Podcasts about cabrini green

Strong leadership is born not from control, but from authentic community and the cultivation of people and teams. Nathan Hatch, former president of Wake Forest University and esteemed historian, joins Mark Labberton to reflect on the nature of transformative leadership. Drawing from his decades of experience at Notre Dame and Wake Forest—and from his new book, The Gift of Transformative Leaders—Hatch explores how leaders cultivate thriving institutions through humility, vision, and empowerment. Hatch shares his personal journey from growing up in a Presbyterian home to leading major universities, while reflecting on the comomunity, character, instincts, and freedom required for lasting institutional impact. Episode Highlights "Organizations aren't self-generating—you bet on people, not on strategy." "Organizations are best served when you have a team of like-minded people, each using their own strengths." "Leadership has to flow out of who you are authentically—you can't try to be someone else." "If you have exceptional people, it takes management of a different form—it's collaboration." "Leadership is not about control but about strength: hiring strong people is harder, but it's transformative." "People read your real meanings, not your words—authenticity is the heart of leadership." Helpful Links & Resources The Gift of Transformative Leaders, by Nathan Hatch University of Notre Dame Wake Forest University Jim Collins - Good to Great About Nathan Hatch Dr. Nathan O. Hatch is President Emeritus of Wake Forest University and one of America's leading scholars of religion and higher education. Prior to his presidency at Wake Forest (2005–2021), Hatch served as provost at the University of Notre Dame. His groundbreaking scholarship in American religious history includes The Democratization of American Christianity, and his latest book is The Gift of Transformative Leaders. Hatch is a member of the American Academy of Arts and Sciences and continues to speak and write on leadership, higher education, and culture. Show Notes Raised in a Christian home; son of a Presbyterian minister and teacher Influenced early by history teacher and work experiences in Cabrini Green, Chicago Studied at Wheaton College, Washington University in St. Louis, and Johns Hopkins University Became an unlikely but successful historian at the University of Notre Dame Leadership philosophy shaped by early experiences with supportive professional teams and deep community and friendship How did the past come to change and create the world we live in? Transitioned from historian to administrator, balancing scholarship and administration Provost at Notre Dame: emphasized empowering faculty through development and resources President at Wake Forest: built strong leadership teams, expanded institutional vision Reflections on Father Theodore Hesburgh's visionary leadership at Notre Dame “Organizations aren't self-generating. … [it takes] a vision and leader.” "Leadership must be authentic; it must come out of who you are." The transformative impact of great leadership teams over hierarchical control Importance of raising institutional aspirations and empowering individuals to flourish "Hiring strong people makes the leader stronger, not weaker." Nathan Hatch's book, The Gift of Transformative Leaders Profiles 13 leaders who exemplify commitment, character, and institution-building Focus on people-centric leadership: authenticity, humility, vision Leaders described as radiating positivity, cultivating others, and advancing institutional missions Catholic and Protestant institutional differences in faith expression Creating inclusive religious life in pluralistic academic communities Investing in character education through initiatives like Wake Forest's scholarship programs Building culture: "Noticing people, investing in them, seeing their potential." “How do we help young people live their life?” Identifying and empowering exceptional talent Embracing unconventional hiring practices Building thriving, collaborative, life-giving teams Cultivating environments where people pursue a common good Navigating faculty-administration relationships with authenticity and transparency Facing organizational financial challenges without losing people-first priorities Leadership in contexts with limited resources: raising people's potential Authenticity and empathy are foundational to leadership Humility and commitment to the common good are non-negotiable Leaders must genuinely invest in the flourishing of others Institutions are transformed not by structures alone but by transformative people Production Credits Conversing is produced and distributed in partnership with Comment Magazine and Fuller Seminary.

