Leeds 2008 review: Metallica

Name: Metallica

Where and when: Main stage, 9pm, Leeds

Dress code: Black. Just black.

Who's watching: There's sure as shooting never been a greater contrast of rock tribes between stages. The Cribs, over on the NME/Radio 1 stage, cater to the hoi polloi who ar scared of this sort of thing. But for Metallica fans, this is their 1 true country.

In a nutshell: It's pointless to even try to find fault with Metallica. They're just as well masterful at their trade, which totally divides mass. To not love metal is simply to not understand it. A Metallica headline demonstrate is the crowning resplendency of a hard rock festival and it was always thusly. That aforementioned, a "same old, same old" suspicion was betting by the new songs � Cyanide and The Day That Never Comes from new album Death Magnetic. But really, it's all about Master of Puppets isn't it?

High point: We want to say the fireworks, simply that wouldn't be pickings Metallica seriously and Lars wouldn't like that. We want to say Nothing Else Matters, but that would make us profound like wusses. So we're going to say Enter Sandman, because you can't really go wrong with Enter Sandman can you?

Low point: No big Lars tantrum!

On a scale of 1-11, how hard do they rock?: 11

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Clinxus Partnership Devises Improved Tests To Detect Kidney Damage For New Drugs In Development

� The Critical Path Institute (C-Path) Predictive Safety Testing Consortium (PSTC), which includes Grand Rapids-based ClinXus, has identified seven new tests to assess the safety of new drugs in development, specifically to monitor the drugs' effects on the kidneys. The U.S. Food and Drug Administration (FDA) and its equivalent in Europe, the European Medicines Agency (EMEA), recently approved the consumption of these tests in the preclinical phase of drug development, as easily as the use of five of the tests in some cases bridging pre-clinical and Phase I clinical studies.


The tests measure the levels of seven key proteins or "biomarkers" base in pee that crapper provide extra information around drug-induced damage to kidney cells, as well known as renal perniciousness. Currently, researchers and clinicians typically look for changes in serum creatinine and blood urea nitrogen (BUN), but these may only show up after the onset of kidney injury, which can buoy be permanent.


According to William Mattes, Ph.D., C-Path's director of the PSTC, "Using current kidney tests that were developed over 100 geezerhood ago, 70 percent of kidney office must be lost before damage can be detected. The new approved biomarkers are far more sensitive and specific for drug-induced kidney damage."


Many of the newly approved biomarkers are not new to the research and clinical community. But the deficiency of specific scientific "rules" or standards about their utility has prevented companies from victimisation them for fear that data from the studies could further delay the FDA and EMEA approval process. By quantifying biomarker information and getting approval to utilisation the tests from these regulatory bodies, the PSTC has eliminated a significant barrier to the drug development work.


The side by side steps are to gather more information to backing using these tests more than broadly in clinical studies, and eventually to make approval to use some or all of the biomarkers to help guidebook medical deciding.


"ClinXus has always been dedicated to introducing molecular biomarkers into the clinical trial sue," said ClinXus Board President Craig P. Webb, Ph.D., Van Andel Institute scientific investigator and director of translational medicine. "Our role in the next phase of the Critical Path's PSTC endeavour will be to ease the clinical evaluation of these new biomarkers and diagnostic tests."


This is the most significant achievement to-date of the PSTC, which was created in 2006 to identify improved methods to test the safety of new drugs in development and bring life-saving drugs to the FDA more quickly and safely. The collaboration involves over 200 scientists from the xVI largest pharmaceutical companies, not-for-profit research organizations, and advisors from the FDA and the EMEA. ClinXus, a community-based clinical research alliance focused on innovative devices/medicines, became the first not-for-profit to join the PSTC earlier this year.

ClinXus was formed in July, 2006 to establish innovative clinical tryout designs that are chiefly biomarker goaded and to increase admittance to clinical research and emerging technologies provided by member organizations, enhancing patient care and establishing West Michigan as a national destination for innovative clinical research. The alliance's vI founding members include Grand Valley Medical Specialists, Grand Valley State University, Jasper Clinical Research & Development, Saint Mary's Health Care, Spectrum Health and Van Andel Institute.

ClinXus


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Gary Barlow

   
Artist: Gary Barlow

   Genre(s): 
Rock
   

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Discography:


   
 Twelve Months, Eleven Days

   Year: 1999   
Tracks: 12


   
 Open Road

   Year: 1998   
Tracks: 12

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Mr. Hudson and the Library

   
Artist: Mr. Hudson and the Library

   Genre(s): 
Rock
   

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Discography:


   
 A Tale of Two Cities

   Year: 2007   
Tracks: 12

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Sienna Miller - Miller Nervous About Acting With Skinny Knightley

British actress SIENNA MILLER was "nervous" about acting alongside super-slender KEIRA KNIGHTLEY - as she had been forced to put on weight for the role.

