Cancer - Spectrum Pharmaceuticals Launches FUSILEV For Injection

�Spectrum Pharmaceuticals, Inc., (NasdaqGM: SPPI) launched FUSILEV� (levoleucovorin) for injection.


"The launch of FUSILEV establishes the foundation of Spectrum's commercial-grade oncology enfranchisement," said Rajesh C. Shrotriya, M.D., Chairman, Chief Executive Officer, and President of Spectrum Pharmaceuticals. "We believe the food market potential of FUSILEV, as a successor for leucovorin, could be significant. In the U.S., there are more than 500 million milligrams of leucovorin prescribed every year. Our gross sales, under the currently sanctioned indications, ar expected to ramp up slowly until the wide range of indications and formulations are approved. We have built a squad of extremely seasoned sales and marketing professionals with a record of success in debut and marketing oncology drugs."


The Company recently filed an amendment to its pending New Drug Application (NDA) for FUSILEV Tablets. The Oncologic Drugs Advisory Committee (ODAC) has already voted affirmatively that the oral preparation is safe and in effect when victimised in the rescue of high zen methotrexate. The Company continues to work on the supplemental NDA for manipulation of the parenteral expression in combination with 5-FU containing regimens in advanced metastatic colorectal cancer. As a answer of pre-NDA consultation, FDA has recommended a more comprehensive scope of data analysis as the footing for registration in this indication. The Company anticipates filing the supplemental NDA for colorectal cancer by the end of October 2008.

About FUSILEV (levoleucovorin) for injection


FUSILEV, a novel folate analog, is uncommitted in 50-mg vials of freeze-dried powder. It is the pharmacologically active isomer of leucovorin. FUSILEV deliver is indicated after high-dose methotrexate therapy in osteogenic sarcoma. FUSILEV is also indicated to diminish the perniciousness and weaken the personal effects of impaired methotrexate riddance and of inadvertent overdosage of folic acid antagonists. FUSILEV (levoleucovorin or (6S)-leucovorin) is the only commercially available conceptualisation comprised only of the pharmacologically active isomer of leucovorin.

Important FUSILEV (levoleucovorin) for injection Safety Considerations


FUSILEV is contraindicated for patients wHO have had previous sensitised reactions attributed to folic acid or folinic bitter. Due to calcium content, no more than 16-mL (160-mg) of levoleucovorin solution should be injected intravenously per moment. FUSILEV enhances the perniciousness of fluorouracil. Concomitant utilisation of d,l-leucovorin with

Chic

   
Artist: Chic

   Genre(s): 
R&B: Soul
   

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Discography:


   
 Chic

   Year: 2005   
Tracks: 7


   
 Risque

   Year: 2001   
Tracks: 7


   
 Live At The Budokan

   Year: 1999   
Tracks: 18


   
 Chic-Ism

   Year: 1992   
Tracks: 13


   
 Dance, Dance, Dance: The Best Of

   Year: 1991   
Tracks: 10


   
 Megachic: The Best of Chic Vol.1

   Year: 1990   
Tracks: 10


   
 Believer

   Year: 1983   
Tracks: 8


   
 Tongue In Chic

   Year: 1982   
Tracks: 7


   
 Take It Off

   Year: 1981   
Tracks: 10


   
 Real People

   Year: 1980   
Tracks: 8


   
 C'est Chic

   Year: 1978   
Tracks: 8

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There stool be little debate that Chic was disco's superlative band; and, on the job in a heavily producer-dominated field, they were most emphatically a band. By the time Chic appeared in the late '70s, disco was already slithering into the surplusage that in the end caused its downfall. Chic bucked the tendency by husking disco's sound down to its basic elements; their low-down, stylish grooves had an organic sentiency of interplay that was lacking from many of their overproduced competitors. Chic's well-grounded was anchored by the techy, James Brown-style musical speech rhythm guitar of Nile Rodgers and the indelible, wide imitated (sometimes outright stolen) bass lines of Bernard Edwards; as producers, they put-upon keyboard and chain embellishments economically, which unbroken the speech pattern on language rhythm. Chic's distinctive barbel non only resulted in some of the finest dance singles of their time, but too helped create a template for urban casimir Funk, dance-pop, and even hip-hop in the post-disco eRA. Not coincidentally, Rodgers and Edwards wound up as two of the almost successful producers of the '80s.