“I'm really interested in the relation between performance and ritual. Where do those two separate?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.“I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I'm really interested in the relation between performance and ritual. Where do those two separate?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.“I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I'm really interested in the relation between performance and ritual. Where do those two separate?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.“I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I'm really interested in the relation between performance and ritual. Where do those two separate?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.“I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I'm really interested in the relation between performance and ritual. Where do those two separate?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.“I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I'm really interested in the relation between performance and ritual. Where do those two separate?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.“I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“We look at creative work as though the very creative process itself is something good. These are tools of expression, and like any tool, you can use them to damage something or to make something. They can be turned to very malign purposes, for instance, in the operas of Wagner. So I wanted to do this set of books, I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“We look at creative work as though the very creative process itself is something good. These are tools of expression, and like any tool, you can use them to damage something or to make something. They can be turned to very malign purposes, for instance, in the operas of Wagner. So I wanted to do this set of books, I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“We look at creative work as though the very creative process itself is something good. These are tools of expression, and like any tool, you can use them to damage something or to make something. They can be turned to very malign purposes, for instance, in the operas of Wagner. So I wanted to do this set of books, I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“We look at creative work as though the very creative process itself is something good. These are tools of expression, and like any tool, you can use them to damage something or to make something. They can be turned to very malign purposes, for instance, in the operas of Wagner. So I wanted to do this set of books, I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“We look at creative work as though the very creative process itself is something good. These are tools of expression, and like any tool, you can use them to damage something or to make something. They can be turned to very malign purposes, for instance, in the operas of Wagner. So I wanted to do this set of books, I want to show what is kind of the basic DNA that people use for good or for ill. What are the tools they use, if you like, of expression that they use in the creative process?”Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Juilliard School in New York, and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour, and social theory. His books include The Performer: Art, Life, Politics, The Hidden Injuries of Class, The Fall of Public Man, The Corrosion of Character, The Culture of the New Capitalism, The Craftsman, and Building and Dwelling. Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is the Centennial Professor of Sociology at the London School of Economics and former University Professor of the Humanities at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Robert Misik in conversation with Richard SennettTHE ART OF SOCIAL AND POLITICAL PERFORMANCE: ACTORS, DEMAGOGUES, SELF-PROMOTERS In his new book, world-famous sociologist and author Richard Sennett dissects the performer – in the German edition called „Der darstellende Mensch“. Sennett, who was a musician and artist before his extraordinary academic career, focuses on theatre and the emancipatory potential of art. But isn't today's dominant social character is also the performing human in a broader sense, curating his or her life, whether in social media or in the roles that he or she has to play? And doesn't the show character of politics give rise to a certain type of politician? Sennett's latest study also provides an opportunity to talk about the big picture of half a century of research. It has been 53 years since Sennett's first legendary work, ‘The Hidden Injuries of Class', was published, which reads as relevant today as ever – followed by ‘The Fall of the Public Man', ‘The Corrosion of Character', ‘On Craftsmanship' and many other works, that deal with the interactions between individuals, identity and society. Taken together, they describe the transformation of the subjects through socialisation, as well as the alienation in neoliberalism, but at the same time they always open windows onto the utopian, onto a non-reified, communal existence.Richard Sennett grew up in the Cabrini Green housing project in Chicago, attended the Julliard School in New York and then studied social relations at Harvard. Over the last five decades, he has written about social life in cities, changes in labour and social theory. His books include The Hidden Injuries of Class , The Fall of Public Man , The Corrosion of Character , The Culture of the New Capitalism , The Craftsman and Building and Dwelling . Sennett has advised the United Nations on urban issues for the past thirty years and currently serves as member of the UN Committee on Urban Initiatives. He is Visiting Professor of Urban Studies at Harvard. Among other awards, he has received the Hegel Prize, the Spinoza Prize and the Centennial Medal from Harvard University.Robert Misik, Author and Journalist

