Innovate MIA puts spotlight on startup community

If you think the next week is all about art, you may be surprised to learn there are also six entrepreneurship events vying for your time.

And that is all by design.

In much the way that Art Basel helped put Miami’s arts community on the international map, organizers of the first Innovate MIA hope their weeklong grouping of events will shine a light on the city’s growing tech startup community and its position as the gateway to Latin America.

Many of the events — ending with Florida International University’s Americas Venture Capital Conference — are after Art Basel. That’s also why the third annual AVCC was moved to Dec. 13-14 from its previous mid-November dates.

“Our message is come for Art Basel, and stay for AVCC,” said Juan Pablo Cappello, a lawyer, entrepreneur and investor who is on the steering committee of the venture capital conference and several other Innovate MIA events. And all week, there will be plenty of opportunities for Miami’s entrepreneurs, creatives and investors to mingle with their counterparts from all over the Americas and beyond.

In addition to the AVCC, there’s Incubate Miami’s DemoDay, where its class of startups present their companies, the martial arts-inspired TekFight and HackDay, which dangles a $50,000 cash prize. Endeavor, the global nonprofit that promotes high-impact entrepreneurship in emerging economies, is bringing its two-day International Selection Panel to Miami, and Wayra, an international accelerator, is holding a one-day event to showcase its promising startups from Latin America and Spain. It’s all part of Innovate MIA week: “I don’t think anything like it has ever been organized here in South Florida,” Cappello said.

The AVCC will be the big draw, with about 300 people expected to attend the two-day event at the JW Marriott Brickell. The conference, themed “Data, Design & Dollars,” will feature thought leaders from all over the world, particularly Latin America, and presentations by 29 selected companies. This year, the format has been overhauled and energized, with lots of short talks and more time for question-and-answer sessions and networking, said Jerry Haar, associate dean of FIU’s College of Business, director of the Pino Global Entrepreneurship Center and AVCC co-chair.

The AVCC’s 36 speakers include Martin Varsavsky, Argentine tech entrepreneur, investor and founder of Viatel, Ya.com, Jazztel and FON; Hernan J. Kazah, co-founder and managing partner at Kaszek Ventures and co-founder of Mercadolibre; and Jason L. Baptiste, CEO and co-founder of Onswipe. There’s also Michael Jackson, former COO of Skype and now a venture capitalist; Albert Santalo, founder and CEO of Miami-based CareCloud; and Bedy Yang of 500 Startups.

Chosen from more than 100 applicants, the 29 presenting companies hailing from all over the Americas will be giving either two-minute or five-minute pitches, fielding questions from a panel of judges and competing for prize packages valued at about $50,000. Eight of the startups are from South Florida: itMD, Kairos, Trapezoid Digital Security, Esenem, LiveNinja, OnTrade, Rokk3r Labs and Zavee.

The presenting companies have “proven innovation, proven management teams and the ability to scale well and be a pan-regional player,” said Faquiry Diaz Cala, president of Tres Mares Group and co-chair of AVCC. “The word is out this is a great place to come and pitch to great investors in addition to potentially being one of the prize winners.”

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State high court denies appeals by former Sweetwater cop slated for execution

The Florida Supreme Court on Tuesday denied appeals by former Sweetwater cop and mass killer Manuel Pardo, who is slated to be executed next week.

Prosecutors said Pardo, 56, and cohort Rolando Garcia committed nine murders during the 1980s, ripping off drug dealers and people who could implicate them in the crimes. At a 1988 trial, he admitted the murders, saying he was ridding the streets of the “scum of the earth.”

At trial, lawyers for Pardo — a former highway patrolman, Boy Scout leader and decorated Navy veteran — argued he was insane at the time of the crimes.

After Gov. Rick Scott signed his death warrant in October, Pardo’s lawyers asked Miami-Dade Circuit Judge Stanford Blake to stay the execution, saying Pardo had not been given all the public records associated with his case and that back in the 1980s he was incompetent to stand trial.

Pardo’s lawyers also said state’s method of lethal injection was “cruel and unusual” punishment. Blake denied the appeals.

On Tuesday, the Florida Supreme Court upheld Blake’s decision, saying Pardo’s claims about lethal injection were based on “pure speculation and conjecture.”

Pardo is slated to be executed Dec. 11 at the Florida State Prison in Starke.