Rodgers and Edwards first met in 1970, when both were jazz-trained musicians sweet out of high school day. Edwards had accompanied New York's High School for the Performing Arts and was working in a Bronx post office at the time, piece Rodgers' early life history too included stints in the folk chemical group New World Rising and the Apollo Theater house orchestra. Around 1972, Rodgers and Edwards formed a jazz-rock spinal fusion mathematical group called the Big Apple Band. This rig moonlighted as a substitute band, touring behind smooth soul vocal mathematical group New York City in the wake of their 1973 shoot "I'm Doin' Fine Now." After New York City skint up, the Big Apple Band hit the road with Carol Douglas for a few months, and Rodgers and Edwards distinct to make up a go of it on their possess toward the ending of 1976. At first they switched their aspirations from spinal fusion to young wave, briefly playacting as Allah & the Knife Wielding Punks, simply speedily settled into dance music. They enlisted sometime LaBelle drummer Tony Thompson and female vocalists Norma Jean Wright and Alfa Anderson, and changed their call to Chic in summer 1977 so as to avoid confusion with Walter Murphy & the Big Apple Band (who'd just hit large with "A Fifth of Beethoven").


Augmented in the studio by keyboardists Raymond Jones and Rob Sabino, Chic recorded the demo single "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)" and shopped it around to several major track record companies, all of which declined it. The small Buddah pronounce eventually released it as a 12" in late 1977, and as its night club popularity exploded, Atlantic stepped in, sign-language the grouping, and re-released the single on a wider base. "Dance, Dance, Dance" strike the Top Ten, peaking at number six, and made Chic one of the hottest new groups in discotheque. Chic scrambled to lay together their self-titled number one album, which spawned a minor followup reach, "Everybody Dance," in early 1978. At this head, Wright left hand to attempt her hand at a solo career (with aid from Rodgers and Edwards), and was replaced by Luci Martin. It was a good time to come in onboard; "Le Freak," the low exclusive from soph album C'est Chic, was an out-of-the-box smash, spending 5 weeks on top of the charts toward the end of 1978 and selling over four-million copies (which made it the biggest-selling individual in Atlantic's history). Follow-up "I Want Your Love" reached number seven, cementing the group's new principal status, and C'est Chic became one of the rarified discotheque albums to go pt.


1979's Risqué was some other solidly constructed LP that too went atomic number 78, partially on the strength of Chic's indorsement identification number unitary pop shoot, "Dependable Times." "Good Times" english hawthorn not have equaled the blockbuster gross gross sales figures of "Le Freak," simply it was the band's to the highest degree imitated data data track: Queen's number unrivalled run into "Some other One Bites the Dust" was a clear up rewrite, and the Sugarhill Gang lifted the subservient backup data path wholesale for the first commercial tap individual, "Rapper's Delight," scoring the first of many times that Chic grooves would be recycled into rap records. Also in 1979, Rodgers and Edwards took on their low major outside production assignment, producing and writing the Sister Sledge smashes "We Are Family" and the oft-sampled "He's the Greatest Dancer." This succeeder, in release, landed them the chance to work with Diana Ross on 1980's Diana record album, and they wrote and produced "Top side Down," her low identification number unitary hit in years, as substantially as "I'm Coming Out."


The discotheque rage was fading speedily by that point, however, and 1980's Real People failed to go gold despite some other substantial performance by the band. Changing tastes put an end to Chic's flower, as Rodgers and Edwards' outside production work presently grew far more than moneymaking, even despite aborted projects with Aretha Franklin and Johnny Mathis. Several more Chic LPs followed in the early '80s, with diminishing originative and commercial returns, and Rodgers and Edwards disbanded the group after complemental the lusterless Believer in 1983. Later that year, both recorded solo LPs that sank without a trace. Hungry for acceptance and respect in the careen mainstream (especially later on accusations that they had ripped dark Queen instead of the other way around), both Rodgers and Edwards sought out high profile production and session work over the rest of the tenner. Rodgers produced blockbuster albums like David Bowie's Let's Dance, Madonna's Like a Virgin, and Mick Jagger's She's the Boss. Edwards wasn't as prolific as a producer, just did link up the one-off supergroup the Power Station along with Tony Thompson as easily as Robert Palmer and members of avowed Chic fans Duran Duran; he after produced Palmer's commercial breakthrough, Rip. Edwards besides worked with Rod Stewart (Verboten of Order), Jody Watley, and Tina Turner, while Rodgers' former credits include the Thompson Twins, the Vaughan Brothers, INXS, and the B-52's' counter Cosmic Thing.


Rodgers and Edwards re-formed Chic in 1992 with new vocalists Sylver Logan Sharp and Jenn Thomas, and an assortment of school term drummers in Thompson's place; they toured and released a newfangled record album, Chic-ism. In 1996, the reconstituted Chic embarked on a tour of Japan; sadly, on April 18, Edwards passed away in his Tokyo hotel room due to a wicked turn of pneumonia. Rodgers continued to go now and then with a version of Chic, and, in 1999, his Sumthing Else label issued a recording of Edwards' concluding performance with the band, Live at the Budokan.