie: When did you start your wc career? How would you say comp is different?

Mark: I started in January 1990 as an adjuster trainee with the May Company department stores. The role of the adjuster has really changed since that time. Back then, we did everything ourselves: scheduling doctor appointments, filing forms and even repricing bills to fee schedules. We did all that in-house. These days, the adjuster job is very different. Much of what we used to do is now done by outside companies.

Annmarie: Workers? comp seems to be plagued with the same issues despite the endless public policy to get it under control. If you could wave a magic wand and solve one big comp problem, what would it be?

Mark: Workers? compensation was designed to be a pact between injured workers and employers. Unfortunately, the cost driver in workers? comp has always been third parties who are looking to make a profit on the system.

If I could change one thing, it would be that the best physicians who follow evidenced-based treatment guidelines would always treat injured workers. This would ensure the best possible medical outcomes for the workers, which would in turn reduce the costs for employers.

Annmarie: Your move to Marsh seems like a logical career move. What aspects of the job are you most looking forward to?

Mark: There are two things I?m most excited about. First, I now get to work more with employers and assist them in managing the total costs of their workers? compensation programs. That?s always been my passion ? going back to my days working for a self-insured, self-administered employer.

Second, I?m so excited about all the expert resources that I have available to me at Marsh. They have some of the top experts in the country on a variety of topics and I can access those resources to assist me.

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Source: http://annmariecommunicatesinsurance.wordpress.com/2013/03/11/the-power-of-linkedin-groups/

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Monday, March 11, 2013

?Continental? Movie Review | BootLeg Betty

The Hollywood Reporter
Continental: SXSW Review
March 11, 2013

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The director of ?Small Town Gay Bar? hits the opposite end of the rainbow spectrum, cruising the storied New York bathhouse that gave Bette Midler and Barry Manilow their start.

Aptly described by the writer Edmund White as ?a high point of hedonism,? the Continental Baths in New York City has acquired almost mythic status in gay social history as a temple of the sexual revolution. More celebratory than analytical, Malcolm Ingram?s documentary Continental is an engrossing if less-than-authoritative account of an establishment that could only have existed in the pre-AIDS bubble of the 1970s ? with primo lounge acts performing for a diverse cross-section of New Yorkers up front while gay men got it on in the liberating sexual playground out back.

Perhaps the most enduring testament to this intermingling of upscale entertainment with anonymous gay sex is the 1973 concert that yielded the now-rare recording ?Eleanor Steber Live at the Continental Baths.? At that ?black-towel event,? the renowned lyric soprano and musicians from the Metropolitan Opera performed a Mozart recital for an audience peppered with semi-nude guys on a cruising break. Those were the days.

The Continental was located in the basement of the Ansonia, a grand Upper West Side residential hotel built at the start of the 20th century. It represented an upgrade ? albeit with an infusion of Mob money and the occasional police raid ? from the seedy bathhouses that drew gay men in the pre-Stonewall era.

Clean and well-maintained, the complex in its heyday included a disco ? reportedly with the first Saturday Night Fever-style illuminated glass dancefloor and deejay booths ? 400 private rooms, lockers for guests to check clothing, a swimming pool, an orgy room, a boutique, a hair salon, and even a room for nondenominational religious services.

Ingram is too young a historical tourist to have experienced this bacchanal first-hand. His principal guide is Steve Ostrow, who owned and operated the Continental from 1968 until it closed in the mid-?70s, ushering an estimated six million pleasure seekers through its doors. A colorful character, Ostrow had a wife, two children and a mess of legal entanglements resulting from his independent finance company. When he spotted an entrepreneurial opportunity in the bathhouse business, he abandoned his pursuit of a career as an opera singer.

But one of the film?s chief weaknesses is that Ostrow is too eager to blow his own trumpet to be an entirely reliable witness, and Ingram doesn?t dig deep to substantiate his claims.

