�ImClone Systems Incorporated (NASDAQ: IMCL), a global leader in the development and commercialization of novel antibodies to handle cancer, today announced that its disease-directed Phase 2 clinical trial in patients with advanced prostate malignant neoplastic disease randomized to treatment with either IMC-A12 or IMC-1121B plus mitoxantrone and prednisone has commenced patient registration. IMC-A12 and IMC-1121B ar two therapeutic candidates in ImClone's proprietary receptor-targeted antibody pipeline. IMC-A12 is ImClone's fully human, IgG1 anti-insulin-like growth factor-1 receptor (IGF-1R) monoclonal antibody and IMC-1121B is its fully human, IgG1 anti-vascular growth cistron receptor-2 (VEGFR-2) monoclonal antibody.
This multicenter, randomized open-label Phase 2 single-arm study is enrolling patients with metastatic androgen-independent prostate cancer the Crab who take developed disease progression during or inside 60 days of receiving docetaxel-based chemotherapy or demonstrated intolerance to docetaxel-based therapy. A come of 132 patients are expected to be enrolled at various centers, including those that participate in the Department of Defense's Prostate Cancer Consortium. This Phase 2 study is designed to evaluate the efficacy and safety of both IMC-A12 and IMC-1121B combined with mitoxantrone and prednisone. IMC-A12 and IMC-1121B are administered weekly, whereas mitoxantrone is administered every three weeks with oral daily orasone.
"We are very proud of about offset another disease-directed, proof-of-concept visitation which efficiently evaluates deuce of our pipeline antibodies with distinct mechanisms of action, yet each with potential pertinency in the treatment of prostate cancer based on preclinical investigations performed by ImClone and academic collaborators," said Eric K. Rowinsky, M.D., Chief Medical Officer and Executive Vice President of ImClone. "The results of whatsoever one of the study arms, or even both, in conjunction with those of other ongoing clinical and preclinical studies, may serve as platforms for subsequent registration directed activity in respective early- and advanced-stage prostate gland cancer settings."
IMC-A12 is a amply human IgG1 monoclonal antibody designed to specifically prey the human IGF-1R, thereby inhibiting sure ligands known as IGFs 1 and 2 from binding to and activating the sense organ. This action blocks a signaling nerve tract that enhances tumor cellphone proliferation and survival. In 2007, ImClone completed enrollment into two Phase 1 studies of IMC-A12 which demonstrated favourable safety and pharmacokinetic profiles, as advantageously as prelude evidence of antitumor activity as a single agent when administered either weekly or every two weeks. In summation to this Phase 2 study proclaimed today, Phase 2 studies of IMC-A12 in grownup and adolescent patients with soft tissue sarcoma, untreated advanced prostate, pancreatic, colorectal, liver, and head and neck cancers, as well as a series of Phase 1/2 studies in pediatric malignancies and some other evaluating the combination of IMC-A12 and temsirolimus, have begun to enroll patients.
IMC-1121B is a amply human IgG1 monoclonal antibody designed to bind to the extracellular domain of VEGFR-2 constitute on tumour vasculature, thereby inhibiting certain ligands known as vascular endothelial outgrowth factors from binding to and activation the receptor. This action blocks a signaling nerve tract key to new blood vessel formation in growing tumors, which has been shown to starve tumors of their nutrient add and resolution in pregnant tumor growth inhibition in pre-clinical models. In gain to this Phase 2 study announced today, disease-directed studies of IMC-1121B in patients with advanced melanoma, liver and renal cancers have begun to inscribe patients, and additional Phase 2 and 3 evaluations are in various stages of development. In April 2008, ImClone announced an agreement with the Food and Drug Administration on a Special Protocol Assessment for a Phase 3 study of IMC-1121B in women with metastatic breast cancer, which recently commenced.
About ImClone Systems
ImClone Systems Incorporated is a fully integrated global biopharmaceutical company attached to forward-moving oncology care by development and commercializing a portfolio of targeted biologic treatments designed to address the medical necessarily of patients with a variety of cancers. The Company's research and development programs let in growth factor blockers and angiogenesis inhibitors. ImClone Systems' headquarters and research trading operations are located in New York City, with additional administration and manufacturing facilities in Branchburg, New Jersey. For more than information around ImClone Systems, please visit the Company's web situation at hTTP://www.imclone.com.