Welcome to The Not Old Better Show, the podcast for those who believe life gets better—and even sweeter—with age. I'm your host, Paul Vogelzang, and today we're diving into the soul-stirring legacy of two musical giants whose voices, harmonies, and vision shaped the very sound of a generation: Curtis Mayfield and Jerry Butler. If you grew up spinning 45s on your record player or gathered around the radio to hear those smooth, soaring harmonies, then you already know that Mayfield and Butler weren't just voices—they were storytellers, activists, and pioneers of a sound that broke barriers. Together, they helped shape the golden age of soul music, and their influence continues to inspire generations. But did you know that before the world knew them as soul legends, they were just two young men from Chicago's Cabrini-Green projects, united by gospel music, ambition, and a dream of something bigger? Today, we'll uncover the fascinating story of how Jerry Butler and Curtis Mayfield met, formed the Impressions, and created hits like the unforgettable “For Your Precious Love.” We'll also explore why Jerry's path ultimately led him to go solo—and how Curtis turned his heartbreak into a revolutionary career that brought soul music into the Civil Rights Movement. Joining us today is returning guest Scott Shea, a writer and expert in music history, whose latest article brings these incredible stories to life. From Curtis Mayfield's genius as a songwriter to Jerry Butler's powerful, underrated baritone, we'll reflect on their journey, their struggles, and their lasting impact on American music and culture. This one's for the music lovers, the memory keepers, and anyone who remembers the days when a song could soothe your soul and spark a revolution. So grab a cup of coffee or tea, sit back, and let's celebrate the legacy of two legends who reminded us all to “Keep on Pushing.” I'm Paul Vogelzang, and this is The Not Old Better Show. Let's get started.

