Our new digital series "In The Life Of:" follows creative individuals that work behind the scenes to bring you some of your favorite films, 밀양출장마사지 - https://www.anmaweb.com/%e2%99%82%eb%b0%80%ec%96%91%ec%98%a4%ed%94%bc%ea... theater productions, art and music. In our first episode we follow Broadway director and choreographer Steven Hoggett two weeks away from an opening night workshop production entitled - https://www.google.com/search?hl=en&gl=us&tbm=nws&q=entitled&btnI=lucky "We Are Here," based on the '70s disco scene in New York City, using the music of legendary composer and producer Nile Rodgers.

You may already be a fan of Steven Hoggett's work and not even know it. The British director and choreographer has worked on such Broadway productions as Green Day's "American Idiot," "Peter and the Starcatcher" (which won him the 2011 Lucille Lortel Award for Outstanding Choreographer), and most recently "Harry Potter and the Cursed Child," for which he was nominated for a Tony for Best Choreography.

His newest venture is a collaboration with legendary record producer, songwriter and musician Nile Rodgers, of Chic fame. Multiple Grammy-winner Rodgers has collaborated with some of the biggest stars in music, including Donna Summer, David Bowie, Madonna and Diana Ross.

"We Are Here" is a new show in development that will plunge audiences into the hedonistic world of disco. Hoggett directs and Rodgers has dug deep into his timeless music archives to deliver a new show that experiments with the use of music, video, movement and storytelling within an exciting, high-energy performance environment inside the NYC's famed East Village theater space at La MaMa (dubbed "The GlitterLoft" for the show's short run).

New York City 1970s. Behind the velvet rope, people of every race, class and sexual identity come together, encouraged to wear whatever they want, kiss whoever they want and, of course, dance however they want. "We Are Here" highlights the music bedrock of disco's iconic tracks to explore the rise of a popular movement, and the stunning backlash against it. Forget white suits and mirror balls – this is a celebration of the beat that set the world on fire, and continues to unify generations and cultures at a time when it is needed more than ever.

Hoggett couldn't agree more. "The minute you start to look at disco beyond the immediate sheen of it, it's really fascinating," he said. "It's an incredible part of New York history and the early '70s. And then Nile, really if you just start to list everything he did in those years, but also the minute you step outside that you look at all his production credits and writing credits, yeah you just start to really track this beautiful journey through music.

"I always liked the idea of music having that kind of, just different streams of influence just flying over each other and everywhere else. It's nice to really show what Nile did and thought and said – and what he produced and how he produced it, and how he stayed true but was developing, pioneering at the same time. So, that's been a real joy."

Not to mention having an excuse to "put your headphones on and listen to disco."

Written by Olivier Award-winner Michael Wynne ("The Priory"), "We Are Here" immerses audiences in mind-blowing video images created by projection designer Darrel Maloney, whose Broadway credits include "American Idiot," "The Illusionists," and "On Your Feet," with lighting design by Olivier Award-winner Natasha Chivers ("Sunday in the Park With George"), and sound design by Olivier Award-winner Tom Gibbons. The choreographer is Yasmine Lee, who has worked as Hoggett's associate movement director on "Harry Potter and the Cursed Child," "The Curious Incident of the Dog in The Night-Time," "The Crucible" and "Once." Set and costumes are designed by Tony Award-winner David Zinn, whose Broadway credits include "SpongeBob SquarePants," "Fun Home" and "The Humans."

"We Are Here," which is produced by Spiegelworld and Showcase Performances, runs July 31 through August 4 at The GlitterLoft, New York City.

The type of platinum found in the women's blood and urine was different than the traces of regular platinum not uncommon in people's bodies. It was a highly reactive platinum, used to help turn silicon oil into the honey-like gel that lends a more natural feel to a breast implant.

Concentrations were up to three times higher than in women who didn't have breast implants, according to findings by S.V.M. Maharaj, a chemist at American University. Maharaj was scheduled present the findings Thursday to the American Chemical Society in Philadelphia.

Ernest Lykissa, a forensic and clinical toxicologist who co-authored the paper, said the study's sample size was small. But Lykissa - http://www.becomegorgeous.com/topics/Lykissa said it fairly represented hundreds of women with implants he's studied over the years.

Women who had implants the longest recorded the highest platinum concentrations. The heavy metal was also found in bone marrow, where blood cells are made.

Distinct from platinum released by catalytic converters in cars, platinum in implants is treated with nitric and hydrochloric acids and becomes very reactive, Lykissa said. The heavy metal readily binds in the human body, especially to nerve endings, short-circuiting communication with the brain.

"You see green, but you perceive a full moon," he said. "All of a sudden, your brain system is not working right."

Some women developed nervous tics, had faulty perception, and impaired hearing and eyesight, he said.

Children born to women with implants had problems with eyesight and hearing, too, but those nervous system disorders may have been caused by something else, he cautioned.

The Food and Drug Administration in January stunned plastic surgeons when, contradicting the advice of its expert panel, it rejected Inamed's bid to reintroduce silicone breast implants. After safety concerns rose, the FDA banned such implants in 1992 for most patients.

In January, 동두천출장안마 - https://www.softanma.com/14-dongducheon the drug regulatory agency asked Inamed for more details about what happens when silicone seeps from the implant.

Dan Cohen, a spokesman for Santa Barbara, Calif.-based Inamed, said the company would speak in detail about its formal reply, submitted to the FDA earlier this month.

But at the FDA's October 2003 advisory board meeting, the company briefly discussed platinum dispersion and concentration - http://www.groundreport.com/?s=concentration in implant patients. The company has tracked those patients for three years.

"It was not an issue that anyone dwelled on — either our presentation or the panel," Cohen said.

For its part, the FDA in 2002 surveyed scientific literature that indicated platinum leaks from implants into surrounding breast tissue. Researchers said they didn't find anything suggesting women had allergic responses to leached platinum.

Paul H. Wooley, director of research for orthopedic surgery at Wayne State University, said it's been suspected for at least a decade that heavy metals used in manufacturing might cause problems for women who receive implants.

"I'm not sure these questions have been answered because, in general, they haven't been asked," Wooley said. "For political reasons, working on breast-implant patients has been somewhat difficult to do."

By Diedtra Henderson