Via a petition with 250,000 signatures, Ostrow almost singlehandedly takes credit for the political shift that curbed legally sanctioned harassment of gays in New York. This sounds like a vast over-simplification. And at the peak of the Continental?s popularity as a crossover nightlife stop that allegedly counted Woody Allen, Diane Keaton, Mick Jagger, Salvador Dali and Johnny Carson among its guests, he recalls an unlikely sighting of Alfred Hitchcock emerging from the pool. Anecdotal evidence of Rudolf Nureyev?s regular late-night hunts for rough trade seems more plausible.

However, perhaps the difficulty of separating the factual from the apocryphal is an intrinsic part of any account of the Continental. What the film does do is evoke the atmosphere of the Baths and its position on the evolutionary map of gay cultural visibility. Ostrow and manager Jorge La Torre are the principal sources. But illuminating recollections about the wild promiscuity, the recreational drug use and the sexual egalitarianism also come from such pundits as White, Village Voice columnist Michael Musto, and Patrick Pacheco, editor of gay-skewing 1970s entertainment magazine After Dark, another great touchstone of its time.

Given the overlap with other documentaries, from Before Stonewall to Gay Sex in the 70s, not to mention books by writers like White and John Rechy, Ingram?s efforts to contextualize the birth of the Continental are fairly routine. The film becomes more compelling once it starts chronicling the introduction of live entertainment at the Baths.

The insurmountable problem is the conspicuous absence of ?Bathhouse Betty.? Performers from Sarah Vaughan and Cab Calloway to Labelle and Peter Allen graced the Continental?s tiny stage. But the entertainer most indelibly associated with the place was Bette Midler, accompanied by Barry Manilow on piano. Getting neither of them to talk leaves a hole at the center of Ingram?s film. With all due respect, Labelle founding member Sarah Dash and Warhol baby Holly Woodlawn are no substitute. There are some fun tidbits about Midler?s early career, however, including the claim that Ostrow dubbed her ?The Divine Miss M? because he forgot the then-unknown?s name when introducing her to the crowd the first time.

Dance music aficionados will appreciate the input of Frankie Knuckles, the ?Godfather of House Music,? who honed his skills as the Continental?s resident spinner. This strand that places the Baths among the progenitors of disco, paving the way for clubs like Studio 54 and Danceteria, might have benefited from further expansion.

Editor Sean Stanley shoots his wad with a punchy opening credits montage. But as the doc progresses, the shortage of exceptional archive material becomes apparent; a more diverse assembly of talking heads might have helped.

Where Continental also seems lacking is in the conflict. It?s inconceivable in that era that no Ansonia residents grumbled about lines of horny gay men around their block. But if they did, we don?t hear about it. A more detailed sense of how the establishment managed to integrate with the building and its management might have been opportune.

Ingram?s account of the end of the Continental is also superficial. Without much investigation, he identifies the primary factors as poor profit management and a core gay clientele that grew tired of being gawped at by straight sightseers. Perhaps its decline was driven as much as anything by the relentless turnover of what?s hot and what?s not that defines New York.

In the film?s closing moments Musto says that the Continental often seems almost like a Brigadoon dream, its unique juxtapositions being so far removed from any contemporary reality. In that sense, even if it?s not a fully satisfying chronicle, Ingram?s documentary serves a vital purpose for gay historians in bringing the legend to light.

Venue: South by Southwest Film Festival (Documentary Spotlight)

Production company: TCB Films

Director-producer: Malcolm Ingram

Executive producers: Nhaelan McMillan, Herb Campbell Jr., Salah Bachir

Directors of photography: Jonathon Cliff, Andrew MacDonald

Music: Neil McDonald, Paul Kehayas

Editor: Sean Stanley

Sales: Preferred Content/Submarine

No rating, 92 minutes.