Public housing has a long and complicated history, from ancient civilizations to the towering high-rises of mid-20th century America. But while the goal has always been to provide affordable housing, the results have often fallen far short of expectations. In this episode, we explore how public housing evolved—from medieval serfdom and Roman insulae to the infamous “projects” like Cabrini-Green. We'll also discuss modern approaches, like Section 8 vouchers and tax credits, and whether public housing has a future in today's political climate. Is there a way to make government-supported housing work, or does history suggest otherwise? Tune in to find out. Subscribe to the BiggerPockets Channel for the best real estate investing education online! Become a member of the BiggerPockets community of real estate investors - https://www.biggerpockets.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Not the welcome we expectedWhen your tour guide is an assassin, what can go wrong?By FinalStand. Listen to the Podcast at Explicit Novels.You can do wrong while trying to do right.FlashbackAlal's 'milk of human kindness' had finally run dry as the Visigoths sacked his Roman villa. While looters ran off with his latest trappings of wealth, and deserted by his servants and his slaves, Grandpa decided that he was tired of fucking around with the Human Race. He felt they were simply too stupid, venal and weak to make any positive, lasting changes in the world.Alal decided that he was going to make the key choices for them. Fuck free will. Fuck letting the vermin that floated to the top of the cesspool destroy everything good in the world, as he had witnessed them doing time and time again. He had lost count of the monuments destroyed, histories of peoples forgotten and benefits to mankind burned away by barbarism and ignorance.By the fading light of August the 26th, 410 CE, Alal found himself sitting back in the pergola (a sort of mini-gazebo) in his rear gardens, drinking through several amphora of wine all the while having a deep philosophical debate with the several dozen very dead Goths decorating his environs.As three or four looters would enter the garden, he would kill them. And then three or four more would show up looking for the earlier group,, on and on. This reinforced Alal's belief that something drastic had to be done. He seriously considered going to the coast, getting a ship and five solid stone anchors. He'd sail out two days, maybe three, wrap himself in the anchors and jump overboard.The problem, as he saw it, was that given a few decades, the ropes would rot and he'd bob to the surface to see again that none of the fundamentals had changed. Further complicating his current thinking was that every time he came close to throwing in the cosmic towel, some more GOD DAMN GOTHS would come around, calling for their buddies, the dead ones. Somewhere around noon on August the 27th, Alal vowed that he was tired of this shit.Right on cue, around twenty Goths came strolling through the rear of his villa and soaked up the carnage out back. Fifty-two of their brethren were in various states of dismemberment and defilement (Alal had been, as usual, angry). They saw this dark-skinned Roman and rightly asked 'where's the army that killed these fellows?' He walked up to them in his wine-splashed toga."Are you the one in charge?" he asked the meanest looking Visigoth in passible Goth."I am," the leader responded. With lightning speed, he killed the man with his own sword. The Germans weren't sure what to make of that, it had happened so fast."You can join me," Alal indicated himself, "or you can join him," he indicated the corpse of their former leader. He had his new band of followers and the rest was Illuminati history.End FlashbackFor me, this meant more to me than living with the memories of a very bitter, driven and pitiless man. Alal was essentially the anti-me. It gave me chills to realize that all of Alal's gifts were bestowed on me with a purpose. I knew it was part of his greater plan. Normally, to end-run an evil genius, you just find him and kill him. Not only would Alal not stay dead, I now knew how well he could fight.I knew only four people who might be in his league, and I wasn't one of them. Of the four, Sakuniyas wasn't likely to help Pamela, Saint Marie and Elsa get the job done. That meant I had to rev up the deception engine to comfort my Aunts with hope, while dispelling the knowledge of how little they mattered to their sire. Almost as bad, I had to ignore what horribly people they were while extending that portion of my soul.It was with some relief that I hugged, kissed, and forcefully separated myself from the Aunts in Dublin. We were going on to Budapest's Ferenc Liszt International Airport. My next action was to make my request to Selena for a contract with the Ghost Tigers to defend Hana when she arrived in Russia. (Of the three 9 Clan Assassin-Babes, Selena was the least impressed with me.) She informed me that the Ghost Tigers didn't do bodyguard work. I still wanted her to relay my request, so she relented. After that, I passed out.We left Dublin around 9:30 am Friday morning and landed in Budapest at 1:45 pm., still Friday. As Rachel rousted me so I could grab a quick shower before touchdown, I was gifted with the misconceptions of my fellow travelers:To put it nicely, Riki thought I was somewhat revolting, Virginia was disturbed and Chaz had lowered his opinion of my moral character. It was the incest thing. Vincent being polite was a pleasant surprise, Delilah's camaraderie less so and Odette was peaches with my most recent sexcapades. She was far too good to me. The Amazons uniformly didn't give a crap."So, is there going to be any other bizarre behavior we should be prepared for?" Riki sat down next to me as I was drying my hair. I was back to my 'jeans, t-shirt and wind-breaker' style."Fine, " I said loudly. "It is really none of your business what I did with and to my mother's clones. Yes, they are all clones of my mother, who died when I was seven." A lie."They are also the genetic creations of my grandfather, also known by many as Cáel O'Shea. They are sterile, they are wickedly evil, and two weeks ago I didn't know they existed. I do have a real aunt in Maryland. She's my Father's sister and is not part of the menagerie. Oh yeah, my grandpa is currently a disembodied spirit, back from the Netherworld and looking for a body to take over, if he hasn't found one already," I added."He was born roughly five thousand years ago, was cursed by an ancient Sumerian Goddess such that he can never just die and stay dead. I have his memories running around my head, which, along with denying me a good night's sleep, allows me to speak an assortment of languages, use virtually every weapon built before 1970 and know that he is a vicious