Certain matters discussed in this news release may nominate forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995 and the Federal securities laws. Although the company believes that the expectations reflected in such modern statements ar based upon reasonable assumptions, it can buoy give no assurance that its expectations will be achieved. Forward-looking information is subject to certain risks, trends and uncertainties that could lawsuit actual results to disagree materially from those jutting. Many of these factors are beyond the company's ability to control or predict. Important factors that may cause actual results to disagree materially and could impact the ship's company and the statements contained in this news release can be found in the company's filings with the Securities and Exchange Commission, including quarterly reports on Form 10-Q, stream reports on Form 8-K and annual reports on Form 10-K. For forward-looking statements in this tidings release, the company claims the protection of the safe harbor for innovative statements contained in the Private Securities Litigation Reform Act of 1995. The company assumes no obligation to update or supplementation any forward-looking statements whether as a result of new information, future events or differently.
ImClone Systems
More info
Wednesday, 3 September 2008
Friday, 27 June 2008
Oprah�s got the power
Talk show host Oprah Winfrey is still the world�s most powerful celebrity, BBC News Online reports Forbes magazine as saying.
The 54-year-old topped its annual countdown for the second year running, and the fifth time overall.
Golfer Tiger Woods placed second, just ahead of actress Angelina Jolie, former Destiny�s Child singer Beyonc� Knowles and soccer star David Beckham.
Forbes� list is based on celebrities� earnings, Internet presence and press, television and radio coverage.
Other stars in the Top 10 include reformed pop band The Police, in joint seventh place with rapper Jay-Z.
Harry Potter author J.K. Rowling is ranked at nine, having come in 48th in last year�s rundown.
Her earnings over the past 12 months � estimated to be $300 million US � make her the wealthiest celebrity on the list.
Actor Brad Pitt is ranked in 10th place, making him and Jolie one of two �power couples� to make the Top 10.
Jay-Z and Knowles are the other, having secretly married earlier this year.
Pop star Madonna, rock band The Rolling Stones and singer Elton John have all fallen out of the Top 10, as has actor Tom Cruise.
See Also
Thursday, 19 June 2008
Friday, 13 June 2008
CD: Lil Wayne
Lil Wayne
"Tha Carter III" (Cash Money/Universal Motown Records)
***
When you call yourself "the greatest rapper alive," championship seasons aren't just expected, they're required. Lil Wayne knows this well, having spent the last three years crowing with the subtlety of a sledgehammer that he belongs in the same hallowed pantheon as 2Pac, the Notorious B.I.G. and Jay-Z.
Accordingly, "Tha Carter III," due out Tuesday, is intended to be Wayne's version of "The Blueprint": solo album No. 6, no written book of lyrics, production from the likes of Kanye West, Just Blaze and Timbaland (whose "I Know the Future" lamentably never made the final cut). In short, the career-defining masterpiece that will forever serve as a riposte to his legions of doubters. No big deal.
"Tha Carter III" isn't just the most anticipated major- label rap record of the year, it's pretty much the only one. One of the last superstars standing, Wayne (and his label Universal) have taken no chances in ensuring that the album fulfills its blockbuster potential, hiring rainmaker producers such as West, Just Blaze, Wyclef and Swizz Beatz and recruiting guest appearances from Busta Rhymes, Robin Thicke, Babyface, Fabolous, T-Pain and that ultimate 2008 status symbol, Mr. Blueprint himself, Jay-Z.
Nearly every track feels ready to be neatly consigned to one of three categories: skull-fracturing knockout punches for the heads, ring-tone-ready bangers for the club kids, or maudlin album closers for the sentimentalists.
In his quest to make the all-important yet all-profitable album, Wayne too often ignores what made him the toast of the blogosphere in the first place, namely, his raw hunger for rhyming, his facility in stringing together clever non sequiturs and similes, his prodigious ability to shred the simply sliced soul loops and earthquake bass lines that made "Carter II" just a few judicious editing decisions away from being his much sought-after "classic."