Source: http://www.bootlegbetty.com/2013/03/11/continental-movie-review/

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SoundCloud streamlines Pro plans, intros a Pro Partner tier for top streamers

SoundCloud streamlines Pro plans, launches a Pro Partner tier for top streamers

There's been concerns that SoundCloud is shifting its attention too quickly toward listeners at the expense of the creators that gave the site its roots. While we can't say that the audio hub is addressing every concern, it's is determined to keep creatives involved with a much simpler Pro strategy. Instead of offering four paid plans based on storage, SoundCloud is scaling back to two: a basic Pro account hosts four hours of sound for either €3 ($4) per month or €29 ($38) per year, while stepping up to €9 ($12) per month or €99 ($129) per year takes the caps off with unlimited hosting. Quite the bargain when unlimited access previously cost €59 ($77) monthly and €500 ($650) yearly, we'd say. If SoundCloud really, truly values your work, it can also invite you to a Pro Partner level that allows custom branding and a "Moving Sound" image slideshow that syncs up with tunes. Just 10 companies have access to this upper echelon, but everyone else can spring for the more down-to-Earth Pro tiers today -- and with the new discounts, that's not a far-fetched possibility.

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Source: http://www.engadget.com/2013/03/11/soundcloud-streamlines-pro-plans-launches-a-pro-partner-tier/

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Analysis: U.S. concern on China currency fades as yuan grinds higher

WASHINGTON (Reuters) - After years of grabbing the spotlight in U.S.-China economic relations, U.S. concerns over the value of Beijing's currency appear to be fading, giving ground to newer issues like cyber-security and trade secret theft.

Some lawmakers continue to argue a weak Chinese yuan is robbing jobs from the United States. But action to force a change is unlikely and the issue will probably remain on the back burner as long as the U.S. economy continues to improve.

An increase in the value of the yuan, a big drop in China's global trade surplus and a rise in labor costs that has made Chinese products less competitive have conspired with a pickup in U.S. job growth to take the wind out of Washington's sails.

On top of that, the United States has faced fury from other countries for an aggressive easing of monetary policy that critics contend seeks to drive down the dollar, a charge that puts Washington in a tough spot to criticize China.

"China's currency regime has ceased to be a flash-point in U.S.-China economic relations," said Eswar Prasad, senior professor of trade policy at Cornell University and a former International Monetary Fund official.

Prasad says the U.S. administration has shifted its attention to issues such as increased market access for U.S. manufacturing firms and financial institutions that want to do business in China, and better protection of intellectual property rights.

U.S. President Barack Obama, attacked during the presidential campaign by challenger Mitt Romney for failing to label China a currency manipulator, did not even address the issue in his recent State of the Union speech.

But he came out swinging on cyber-security concerns in remarks seen directed at China.

"We know hackers steal people's identities and infiltrate private e-mail. We know foreign countries and companies swipe our corporate secrets ... We cannot look back years from now and wonder why we did nothing in the face of real threats to our security and our economy," Obama said.

CONGRESSIONAL ROADBLOCK

In recent years, both the U.S. House of Representatives and Senate have passed bills to give Obama new tools to push China into letting the yuan rise faster in value, but neither made it all way to his desk to sign into law.

The latest legislative effort was stopped dead in its tracks by House Speaker John Boehner, an Ohio Republican, who said he feared it would start a trade war.

Boehner's opposition and the yuan's strengthening has drained energy in Congress to deal with the issue, said one congressional aide who has worked on the issue for years.

U.S. preoccupation with its own fiscal problems also may have helped push China off the U.S. political agenda, said Nicholas Lardy, an expert on the Chinese economy at the Peterson Institute for International Economics.

"But I hope the most important reason is that China has allowed their currency to appreciate a significant amount, and more importantly their (trade) surplus, as measured by the current account, has come down quite dramatically," Lardy said.

Since mid-2010, China's exchange rate, adjusted for inflation rates in the United States and China, has risen 16 percent against the dollar, according to the U.S. Treasury.

At the same time, China's current account surplus, the broadest measure of its trade with the rest of the world, has fallen from a peak of 10.1 percent in 2007 to a preliminary reading of 2.6 percent in 2012.

That makes it hard for Washington to continue to argue the yuan is significantly undervalued, even if the U.S. trade deficit with China grew to a record $315 billion last year.

Phillip Swagel, a former Treasury official now at the American Enterprise Institute, said the U.S. Federal Reserve's extraordinary easing of monetary policy is yet another factor cooling Washington's appetite for criticizing Beijing.

