Podcast appearances and mentions of robert woodruff

Everyone knows they changed it in 1985 to New Coke. But how many know of the other four times? And one of those might be considered a public duping. To get the answer today's story covers Thomas Edison, Cocaine, Kola Nut, General Dwight D. Eisenhower, Robert Gozuieta, Fanta, Tab, Diet Rite, Robert Woodruff, Atlanta's Jewish Community, Royal Crown Cola and just maybe the show The Walking Dead.

This week's mini is all about the New Deal in Atlanta; how this national history impacted Atlanta, what was built here with these federal funds, who did it employ, and what legacies can we still see today? Did you know Robert Woodruff saved the City of Atlanta of Atlanta from bankruptcy during the Great Depression? Or that Georgi Tech received the bulk of campus additions and construction? Listen to learn all of these things and more!   Want to support this podcast? Visit here Email: thevictorialemos@gmail.com Facebook | Instagram | Twitter

Public records reveal security concerns of metro Atlanta school leaders.Atlanta News First Investigates show grant applications submitted to the Department of Justice from metro school districts.https://bit.ly/44ywRSb

Artistic co-director and co-founder of the WaxFactory, and Assistant Professor in Theatre Performance at SFU's School for the Contemporary Arts, Erika Latta, sits down with Am Johal to explore her journey as a theatre-maker – from her memorable experiences touring throughout Europe, pushing platforms in the mud for site-specific work with Begat Theater, or now, working with SFU theatre performance students on their upcoming production of Strange Joy. Erika also speaks about growing up in the woods in Oregon with artistic parents, pushing artistic boundaries in university, and co-founding WaxFactory. Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/206-erika-latta.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/206-erika-latta.html Resources: Erika Latta: https://www.sfu.ca/sca/events---news/news/welcome--erika-latta--assistant-professor/ SFU's School for the Contemporary Arts: https://www.sfu.ca/sca.html SFU Theatre Performance: https://www.sfu.ca/sca/programs/theatre-performance.html WaxFactory: ​​https://waxfactory.nyc/ Begat Theatre: http://begat.org/ Get Tickets for Strange Joy: https://www.sfu.ca/sca/events---news/events/strange-joy.html HOME/LAND: http://www.hand2mouththeatre.org/homeland Bio: Originally from the Pacific Northwest, Erika Latta is the artistic co-director and co-founder of WaxFactory in New York City. WaxFactory continues to nurture a hybrid approach, based on unconventional narrative styles, originally dramaturgy, visual and physical rigor, technological experimentation and site-responsive work. With the company, she works as a director, writer, actor, sound designer and educator. As an actor and director she has presented work in international venues and festivals throughout Europe and Latin America creating long lasting partnerships with artists and designers. She holds a BFA in Theater from the University of Washington, and an MFA in Acting from Columbia University. Erika is also an associate director of the French trans-media company Begat Theater. For Begat, she co-conceived, directed, designed sound and co-wrote several of Begat productions. Begat Theater's productions have been awarded numerous grants, co-productions and partnerships, as well as the generous support from FACE (French American Fund for Contemporary Theater). Erika is a member of the Society of Authors (SACD) in France, and she continues to author and co-author many of the original productions for both WaxFactory and Begat Theater. Outside her company, she has worked with Felix Barret and Maxine Doyle of Punchdrunk (SLEEP NO MORE), Robert Wilson at the Watermill Center, Anne Bogart (SITI Company), Robert Woodruff, Victor Gautier Martin, Tina Landau, and Chuck Mee , among others. Cite this episode: Chicago Style Johal, Am. “Strange Joy — with Erika Latta.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, March 21, 2023. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/206-erika-latta.html.

In this episode, Adam and Budi speak with the Executive Artistic Director of The Celebration Barn, David Bruin.David Bruin (he/him) is a producer, curator, dramaturg, and scholar of theater and performance. He has served as the executive artistic director of Celebration Barn since the fall of 2021. From 2019 through 2021, he worked as a co-curator of the annual Prelude Festival, a program of the Martin E. Segal Theater Center at CUNY. He was a co-artistic director of Yale Cabaret during its 2015-16 season, where he co-curated the inaugural Satellite Festival. As a dramaturg, he has collaborated with Robert Woodruff, Liz Diamond, Lars Jan, and Asa Horvitz, and he has produced new works by Jeremy O. Harris and Erin Markey. He has worked as a theater consultant for Scott Rudin Productions and currently works as a creative consultant for Jeff Augustin. He is a co-editor, along with Melanie Joseph, of A Moment on the Clock of the World (Haymarket Books, 2019), an anthology of new writing inspired by the Foundry Theatre. He has held editorial positions at Yale's Theater magazine, and his writing has appeared in Theater, The Brooklyn Rail, and HowlRound. Mentioned in this episode:Miss CleoIPCC Climate ReportElihu YaleSusan Sontag's Regarding the Pain of OthersDean EvansProper pronunciation of NicheMilo RauEncompass CollectiveAmiri BarakaAutobiography of Frederick DouglasAnticapitalism for ArtistsSupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