criminal mastermind the likes of which you've never imagined outside of fiction.How does that sound, Riki? Shall I get more bizarre? Trust me, I can," I regarded her evenly. She was speechless, but not out of awe. No, she was certain that I was completely unhinged."Everyone who believes Cáel, raise their hand," Odette demanded. Her hand went up. Odette and the Amazons agreeing was expected by the outsiders. Delilah and Virginia joining in was not."Captain Fairchild?" Colour Sgt. Chaz Tomorrow requested clarification."You've all seen those five O'Shea's that left the plane in Ireland. Barring some cosmetic changes, they were the exact same woman. You can either go with Sean Connery's Tak-ne creating a female clone army, or you can believe there is an otherworldly plastic surgeon altering a cadre of super-rich bitches to all look alike," Delilah, who was a captain of something, put out there."Who in the Hell is Tak-ne?" Riki mumbled."Duh," I poked the State Department lassie. "Connor MacLeod's Egyptian mentor in Highlander, the original movie and in the less than stellar sequel, Highlander: The Quickening"."You are mistaken. Connery was that Spanish guy," Riki poked me back."Actually, the relevant quote is: 'I am Juan Sánchez Villalobos Ramírez, Chief metallurgist to King Charles V of Spain. And I'm at your service'," Vincent regaled us with his movie trivia. "He later reveals that he was born Tak-ne in Egypt in the 9th century BCE. Also, his Spanish name makes no sense, he has one too many surnames.""Agent Loire, I am beginning to find intelligent men to be attractive," Charlotte said."Umm, thank you," Vincent responded warily."This might be a good point to get something clear," Chaz inquired. "Mr. Nyilas, whose side are you on? It appears to be rather complicated.""Okay, Chaz, call me Cáel. Calling me Mr. Nyilas makes me miss my dad. I can also be addressed as Cáel 'Wakko' Ishara, Head of House Ishara of the First Twenty Houses of the Amazon Host. Or, you can call me what the Great Khan does, Magyarorszag es Erdely Hercege. Finally, those who love me, or find me amusing, may call me Fehér mén."Selena's snort indicated she'd failed to hide her amusement at my presumptiveness, both titular and physically."Do you want to explain what's so amusing?" Riki looked over to the Black Hand assassin."Your job should be exceptionally easy now," Selena mocked me, "Prince of Hungry and Transylvania, or do you prefer 'White Stud'?""Laugh while you can, Monkey-Girl," I sneered. "The guy currently making a run at erasing seven hundred years of Asian history gave me that title. As for Fehér mén, that means 'White Stallion' and is symbolic of my ties to House Epona, not a phallic reference." Riki's look had gone from disgust, to anger (because she thought she was being played) and lastly, to shock."No," I interpreted her fear. "I am not here as some vanguard to unite the Magyar people to their cultural kinfolk in Central Asia. If you know your Central European history, you might recall that the Mongols devastated my homeland. For the next 450 years, the Turks were unwelcome visitors, conquerors and overlords. My princely status is a pat on the head for a job well done and nothing more.""What job did you do?" Riki prodded."I saved a man's life," I looked pained to admit. She didn't get it."It must have been a major VIPs life," Chaz suggested."You can say that," Pamela nodded. "End of discussion time too."At Ferenc Liszt International, we were diverted to a private hangar once more, courtesy of the Republic of Ireland's diplomatic umbrella. Three grey Ford Focuses and a white panel truck advertising a furniture repair store awaited us. Security issues were immediately obvious. They wanted to separate us (in the Fords) from most of our luggage (in the truck).The five guy welcoming party hid under the cloak of 'don't speak any language you claim to speak' and Selena was of zip help. So, I spoke to them in Hungarian. They glanced my way, but didn't respond. Serbian? Nope. Romanian? Nope."Bows and doves," I commanded.That translated rather logically as 'guns/bows' and 'phones/doves'. Out came our pistols. The only Black Hand to react fast enough was Selena and Pamela had her covered. The Amazons were aiming at the locals while Delilah and Chaz had their weapons out and scanning. Vincent and Virginia hadn't been fast enough, this time. They also didn't have guns pointed at them.The lead BH flunky began talking calmly in German, heavily Slavic accented German."What do you think you are doing?" he inquired of me, in German."Disarming you, ya Moron," I grumbled. Then added in Hittite; "Go", and in my Amazons went to very roughly search, disarm and de-phone our not so friendly friends."Alright, gather up your luggage," I called out to my group. "We are walking to town." That wasn't truly accurate. There was a metro associated with the airport, a kilometer away max. Our guides didn't speak English so they were rather surprised when the bags came out of the truck and were distributed to their owners. Riki Martin and Odette were in some trouble.Girls and 'only packing the necessities', Well, we had some diplomatic lumber to toss at the security services, Vincent had web-searched our location and the route we needed to take to the metro, and Delilah had purchased week-long public transport passes for the group. Only when we started marching out of the hangar did the BH comprehend the totality of their error.The five guys in the hangar were chattering away, in Hungarian, and Selena was peeved."You are upsetting my superiors by blatantly disrespecting their courtesy," she reminded me. "They have guaranteed your safety.""Less than a day has passed since the shootout in London, Selena," I countered."This is the Black Hand's backyard," Selena persisted, "not London.""So, you are only going to help us if we do stupid shit we wouldn't do, even on our own home ground, is that it?" I chuckled. "Sweet," then, to my people, "I guess we are on our own."The airport security guards didn't know what to make of our group of over-worked Sherpa, but the US State department and the RoI (Republic of Ireland) vouched for us, so they let us pass.We hadn't taken the cars and the truck because that would have been theft. The confiscated guns and phones had been disassembled and tossed into a large iron drum of used aviation lubricant. Odette began shopping around for hotel reservations (I was carrying most of her gear). She was the logical choice because she sounded the most human of the bunch.Selena called her people back, explained the fuck up and engaged in a mutual ass-chewing that spilled over a half-dozen languages and ended up with Dick-head, the local BH chieftain providing us with quarters that would turn a blind eye to our arsenal. With that address in mind, we made for the bowels of modern