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Adorable Tots: Celebs and their Cute Kids!

Mariah Carey & Nick Cannon

"Monroe's in paradise," posted Mariah Carey along with an adorable snap of her daughter lounging in a room full of Hello Kitty toys as her twin brother Moroccan looks on.

"Roc doesn't share the fascination lol," she remarked.

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Netflix gets glitz

Netflix scored an exclusive deal to stream Disney movies, marking the first time a major Hollywood studio has picked a Web upstart over an established pay-TV player like HBO.

The streaming-video service paid big bucks to best Liberty Media’s Starz premium channel, which previously held the rights to show Disney movies in the US.

Netflix’s chief content officer, Ted Sarandos, hailed the pact as “a bold leap forward for Internet television.”

While financial terms weren’t disclosed, Netflix is ponying up an estimated $350 million a year for the rights to stream Disney’s films a few months after they first air in theaters — a distribution window typically reserved for pay-TV channels.

REUTERS

Mickey, Yoda and me: Reed Hastings of Netflix is likely to shake up the pay-TV world by signing a blockbuster exclusive multi-year deal with Disney, which recently purchased “Star Wars” maker Lucasfilm.

The move aims to distinguish Netflix from a crowded field of streaming rivals including Amazon, Hulu Plus and Verizon/Redbox, while also putting premium channels like HBO, Starz, Showtime and Epix on notice.

Netflix will gain access to new Disney, Pixar, Marvel Comics and Lucasfilm movies starting in 2016, when the studio’s current deal with Starz expires.

It will get direct-to-video releases next year, while older animated classics such as “Dumbo,” “Pocahontas” and “Alice in Wonderland” will immediately become available through Netflix.

Netflix’s stock soared 14 percent, rising $10.65 to close at $86.65, on news of the pact even as Wall Street analysts fretted about the price tag.

Tony Wible, an analyst with Janney Montgomery Scott, estimated Netflix is paying north of $350 million a year and said he wouldn’t be surprise if the company “would need to raise capital.”

Netflix, which counts activist investor Carl Icahn as a major shareholder, could also be making a bet that it will be part of a larger, deeper-pocketed entity by 2016.

Netflix is paying considerably more than Starz did for Disney’s content. Barclays analyst Anthony DiClemente said Starz’s Disney deal is around $250 million a year.

Still, the move is a blow to Starz, which is being spun out of Liberty Media. Starz currently owns the rights to distribute both Disney and Sony movies in the so-called pay-TV window. The Starz-Sony deal will expire in 2016 as well.

Netflix has said it will bid on the Sony rights when they come up for grabs.

“This is a big deal for Hollywood and the premium networks,” said Dan Cryan, senior director of digital media at IHS/Electronics and Media.

Netflix lost rights to Disney and Sony movies earlier this year, when it couldn’t agree on a new deal with Starz, which wanted Netflix to create a special tier for its “premium content.”

Netflix was reportedly discussing renewing the Starz deal for between $300 million and $400 million.

Industry observers are also wondering how Disney’s Netflix pact will sit with cable and satellite-TV providers.

The industry, which pays per-subscriber fees to premium channels, leaned on Starz not to do business with Netflix on better terms than they were paying.

catkinson@nypost.com

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The business behind the artist: Miami’s art gallery scene still evolving

This week, thousands of art collectors, museum trustees, artists, journalists and hipsters from around the globe will arrive for the phenomenon known as Art Basel Miami Beach. The centerpiece of the week: works shown at the convention center by more than 260 of the world’s top galleries.

Only two of those are from Miami.

While Art Basel has helped transform the city’s reputation from beach-and-party scene to arts destination in the years since its 2002 Miami Beach debut, the region’s gallery identity is still coming into its own.

“Certainly Miami as an art town registers mightily because of the foundations, the collectors who have done an extraordinary job,” said Linda Blumberg, executive director of the Art Dealers Association of America. “I think there’s a definite international awareness there. But the gallery scene probably has a bit of a ways to go. That doesn’t mean it’s not really fascinating and interesting.”

The gallery business, especially where newer artists are concerned, is a game of risk, faith and passion. Once a gallery takes on an artist who shows promise, they become an evangelist on their behalf, showing their work in-house and at fairs, presenting it to museums and curators and potential collectors and bearing the cost of that promotion.