Of course, Wayne's far too talented not to deliver when focused. In a decade when most rappers openly admit that they'd rather be coke dealers or CEOs than actual MCs, his monomaniacal drive for greatness has spurred him to heights that few would have predicted he would reach. His competitive streak rears its head most acutely when challenged, as two of "Tha Carter III's" finest moments come when Wayne is forced to show and prove. "You Ain't Got Nuthin' on Me" finds him evaporating Fabolous and Juelz Santana with a snarling, loose-limbed, Dadaist spout of punch-line lyricism. On "Mr. Carter," his torch-passing team-up with Jay-Z, the pair erase the sour taste that "Hello Brooklyn" left behind.
In Wayne's quest to emulate Jay-Z's and Biggie's practice of not writing down lyrics, his reliance on spontaneity alternately skews genius and generic. Quite frequently, he doesn't make a lick of sense, due to a refusal to self-edit his rambling gibberish. Sometimes, it works perfectly, as on album highlight "Let the Beat Build," where Wayne wisely opts to let his raspy croak float alongside the beat's moaning gospel maximalism.
But too often, witty turns of phrase leadenly crash into asinine hooks like "Don't shoot me down because I'm fly / I'm higher." To say nothing of the unoriginally titled "Got Money," a T-Pain-featured Miami bass catastrophe that must have had the Notorious B.I.G. (whose album cover Wayne also mimics) rolling in his grave.
Although lead single "Lollipop" miraculously has scaled the charts via its trend-hopping calculation (add the "This Is Why I'm Hot" beat to auto-tuner excess), its lyrics rank among the dumbest ever (not) penned, swiping from the dregs of Fergie and 50 Cent.
When Wayne's mad alchemy works, "Tha Carter III" evinces shades of brilliance that merit the wild hype, but in its transparent attempts to define its era, it fails, falling victim to the imperial bloat of its big-budget mishmash of styles.
By the end of its over-long 80-minute run time, the Jay-Z album it most recalls isn't "The Blueprint," but rather the scattershot "Vol. 3: Life and Times of S. Carter."
Ultimately, "Tha Carter III" will have you believing in Wayne's greatness but wondering why, as often as not, he just isn't very good.
Albums are rated on a scale of four stars (excellent), three stars (good), two stars (fair) and one star (poor).
"Tha Carter III" (Cash Money/Universal Motown Records)
***
When you call yourself "the greatest rapper alive," championship seasons aren't just expected, they're required. Lil Wayne knows this well, having spent the last three years crowing with the subtlety of a sledgehammer that he belongs in the same hallowed pantheon as 2Pac, the Notorious B.I.G. and Jay-Z.
Accordingly, "Tha Carter III," due out Tuesday, is intended to be Wayne's version of "The Blueprint": solo album No. 6, no written book of lyrics, production from the likes of Kanye West, Just Blaze and Timbaland (whose "I Know the Future" lamentably never made the final cut). In short, the career-defining masterpiece that will forever serve as a riposte to his legions of doubters. No big deal.
"Tha Carter III" isn't just the most anticipated major- label rap record of the year, it's pretty much the only one. One of the last superstars standing, Wayne (and his label Universal) have taken no chances in ensuring that the album fulfills its blockbuster potential, hiring rainmaker producers such as West, Just Blaze, Wyclef and Swizz Beatz and recruiting guest appearances from Busta Rhymes, Robin Thicke, Babyface, Fabolous, T-Pain and that ultimate 2008 status symbol, Mr. Blueprint himself, Jay-Z.
Nearly every track feels ready to be neatly consigned to one of three categories: skull-fracturing knockout punches for the heads, ring-tone-ready bangers for the club kids, or maudlin album closers for the sentimentalists.
In his quest to make the all-important yet all-profitable album, Wayne too often ignores what made him the toast of the blogosphere in the first place, namely, his raw hunger for rhyming, his facility in stringing together clever non sequiturs and similes, his prodigious ability to shred the simply sliced soul loops and earthquake bass lines that made "Carter II" just a few judicious editing decisions away from being his much sought-after "classic."
Of course, Wayne's far too talented not to deliver when focused. In a decade when most rappers openly admit that they'd rather be coke dealers or CEOs than actual MCs, his monomaniacal drive for greatness has spurred him to heights that few would have predicted he would reach. His competitive streak rears its head most acutely when challenged, as two of "Tha Carter III's" finest moments come when Wayne is forced to show and prove. "You Ain't Got Nuthin' on Me" finds him evaporating Fabolous and Juelz Santana with a snarling, loose-limbed, Dadaist spout of punch-line lyricism. On "Mr. Carter," his torch-passing team-up with Jay-Z, the pair erase the sour taste that "Hello Brooklyn" left behind.