Budapest.Dutifully, Riki contacted the US Embassy to Hungary's CIA mission head and Chargé D' Affaires, a.i., updating them on our arrival and movements. At the last moment, I had Riki relay the wrong address, on a paranoid hunch. I was right to be paranoid except I was looking in the wrong direction.We had just disembarked at the Kőbánya-Kispest M3 station when we walked into the rolling ambush. A 'rolling ambush' is like a meeting engagement, the difference being that one side (ours) is on the move, not knowing it is being hunted while the other side (our attackers) was rushing to catch up with us, not knowing where along the path they would find us.As we preparing to transition from the station to the attached terminal, looking for the bus line that would connect us to the BH safe house in the Kőbánya (X) District, our attackers were dismounting their vehicles from across the street as well as to our left and right. They were dressed like cops. Had they been armed like cops,"Oh look," I snickered to Pamela, "I see a whole bunch of heavily armed people coming our way.""Good for you," Pamela muttered. "Your eyes are still working.""Do you think they are here to raise me up on their shields and proclaim me 'Prince'?" I joked."I think they are here to kill us," Pamela grinned."I prefer to think positively," I grinned back."I am positive they are here to kill us," Pamela laughed. It had to be our relaxed demeanor that confused them.Had we been the droids they were looking for, we wouldn't have been chatting in the open with our bags in our hands. That would have made us crazy, and they would have been right. We were crazy alright and there was a method to our madness. It was mid-afternoon, yet there were plenty of average Hungarians wandering about.Sure, they saw the 'special cops' closing in. They didn't see the upcoming shoot-out because that was plain nuts. A gun battle in a modern metropolis in broad daylight? London yesterday was an aberration, not the new normal. Our impromptu plan was to let the killers get as close as possible to limit the collateral damage.This wasn't classic Amazon training. It was a concession to allies who did care about civilians killed in the cross-fire. The oncoming hit squad was finally putting faces to targets when Odette broke the calm before the storm. All she did was squeak when Vincent pushed her behind a kiosk. Riki took Virginia shifting her to cover in silence.Delilah took off at a dead-run to the south-east. They were raising their shotguns and assault rifles. We were drawing our pistols. Normally this would have been an unequal match, except that in the time period where, in their eyes, we had gone from bystanders to targets, they'd also covered a good deal of ground, to the point that they were out in the open while my fighting band was in close proximity to all kinds of cover.It started out as eighteen to twelve. Pamela, Chaz and Selena quickly cut down those odd by five. Me? I didn't try to shoot and run at the same time, so I made it to cover and was stuck there by our opponents use of fully-automatic fire.My lack of martial prowess could be forgiven by the reality I was the one they were trying to off. My greatest contribution to this skirmish was tossing my SPAS-12 to Chaz so he could use something more than his standard military issue Glock-17. I had barely gotten Chaz's appreciative nod when two grenades went off in close proximity to me.At first, I heard and felt nothing. My eyes were having trouble focusing. When my limbs began to orient themselves, I had to fight down the instinct to move. I was lying down, which was far safer than staggering around in the middle of this hail of lead. The twin grenades turned out to be their second and very fatal mistake on this mission.The first had been their delay in identifying my group. The second, using the stun grenades, did put me, Pamela and Selena out of commission temporarily. But their mistake was having misplaced my six Amazons in this mess they had created. They did have thirteen shooters versus Chaz, Virginia and Vincent. They rushed our position using the classic advance while firing rote.Two meters from me, the six Amazons revealed themselves with five P-90's and one big-ass bow. Four escaped the kill zone only to find themselves flanked by Delilah. Her .480, combined with their confusion, finished off the survivors. That wasn't the end of it. We still had to effect our get-away.I was still getting my head on straight as the ladies decided to hotwire some of the deceased men's rides and get us the heck out of Dodge. Recovery brought with it the knowledge that Virginia and Chaz had been shot. Pamela, Selena and me, we had some scrapes and bruises. Everyone else checked out. Mona let us know that she could handle the wounded. They wouldn't be doing jumping jacks for a week or two, but a hospital was not required. On the downside, no one believed that eighteen killers dressed as cops randomly rolled up on our transit point by accident. The only people who knew about our change in travel plans had been the Black Hand. We'd lied to the US.We broke into an abandoned factory to stash the vehicles and make our next plan. Selena was coldly furious. Not only did she come to the same conclusion we had, the Black Hand had set us up to be murdered, we weren't letting her call in. Wiesława and Charlotte kept their guns pointed at her, so low was our level of trust.Chaz was pretty much of the opinion that Selena should be coerced to provide us with the names and locations of the Black Hand involved so that we could do our own 'fact finding tour'. Oddly, none of the Americans asked to be pulled out. Vincent and Riki wanted to let the US Embassy know what had happened, yet were willing to wait until we were secure somewhere first.Rachel was on board with Chaz's idea, with the addendum that they kill every Black Hand they could get their hands on before fleeing the city. They had tried to kill ME after all. I was touched. It was Pamela who put things in perspective.1) The attackers were not Black Hand, they were mercenaries and that pointed a bloody finger at the Condottieri.2) Selena wasn't a fanatic and her life had been in as much danger as anyone else's. She wasn't part of our ambush. Her buddies had tossed her under the bus.3) It would have been far easier to catch us in that convoy they'd tried to stick us with. Caught in pre-planned crossfires and without our heavier weapons, we would have all died.4) Having failed to deliver us to the pre-planned ambush site, the Condottieri had to rush to our metro stop because, the safe house they had prepared for us wouldn't have worked. We had the numbers to allow us take total charge of our security once we were in place. No, gauging our numbers, this traitor had sent the mercs into a straight-up fight they'd just lost.