For contemporary artists, most galleries take work on consignment, meaning they get a cut of as much as 50 percent when works sell. While local art galleries have been growing in number and popularity in the last several years — just try to find parking during the monthly art walk in Miami’s hot Wynwood neighborhood — even some of the area’s top art dealers say that while business overall is good, they struggle in the local marketplace.

“Our problem is that we have to do lots of art fairs in order to connect with the market that we need to connect with to sell the work that we have,” said Fredric Snitzer, a Miami-Dade gallery owner for 35 years. “The better the work is, the harder it is to sell in Miami. And that ain’t good.”

A handful of serious collectors call Miami home and store their own collections in Miami, including the Braman, Rubell, Margulies and de la Cruz families. But outside a relatively small local group, many gallerists say, their clients come from other parts of the country and world.

And some gallerists point out the troubling reality that even the powerhouse Galerie Emmanuel Perrotin could not stay open in Miami for more than a few years.

“The fact that big galleries have not been able to sustain their business models in South Florida tells you we’re obviously not at this high established point,” said gallery owner David Castillo. “It’s not like we’ve arrived, let’s sit back and watch Hauser & Wirth open down the street.”

Still, Miami’s gallery business has come a long way since the early 1970s, when a few dealers on Bay Harbor Island’s Kane Concourse were selling high-end pieces but the local scene was hardly embraced.

Virginia Miller, who owns ArtSpace/Virginia Miller Galleries in Coral Gables, first opened in 1974 to showcase Florida artists, though her focus soon added an international scope. She and other longtime observers credit several factors for Miami’s transformation, including the community’s diversity, the establishment of important museums, the Art Miami fair that started 23 years ago, the presence of major collections and, of course, Art Basel Miami Beach.

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Son of slain Miami Gardens car wash owner: ‘He put his own life before someone else’

When Dameion Peart got the phone call from his uncle, he didn’t believe it. He drove to his father’s Miami Gardens car wash to see for himself. He hoped the news wouldn’t be too bad, or maybe the shooting happened someplace else.

He pulled up, saw flashing lights and police tape, and knew it was true.

His father, Errold Peart, had been trying to protect a customer Sunday afternoon from armed robbers at the car wash he ran at Northwest 191st Street and First Place.

The robbers turned their gun on Peart, killing him.

“He put his own life before someone else,” his son said.

Now, Peart’s family began the unexpected task of planning a memorial. He was five days away from his 60th birthday.

He won’t get to see his daughter, Mishka Peart, 23, graduate from the University of Miami’s medical school.

“It’s just sad,” Dameion Peart said. “It was unnecessary.”

When the community heard of the shooting, they started dropping by the scene. They were the ones who lived nearby, longtime customers and friends, each with their own tale of how his father had helped them through the years.

They talked about the times Peart, 59, didn’t charge for carwashes to people short on money. They told Dameion Peart, 32, how his father would give money to people who needed help paying for water and electricity, never asking for the money back.

They shared stories about people who couldn’t get jobs because they had convictions — until Peart gave them work.

One of the younger employees told him it was Errold Peart who convinced her to go back to school.

“He was a very good, kindhearted person and a good father at the same time,” Dameion Peart said. “The community where his business is located, he really helped them out here.”

Errold Peart hailed from Jamaica, where he played cricket and worked at one point at a school for problem children, his son said. He eventually came to the United States, where he continued to play cricket for the USA national team.

Peart represented the USA in five matches at the 1990 International Cricket Council Trophy in the Netherlands, where the batsman was the team’s leading scorer, ESPN reported. The USA made it through the first round that year before losing in the second, according to ESPN.

At first, Peart worked with an airline, his son said, but later decided to open his own business.

He started the car wash more than a decade ago, his son said. He chose the location because it was near a busy stretch of U.S. 441 and near Florida’s Turnpike, the Palmetto Expressway and Interstate 95.

“It was like a landmark,” Dameion Peart said. “Everyone knew him.”

But Peart worried about safety.

“He didn’t like guns. But every year, around this time, for the past three years he got held up at gunpoint and people tried to rob him,” Dameion Peart said. “The last time they even followed him home.”

So Errold Peart got a concealed weapons permit.