"This makes it harder for American officials to criticize other countries," Swagel said.

During last year's presidential contest, Romney blasted Obama for repeatedly deciding not to label China a currency manipulator in a semi-annual Treasury Department report, and promised if elected he would do that on "day one."

But in one measure of the low temperature in Congress now on China currency, new U.S. Treasury Secretary Jack Lew faced only a couple mild questions on the issue during his Senate Finance Committee confirmation hearing last month.

Lew said he believed the yuan was "still undervalued."

But he sidestepped a question from Senator Sherrod Brown, an Ohio Democrat, on whether the United States should slap anti-subsidy duties on goods from countries with undervalued currencies as a Senate bill passed in 2011 would have done.

Later, in a written response to a question from Senator Orrin Hatch, the Finance Committee's top Republican, Lew said "addressing China's exchange rate would be a top priority" and promised to work with Congress on the issue, but he carefully avoided endorsing the 2011 Senate bill.

CAREFUL APPROACH

That carefully calibrated approach is in keeping with the U.S. tack through the first four years of Obama's administration; it never threatened to veto China currency legislation but also offered little or no public support.

Instead, it preferred to press China diplomatically during presidential summits and other high-level meetings.

After four years, it can point to progress.

The IMF, in its first published estimate in July 2012, said China's yuan was undervalued by 5 percent to 10 percent, much less than 25 percent to 40 percent figures touted by many lawmakers for years.

Critics say that was a politically derived estimate since China is a powerful voice on the IMF board. But since then, the yuan has risen further against the dollar and senior Chinese officials last week promised further reforms to allow more exchange rate flexibility.

Altogether, the yuan has appreciated 31.6 percent on a trade-weighted, priced-adjusted basis against major trading partners since July 2005, when it embarked on currency reforms, according to U.S. Treasury Department calculations.

Also, while China still holds trillions of dollars in U.S. Treasury bonds, bought with proceeds from export sales as part of Beijing's effort to manage its currency, it has dramatically scaled back its purchases.

"They are no longer intervening very much in the foreign exchange market," Lardy said. "The criticism in the past was the intervention prevented the currency from appreciating."

"Now the intervention is at such a modest level, you can make the argument the exchange rate is much closer to an equilibrium rate than it was a few years ago."

(Reporting by Doug Palmer; Editing by Tim Ahmann and Tim Dobbyn)

Source: http://news.yahoo.com/analysis-u-concern-china-currency-fades-yuan-grinds-150551955--business.html

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AWP Nugget: The Bubbling Debate over Self-Publishing | The ...

BOSTON ? The fireworks didn?t come during the panel session, which is a good thing, because every square inch of the floor was covered by attendees. Pyrotechnics in rooms violating fire codes never end well. But the figurative fireworks came that night, assisted with alcohol.

I refer here to the third rail of our modern literary world, self-publishing. Is it good or bad for writers, for readers, for the industry, for the culture? Back and forth, back and forth. I tweet articles and blog posts arguing one side, then the other, while I don?t own any real position other than that anyone should feel free to choose or not choose whatever options are available to them.

Accumulated snow on the distinctive windows of Boston's Hynes Convention Center. I was a hermetically sealed gerbil, traveling between the Westin hotel and the convention center via a series of pedestrian tubes.

Accumulated snow on the distinctive windows of Boston?s Hynes Convention Center. I was a hermetically sealed gerbil, traveling between the Westin hotel and the convention center via a series of pedestrian tubes.

Now back to the fireworks. At a noon panel that involved some substitutions because the snowstorm here kept some people from making it, a literary agent and an editor came down?hard?on self-publishing. They used the common arguments. The editor said yes, there is the occasional success story where a great book somehow missed the eye of everyone in the industry and then was discovered by readers when the author self-published. But he said that story was exceedingly rare. The agent concurred, saying that her impression of someone who self-published was somebody who was more focused on vanity than on doing what it took to get a manuscript publishable. The editor said self-published authors seem to think selling ninety books is great; he added you should be able to sell more than that by having people take pity on you.