In this episode, Wellington is joined by special and first-time guest Melissa Murphy, an entrepreneur and diehard Miami Heat fan. They give their final takeaways from the Luka-AD trade, De'Aaron Fox heading to the Spurs and how Zach LaVine will fit with the Kings. Finally, they discuss how well OKC looks, possible trade destinations for Jimmy Butler and KD plus much more! In the second half, Wellington is joined by guest Jamil Davis, Florida State Coordinator at Black Voters Matter Fund, and host of the BLKFLA the Podcast to highlight Kendrick Lamar's historic sweep of the Grammy's and winning 5 awards for "Not Like Us" plus what Drake should do next including the PND album on Valentine's Day. For their album reviews, they discuss Central Cee's Can't Rush Greatness debut album, Ransom's Cabrini Green and Conductor Williams' latest project. 

Say his name five times if you dare. The Killer Point of View Podcast is back, kicking things off with a deep dive into the 1992 horror classic Candyman. We're breaking down what makes this film so iconic—its chilling atmosphere, Tony Todd's legendary performance, and its unforgettable urban legend roots.But Candyman is more than just a horror movie. We explore how it tackles systemic racism and inequality through its haunting portrayal of Cabrini-Green, blurring the lines between folklore, psychological terror, and slasher brutality. Is Candyman truly a villain, or is he a victim of history? And where does the legend of Bloody Mary fit into the conversation?Join us as we discuss our love (or fear) of this film, its lasting impact on horror, and why Candyman still has audiences looking over their shoulders.Tune in… just don't say his name.