On Sunday afternoon, he noticed a pair of young men trying to rob a customer. Errold Peart went out to try and stop it, his son said, only to be shot himself.

The men ran away, leaving behind the customer and a bleeding Peart.

Miami Gardens Police still were looking for the suspects on Monday.

Anyone with information is asked to call Miami-Dade Crime Stoppers at 305-471-8477.

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‘The Daily’ doomed by dull content and isolation

LOS ANGELES (AP) — It was too expensive. It lacked editorial focus. And for a digital publication, it was strangely cut off from the Internet. That’s the obituary being written in real time through posts, tweets and online chats about The Daily, the first-of-its-kind iPad newspaper that is being shut down this month.

Rupert Murdoch‘s News Corp. said Monday that The Daily will publish its final issue on Dec. 15, less than two years after its January 2011 launch. The app has already been removed from Apple’s iTunes, where it once received lukewarm ratings.

The Daily had roughly 100,000 subscribers who paid either 99 cents a week or $ 40 a year for its daily download of journalism tailored for touch screens. But that wasn’t enough to sustain some 100 employees and millions of dollars in losses since its launch. At the time of its debut, News Corp. said The Daily’s operating costs would amount to about half a million dollars a week, or around $ 26 million a year.

When News Corp. launched The Daily, it was touted as a bold experiment in new media. The company hired top-name journalists from other publications, such as the New York Post’s former Page Six editor, Richard Johnson, and said it poured $ 30 million into the newspaper’s launch. Now, the company is acknowledging that The Daily no longer has a place at News Corp., which is being split in two to separate its publishing enterprises from its TV and movie businesses.

Murdoch said in a statement that News Corp. “could not find a large enough audience quickly enough to convince us the business model was sustainable in the long-term.” Some employees are being hired in other parts of the company.

Critics say The Daily’s day-to-day mix of news, opinion and info-graphics wasn’t that different from content available for free on the Internet. And despite a high-profile launch that drew lots of media attention, the publication failed to build a distinctive brand. There was no ad campaign touting its coverage and stories weren’t accessible to non-subscribers, so it didn’t benefit from buzz that comes from social networks like Twitter and Facebook.

Trevor Butterworth, who wrote a weekly column for The Daily called “The Information Society,” says the disconnect between the app and the broader Internet curtailed its reach. He was laid off in July when the publication shrank from 170 workers to about 120. As part of the purge, The Daily cut its dedicated opinion section and dropped sports coverage in favor of using a feed from its News Corp. sister outfit, Fox Sports.

“Stories weren’t widely shared or widely known,” says Butterworth. “It felt like I was writing into the void.”

When it launched, The Daily was meant to take advantage of the explosion of tablet computer sales, and the notion that people generally read on them in the morning or evening, like a magazine.

But each issue came in a giant file — sometimes 1 gigabyte large — and took 10 or 15 minutes to download over a broadband connection, which is unheard of for news apps, says Matt Haughey, the founder of MetaFilter.com, one of the first community blogs on the Internet.

Because the stories weren’t linkable, The Daily didn’t benefit from new Internet traffic that would have come from content aggregators like Flipboard and Tumblr.

“They ignored the obvious, which was the Web,” Haughey says. Although many people are foregoing buying a laptop for the lightweight convenience of a tablet, the day hasn’t arrived yet when all online access will come through apps rather than the Web. “Maybe in five or 10 years, the Web will be less important,” he says. “For now it seems like they were missing out.”

It may also have been a problem that News Corp. launched The Daily from scratch into an environment where readers tend to gravitate toward trusted sources and established brands. According to a 2011 Pew Research Center survey, 84 percent of mobile device users said a news app’s brand was a major factor in deciding whether to download it.

One of the intangible challenges The Daily had was standing out in a sea of online journalism, both paid and free. Some national newspapers, such as The New York Times and The Wall Street Journal, have carved out a niche with informed coverage of sometimes complex topics and have gained paying digital subscribers by limiting the number of free articles they offer online.

Gannett Co., which publishes USA Today and about 80 other newspapers, has succeeded in raising circulation revenue at local papers by putting up so-called online “pay walls,” taking advantage of the fact that there are few alternative sources of coverage for certain communities.

Without a unique coverage niche or a local monopoly, The Daily was caught between two worlds.