In Wayne's quest to emulate Jay-Z's and Biggie's practice of not writing down lyrics, his reliance on spontaneity alternately skews genius and generic. Quite frequently, he doesn't make a lick of sense, due to a refusal to self-edit his rambling gibberish. Sometimes, it works perfectly, as on album highlight "Let the Beat Build," where Wayne wisely opts to let his raspy croak float alongside the beat's moaning gospel maximalism.
But too often, witty turns of phrase leadenly crash into asinine hooks like "Don't shoot me down because I'm fly / I'm higher." To say nothing of the unoriginally titled "Got Money," a T-Pain-featured Miami bass catastrophe that must have had the Notorious B.I.G. (whose album cover Wayne also mimics) rolling in his grave.
Although lead single "Lollipop" miraculously has scaled the charts via its trend-hopping calculation (add the "This Is Why I'm Hot" beat to auto-tuner excess), its lyrics rank among the dumbest ever (not) penned, swiping from the dregs of Fergie and 50 Cent.
When Wayne's mad alchemy works, "Tha Carter III" evinces shades of brilliance that merit the wild hype, but in its transparent attempts to define its era, it fails, falling victim to the imperial bloat of its big-budget mishmash of styles.
By the end of its over-long 80-minute run time, the Jay-Z album it most recalls isn't "The Blueprint," but rather the scattershot "Vol. 3: Life and Times of S. Carter."
Ultimately, "Tha Carter III" will have you believing in Wayne's greatness but wondering why, as often as not, he just isn't very good.
Albums are rated on a scale of four stars (excellent), three stars (good), two stars (fair) and one star (poor).
Saturday, 7 June 2008
EastEnders star glad about marriage split
'EastEnders' star Lacey Turner has revealed that she is glad that her character Stacey split from husband Bradley.
The screen couple's relationship came to an end after Bradley, played by Charlie Clements, discovered that Stacey was having an affair with his father Max (Jake Wood).
Turner said: "It sounds horrible but I never wanted her to settle down. She and Bradley were great together, and I loved working with Charlie, but I prefer Stacey when she's loud and nutty."
"She's such fun to play when she's shouting her mouth off at everyone in the Queen Vic. And she's far too young to get married."
The screen couple's relationship came to an end after Bradley, played by Charlie Clements, discovered that Stacey was having an affair with his father Max (Jake Wood).
Turner said: "It sounds horrible but I never wanted her to settle down. She and Bradley were great together, and I loved working with Charlie, but I prefer Stacey when she's loud and nutty."
"She's such fun to play when she's shouting her mouth off at everyone in the Queen Vic. And she's far too young to get married."
Friday, 6 June 2008
Tony Romo Goes for Seconds
Tony Romo and Jessica Simpson have overcome their daddy issues -- as in Joe Simpson -- and are back at it again full-time. The pair hit up the grand opening of the Palms Place Condo Hotel in Las Vegas this weekend, then landed in San Diego yesterday.
That loud crash you heard was every Cowboys fan smacking their heads on their desk.
See Also
More Indy Movies Ahead?
If Indiana Jones and the Kingdom of the Crystal Skull turns out to be the kind of hit many industry observers expect, it's likely that a fifth Indy film will follow, the filmmakers told a news conference at the Cannes Film Festival on Sunday. Asked whether he'd make any more Indy sequels, Steven Spielberg replied, "Only if you want more of them." He added, "That's the reason why we made this Indiana Jones," explaining that no one has ever asked him to make a sequel to 1941 or Artificial Intelligence: AI. "So certainly we'll have our ear to the ground this summer and that will decide where we go from here." In an interview with FoxNews.com's Roger Friedman, George Lucas added, "I haven't even told Steven or Harrison this. But I have an idea to make Shia the lead character next time and have Harrison come back like Sean Connery did in the last movie. I can see it working out." That may be the only way Harrison Ford might return. He has previously told interviewers that Crystal Skull will be his last film as Indy.See Also
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