There are important differences between Parliament and Congress, just as there are important differences between the powers and limitations on an American president and those on a British prime minister. Learn what these are on today's podcast. Center for Civic Education

How does the prime minister of the United Kingdom differ from the American president? Find out on today's podcast. Center for Civic Education

Congress, the Supreme Court, and public opinion limit the power of the president. Find out how on today's 60-Second Civics podcast Center for Civic Education

Congress has a number of ways to limit the power of presidents. For example, Congress can refuse to ratify treaties and decline to confirm presidential nominees. Congress can even refuse to fund the president's programs or abolish agencies. Center for Civic Education

The president's power is limited by a few different methods. For example, an amendment to the Constitution limits the president to two elected terms in office. Another powerful check on the president's power is Congress. Learn about more of the ways the president's powers are limited on today's podcast. Center for Civic Education

Why have executive orders increased in recent years? Find out on today's podcast. Center for Civic Education

The president recommends legislation to Congress. The executive branch also plays an important role in determining federal regulations and elaborating laws. These factors have led to the growth of executive power. Center for Civic Education

Over time, power has flowed between Congress and the executive branch. Center for Civic Education

Can Congress and the Supreme Court reign in the power of the president? You bet. Center for Civic Education

What does the Constitution say about presidential powers during emergencies or crisis? The answer may surprise you. Center for Civic Education

With the support of Congress, FDR responded to the multiple crises that occurred during his administration. Center for Civic Education

How is the president America's diplomat in chief? Find out on today's podcast. Center for Civic Education

The president is commander in chief, but only Congress can declare war. Congress has declared war only five times in the nation's history. Center for Civic Education

December 3, 2024 Mayor Brandon Johnson – City of Chicago City Club event description: Mayor Brandon JohnsonBrandon Johnson was sworn in as the 57th Mayor of the City of Chicago on May 15, 2023. Mayor Johnson began his career as a public school teacher, first at Jenner Academy in Cabrini-Green and then at Westinghouse College […]

The Last Days of Cabrini-Green tells the story of seven-year-old Dantrell Davis and his mother Annette Freeman. Davis was shot and killed while he and his mother walked to his school on Oct. 13, 1992. His killing sparked raids and overpolicing in the neighborhood. Reset sits down with the creators of the podcast – journalist Ben Austen and writer Harrison Rivers – to learn more about their stories and history. For a full archive of Reset interviews, head over to wbez.org/reset.

The president's power is at its greatest when it comes to foreign affairs. Center for Civic Education

The president has a number of important powers, but the president's powers are limited in important ways. Center for Civic Education

Find out why Franklin D. Roosevelt was arguably the most influential president of the 20th century. Center for Civic Education

During the Anglo-Saxon period, which lasted from about 410 AD until 1066 AD, many different tribes ruled Britain. These tribes featured different social roles, such as andquot;thanesandquot; and andquot;ceorls.andquot; Listen to learn more about Anglo Saxon society in today's episode! Center for Civic Education

Abraham Lincoln, Theodore Roosevelt, and Woodrow Wilson each contributed to the growth of presidential power. Center for Civic Education

Thomas Jefferson sought to be a model of republican simplicity, rejecting what John Adams's detractors viewed as the monarchical tendencies of Adams. But Jefferson wasn't above stretching the powers of the presidency when it suited his purposes. Center for Civic Education

Some scholars trace the rise of the powerful modern presidency to Andrew Jackson, who expanded the use of the veto and appealed directly to the public to support his position on the recharter of the Second Bank of the United States. Center for Civic Education

The Framers of the Constitution wanted the president to be strong, but not too strong Center for Civic Education

The Framers of the Constitution envisioned the president as being above partisan politics. They wanted the president to be a person who had earned the esteem and confidence of the entire nation. This was one of the purposes of the Electoral College. Center for Civic Education

Today: some controversial inherent powers of presidents. Center for Civic Education

Justice Robert Jackson's concurring opinion in Youngstown Sheet and Tube v. Sawyer (1952) sets forth a framework that is widely used to assess presidential power. Center for Civic Education

Today we kick off a brief series on the power of the presidency. Center for Civic Education

Thomas Paine, with his characteristically sharp wit, pointed out some problems with the property requirement for voting. Center for Civic Education

Who was allowed to vote during the early years of the American republic? It depended on where you lived. Center for Civic Education

What legacy of Greek and Roman democracy did the colonists inherit? Find out on today's episode. Center for Civic Education

How did the right to vote gradually expand in the United States? Find out on today's podcast. Center for Civic Education

The House American Congress somewhat resembles the ancient bodies from Anglo-Saxon times. Learn more in today???s episode about these origins, including what they have evolved into for the modern British model of government. Center for Civic Education