By being digital-only, the publication didn’t have a defined coverage area. It was “in competition with everybody and everything,” says Joshua Benton, director of the Nieman Journalism Lab at Harvard University. Yet it failed to carve out its own niche in that larger universe, he says.

“Its lack of editorial focus played a role,” Benton notes. “It was sort of a pleasant, middle-brow, slightly tabloidy mix of news and features. And there’s lots of that available for free online. I would imagine if ‘The Daily’ were starting again now, they would invest more in establishing their brand identity early on.”

Gadgets News Headlines – Yahoo! News

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First Look at TLC's Neat Freaks

Think you're a neat freak? Meet Alfreta.

Video-'Crazy Obsession': The $150K Love Doll Collection

The self-confessed germophobe not only spends the majority of her day scrubbing her home with gallons of bleach (as well as public bathrooms and friend's houses when she gets the chance), she utilizes her favorite cleanser to sanitize her meals before eating.

Check out a sneak peek in the player above!

Neat Freaks premieres Wednesday, December 5th on TLC.

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UBS near Libor deal

Ubs is nearing a deal to settle claims some of its staff manipulated interest rates, and could reach agreement with US and British authorities by the end of the year, a source said yesterday.

Britain’s Barclays was fined $453 million in June for manipulating Libor benchmark interest rates, and remains the only bank to settle in the investigation, which led to the resignation of the bank’s chairman and CEO.

US and UK regulators, which released their settlements with Barclays at the same time, are working together on the UBS investigation.

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The business behind the artist: Miami’s art gallery scene still evolving

This week, thousands of art collectors, museum trustees, artists, journalists and hipsters from around the globe will arrive for the phenomenon known as Art Basel Miami Beach. The centerpiece of the week: works shown at the convention center by more than 260 of the world’s top galleries.

Only two of those are from Miami.

While Art Basel has helped transform the city’s reputation from beach-and-party scene to arts destination in the years since its 2002 Miami Beach debut, the region’s gallery identity is still coming into its own.

“Certainly Miami as an art town registers mightily because of the foundations, the collectors who have done an extraordinary job,” said Linda Blumberg, executive director of the Art Dealers Association of America. “I think there’s a definite international awareness there. But the gallery scene probably has a bit of a ways to go. That doesn’t mean it’s not really fascinating and interesting.”

The gallery business, especially where newer artists are concerned, is a game of risk, faith and passion. Once a gallery takes on an artist who shows promise, they become an evangelist on their behalf, showing their work in-house and at fairs, presenting it to museums and curators and potential collectors and bearing the cost of that promotion.

For contemporary artists, most galleries take work on consignment, meaning they get a cut of as much as 50 percent when works sell. While local art galleries have been growing in number and popularity in the last several years — just try to find parking during the monthly art walk in Miami’s hot Wynwood neighborhood — even some of the area’s top art dealers say that while business overall is good, they struggle in the local marketplace.

“Our problem is that we have to do lots of art fairs in order to connect with the market that we need to connect with to sell the work that we have,” said Fredric Snitzer, a Miami-Dade gallery owner for 35 years. “The better the work is, the harder it is to sell in Miami. And that ain’t good.”

A handful of serious collectors call Miami home and store their own collections in Miami, including the Braman, Rubell, Margulies and de la Cruz families. But outside a relatively small local group, many gallerists say, their clients come from other parts of the country and world.

And some gallerists point out the troubling reality that even the powerhouse Galerie Emmanuel Perrotin could not stay open in Miami for more than a few years.

“The fact that big galleries have not been able to sustain their business models in South Florida tells you we’re obviously not at this high established point,” said gallery owner David Castillo. “It’s not like we’ve arrived, let’s sit back and watch Hauser & Wirth open down the street.”

Still, Miami’s gallery business has come a long way since the early 1970s, when a few dealers on Bay Harbor Island’s Kane Concourse were selling high-end pieces but the local scene was hardly embraced.

Virginia Miller, who owns ArtSpace/Virginia Miller Galleries in Coral Gables, first opened in 1974 to showcase Florida artists, though her focus soon added an international scope. She and other longtime observers credit several factors for Miami’s transformation, including the community’s diversity, the establishment of important museums, the Art Miami fair that started 23 years ago, the presence of major collections and, of course, Art Basel Miami Beach.

Read More..