From 1923 until 1955, Robert Woodruff presided over the Coca-Cola Company. He wanted the beverage to be made available to every American serviceman around the world for five cents, no matter how much it cost the company. That's a bold goal! But it was modest compared to the big picture he saw in his mind's eye. In his lifetime, Woodruff wanted everybody in the world to taste Coca-Cola. Observe three things: 1) Vision starts within. When you look inside yourself, what do you see? You can't buy, beg, or borrow vision; you must look within and draw on your innate gifts and desires. What do you feel passionate about? Think constantly about? Pray about? What would you be willing to sacrifice everything for? Your most persistent desire will point you to your destiny. 2) Vision draws on your history. Moses grew up in the comfort of Pharaoh's palace hearing the cries of Hebrew slaves. That experience prepared him to lead the exodus. Vision isn't some mystical quality that materialises out of a vacuum; it's interwoven with your past and the history of the people around you. If your vision is born of God, it won't just benefit you, it will benefit others too. 3) Vision attracts resources. One of the hallmarks of vision is that it acts like a magnet – attracting, challenging, and uniting people. It rallies finances and other resources, and the greater the vision, the more potential winners it must attract. The more challenging the vision, the harder the participants will fight to achieve it. So ask God to give you a vision for your life, and watch how it all comes together.

Thank you for taking the time to listen to our chat with Mercedes! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! About Mercedes Murphy: Mercedes Murphy (Writer/Director) has directed theater and dance at various venues including the Moscow Art Theater, Lincoln Center Outdoors, PS 122, the Vineyard Theater, the Market Theater and the American Repertory Theatre. Mercedes' work has toured throughout Europe. She has worked as an Art Director for music videos and collaborated with artists including Coleman Hough, Jody Oberfelder, Robert Woodruff, Jay Scheib and John Bucchino. Mercedes was the resident director at the New Opera and Musical Theater Initiative in Boston and is the Founding Artistic Director of Théâtre Trouvé. She has taught at the New York Film Academy, Montclair State University and Harvard University.  --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork Youtube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

In this second edition of Out Flew Enza, Will talks about the early years of the CDC and its evolution from the DDT-dusted Malaria Control in War Areas project. Watch the mind behind the CDC, Joe Mountin, come together with Coca Cola through the philanthropic interest of its autocratic Board Chair, Robert Woodruff and his clout with a Georgia institution, Emory University. Will wraps up the podcast by saying that corruption has merit, that most institutions aren't what they used to be, and that there will never be another easy solution to our problems. Please compost all rotten tomatoes instead of throwing them at the Tinderbox Podcast.

Tony Taccone: On January 17, 2011, SDCF hosted its third One-on-One Conversation of the 2010-2011 season at in the Beckett Theatre at Theatre Row with Berkeley Repertory Theatre Artistic Director Tony Taccone, moderated by SDCF Associate Director Ellen Rusconi. Mr. Taccone discusses his journey from discovering theatre through "happenings" in during college in the 1960s to his most recent foray into writing a play, including his experiences running the Eureka Theater started by Robert Woodruff and eventually becoming Artistic Director of Berkeley Rep. Anecdotes include discovering Tony Kushner and the original production of Angels in America, the burning down of the Eureka and working with Sarah Jones on Bridge and Tunnel. This conversation provides fascinating stories and unique insight into the artistic mind of a director on the forefront of American Theatre. Originally recorded - January 17, 2011. Running Time - 1:16:06 © 2011 SDCF