Miller appears with Knightley in forthcoming movie The Edge of Love, and the normally svelte star was asked to pile on the pounds for picture, which tells the story of Welsh poet Dylan Thomas.

And Miller, 26, admits having to gain weight for the film worried her - as she feared her trim co-star would emphasise her added bulk.

She says, "I was actually pretty nervous about acting alongside Keira because my part required me to put on weight.

"I stuffed my face for the months we were in production. I had huge fry-up breakfasts, pasties for lunch and lots of toasties (toasted sandwiches).

"Then, I had to face seeing myself alongside Keira, who is the most beautiful woman in the world."

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It's simply Black magic: Duo hits all right Keys

Being in a power trio ain’t easy. With three guys, you gotta do the lifting of four or five. And you gotta do it with, well, power. So being a power duo should be nearly impossible. Yet somehow the Black Keys’ live show manages to generate the same feel as a classic set from Cream and the Jimi Hendrix Experience.
The Black Keys have no business competing as a twosome with the world’s greatest threesomes. Singer/guitarist Dan Auerbach’s lyrics are simple and repetitive, drummer Patrick Carney’s kit is half the size of Ginger Baker’s, and new album “Attack & Release” is filled with keyboards, woodwinds and second guitar parts (not easy songs to pull off live). But there they were Saturday, in front of a rabid, youthful capacity Orpheum crowd, absolutely killing it.
So how do they do it? How do they do nothing new with less and make it work?



The Keys attacked the set the old-fashion way. They switched up
the tempo at all the right times, moved from quiet to deafening with well-placed crescendos and gave each other plenty of space, letting the audience to lose itself briefly in the drums or guitar. Oh yeah, and Auerbach also is a stoned-out, fuzzed-out Zen master of the rock riff.
In the middle of the hour-plus set, right as things threatened to lapse into a sameness, the Akron, Ohio, act broke into tender ballad “You’re the One.” Against the backdrop of so much heavy blues, the spot of tenderness buoyed the set. But before anyone got mellow, the Keys were into new single “Strange Times” and its sped-up Sabbath opening riff and psychedelic change. Then came a manic version of “Your Touch” with stops and starts, the drums cutting in and out, giving Auerbach’s guitar even more force.
All night long, using songs from all five of their albums, the Keys put together similar combinations. The second-best one-two-three punch of the night being when they rushed through the already rushed rocker “Remember When (Side B),” then lulled the crowd with the sweet soul of obscure Captain Beefheart cover “I’m Glad,” then got lost in feedback of “I Got Mine.”
Maybe it’s easier to have that extra guy, maybe it’s easier to put together a set if you embrace post-Woodstock rock, but it’s not necessary. Well, at least if you’re the Black Keys it’s not.
Fellow Ohio retro rockers the Buffalo Killers opened up. A clearly talented power trio, the band suffered through an (unintentional) muddy mix and had trouble finding the right sound.

Steven Soderbergh resists splitting 'Che'

He's willing to divide the four-hour film, but with a caveat

Related Content Film Review: "Che"

CANNES -- Steven Soderbergh said Thursday that he was willing to split his epic four-hour, two-part "Che" into two separate movies upon release -- with one caveat.


"What I'd like to do is that if it opens in a town, you can see it for a week as one movie, and then you split it up," the filmmaker said. "To me that would be an event."


Distributors have said privately that they'd prefer the option to break it up, as has been the case with double bills like "Grindhouse," which the Weinstein Co. split up overseas. Soderbergh previously was thought to be steadfast about the two parts screening together, as they did in Cannes (with an intermission).


Soderbergh did not say whether he'd be willing to cut the project to a single two- or 21⁄2-hour film.


The Benicido del Toro-toplined film is an examination of two revolutions which Ernesto "Che" Guevara undertook; the first explores the successful uprising he led in Cuba, and the second looks at his failed revolt in Bolivia.


The Wild Bunch production has yet to sell to a U.S. distributor. Buyers gave it a tepid reaction after the marathon Palais screening Wednesday night, in part because of its length.


At the news conference, Soderbergh explained the length as a matter of historical necessity. "If you're going to have context, it's going to have size," he said.


He also took a defiant posture when asked his response to those who said he should have taken a more conventional biopic structure.


"I find it hilarious that people say that movies are too conventional," Soderbergh said, "and then when (something comes out) that isn't conventional, they seem annoyed."

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