The overall advice, in and of itself, might not have been so bad. But along with being delivered with a dismissive tone, it followed an insistence that the prospective author have a strong platform. And yes, understandably, some of the attendees did not know what a platform was, and probably didn?t like it when the agent said having ?a million Twitter followers? would be one good platform element. It also came after a long discussion about how agents and editors don?t have time to read how good your prose is, so if you don?t lay out everything that might be of interest to them in the first five pages, they?re putting you aside.

Let me step in here and say I did not have an issue with the panelists. They were speaking the truth, at least the truth as it is today with the major publishing houses. But most AWP attendees are not pursuing the type of writing, I suspect, that is in the wheelhouse of what major houses are looking to publish. Not once did the panelists mention the growing number of independent presses, many of which can be found on the Bookfair floor. (But shame on you, Coffee House Press, for deciding to no longer publish memoir. I stopped by your booth because you were on my short list! Sorry, readers, for the digression.) And their one mention of self-publishing did not touch at all on the notion that the work in question might actually be quite good and would have an audience, but that audience wouldn?t be big enough for the major press.

Flash forward ten hours. It?s about 10 pm, and I?ve darted into the Marriott sports bar to wolf down a bacon cheeseburger (I somehow didn?t find the time Thursday to eat lunch or dinner) and watch the end of the Thunder-Knicks game. Three AWP attendees next to me at the bar are engaged in increasingly animated conversation. Finally, a voice breaks through over the bar?s din: ?How dare they condemn self-published authors!? Some of the best conversations I?ve had in my life have been with strangers in bars, so I invited myself in.

Fueled by cosmopolitans for two of them and a pinot grigio for the third, the anger and frustration came out. That editor, one of them said, has a cushy desk job. What does he know about the labor of writing? And does that agent have a million Twitter followers? No. So if that?s so important for a writer, why should we listen to her as an agent?

Perhaps it?s because, as a journalist by training, I?m a good listener. Perhaps these women were just looking for a champion. But they all said they remembered me from the panel discussion?shocking, since there were hundreds in attendance?and thanked me for speaking truth to power. I had in fact asked a question, but it was about whether one should leave their agent if that agent doesn?t understand or appreciate the work the writer is doing and the market they are targeting. (The agent on the panel said yes, you must break up, and tell the agent it isn?t him, it?s you.) There was nothing in my question that had been a challenge. But the fury was still so strong in these Marriott bargoers that they had morphed me into David with a slingshot.

I?m not going to pretend I learned anything more about the self-publishing debate here at AWP. I don?t know that there really is anything more to learn. Promoters of self-publishing have their success-story anecdotes, and editors like the one on the panel here dismiss them as exactly that, anecdotes. A major editor or agent may very well hold a self-publishing past against a writer, but that might just mean that editor or agent isn?t the right fit for that writer.

I am asked sometimes what path I might take. I will, within months, finish my travel memoir. I started working on it in the fall of 2010, blew it up completely when I started my MFA in the summer of 2011, and now, two years later, it?s almost done. The thought that it might never be published literally makes me want to cry, as if I had endured a 30-month pregnancy only to deliver a stillborn. So I understand the notion of self-publishing. I may have to look at that if I am unable to find a press, large or small, interested in publishing it.

But I also understand putting a manuscript in a drawer, to borrow from the agent, who said some self-published books should have experienced that fate instead. I wrote a novel about eight years ago that I never truly shopped around. Again in the fall of 2010?when I started work on the memoir?I dug out the novel and read through it. I liked it. I showed it to a freelance editor and she loved it. But, to be honest, when I read it, it is no longer ?me.? I?ve grown a lot as a writer since I wrote that book. It?s not that I?d be embarrassed were it to be published, but it?s not really how I want to be known. So it stays in the drawer, even though it would only take me an hour to format it and ?publish? it online for anyone to read. Perhaps I will shelve the memoir if I don?t find a publisher.

Of course the simple solution is to find an amenable publisher. First things first.

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Source: http://artistsroad.wordpress.com/2013/03/09/awp-nugget-the-bubbling-debate-over-self-publishing/

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