VIDEO: Maya Beiser performs in the WQXR Café Maya Beiser has been pushing her cello to the edge of avant-garde risk-taking since the early 1990s. Composers as diverse as Steve Reich, Osvaldo Golijov and Tan Dun have written works especially for her, and she was a founding member of the Bang On A Can All-Stars. Her Twitter account is called "Cello Goddess" and one of her crossover successes is an arrangement of the Led Zeppelin tune "Kashmir." Yet Beiser's biggest calling cards these days are theatrical works that involve videos, electronics, lighting effects, spoken poetry and all manner of sounds from her instrument. Many tackle dense literary themes or social-political issues. The latest is "Elsewhere: A CelloOpera," a commission from the Carolina Performing Arts series which arrives at at BAM’s Fisher Theater on Oct. 17. Scored by Eve Beglarian, Michael Gordon and Missy Mazzoli, the piece is directed by Robert Woodruff and incorporates film, dance, spoken text and vocals. "Elsewhere," was partly inspired by a poem by the surrealist Belgian poet Henri Michaux called "I am writing to you from a far-off country," about a woman witnessing the end of the world. Beglarian wrote a piece for Beiser in 2006 that incorporates the poem and it turns up here. The other main influence is the Old Testament tale of Lot's wife, who was turned into a pillar of salt. Four dancers portray the stories, while Beiser speaks portions of Michaut’s text along with those of Erin Cressida Wilson. "The whole idea is of a woman who is taking destiny in her own hands,” Beiser told host Jeff Spurgeon. “It’s been a theme throughout my life, maybe because I’ve lived elsewhere.” Beiser's comment is something of an understatement. She was born in 1963 and raised in a kibbutz in Israel by a French mother and Argentinean father. She reveals that her iPod remains heavy on Middle Eastern folk tunes and songs by the Israeli singer Ofra Haza. In the WQXR Café, Beiser presented a portion of Khse Buon, by the Cambodian-American composer Chinary Ung. The piece is a dark threnody drawing upon Cambodian folk melodies, sustained drones and otherworldly sounds. "He wrote this piece in the aftermath of the Cambodian genocide after the Cambodian genocide after the Khmer Rouge tried to destroy the culture,” she said. “He spent ten years trying to collect all these tunes that were lost. This was the first piece he wrote after that time.” Among Beiser’s upcoming projects is a concept album of rock songs from the 1970s, including Pink Floyd’s "Wish You Were Here." “I’m trying to do it in a different way,” she said. “It’s not going to be symphonic Pink Floyd.” Listen to Jeff Spurgeon’s full interview above. Video: Amy Pearl; Audio: Wayne Shulmister and Merritt Jacobson; Text & Production: Brian Wise

On January 17, 2011, SDCF hosted its third One-on-One Conversation of the 2010-2011 season at in the Beckett Theatre at Theatre Row with Berkeley Repertory Theatre Artistic Director Tony Taccone, moderated by SDCF Associate Director Ellen Rusconi. Mr. Taccone discusses his journey from discovering theatre through "happenings" in during college in the 1960s to his most recent foray into writing a play, including his experiences running the Eureka Theater started by Robert Woodruff and eventually becoming Artistic Director of Berkeley Rep. Anecdotes include discovering Tony Kushner and the original production of "Angels in America", the burning down of the Eureka and working with Sarah Jones on "Bridge and Tunnel". This conversation provides fascinating stories and unique insight into the artistic mind of a director on the forefront of American Theatre.

With her Tony-winning costume designs for the hit musical "Wicked" virtually circling the globe, costume designer Susan Hilferty describes the detailed process by which the show's creative team conceived their own vision of Oz, and the level of work required to execute the show's distinctive costumes. She also talks about her initial interest in both fine art and scenic design, even as she worked in costume shops as an artisan; the lucky break that got her professional design credits while still an undergraduate; her decision to go to the Yale School of Drama after several years of working in New York and how that led to her 30-year collaboration with South African playwright Athol Fugard; her quick takes on the varying directorial styles of her most frequent collaborators, including James Lapine, Des McAnuff, Carole Rothman, Robert Woodruff and the late Garland Wright; her counsel to students, as the head of the graduate design program at NYU's Tisch School of the Arts; and why she felt she was going to have to protect Frank Wedekind when she began work on the musical "Spring Awakening". Original air date - September 8, 2009.

With her Tony-winning costume designs for the hit musical Wicked virtually circling the globe, costume designer Susan Hilferty describes the detailed process by which the show's creative team conceived their own vision of Oz, and the level of work required to execute the show's distinctive costumes. She also talks about her initial interest in both fine art and scenic design, even as she worked in costume shops as an artisan; the lucky break that got her professional design credits while still an undergraduate; her decision to go to the Yale School of Drama after several years of working in New York and how that led to her 30-year collaboration with South African playwright Athol Fugard; her quick takes on the varying directorial styles of her most frequent collaborators, including James Lapine, Des McAnuff, Carole Rothman, Robert Woodruff and the late Garland Wright; her counsel to students, as the head of the graduate design program at NYU's Tisch School of the Arts; and why she felt she was going to have to protect Frank Wedekind when she began work on the musical Spring Awakening.

With her Tony-winning costume designs for the hit musical "Wicked" virtually circling the globe, costume designer Susan Hilferty describes the detailed process by which the show's creative team conceived their own vision of Oz, and the level of work required to execute the show's distinctive costumes. She also talks about her initial interest in both fine art and scenic design, even as she worked in costume shops as an artisan; the lucky break that got her professional design credits while still an undergraduate; her decision to go to the Yale School of Drama after several years of working in New York and how that led to her 30-year collaboration with South African playwright Athol Fugard; her quick takes on the varying directorial styles of her most frequent collaborators, including James Lapine, Des McAnuff, Carole Rothman, Robert Woodruff and the late Garland Wright; her counsel to students, as the head of the graduate design program at NYU's Tisch School of the Arts; and why she felt she was going to have to protect Frank Wedekind when she began work on the musical "Spring Awakening". Original air date - September 8, 2009.