Podcasts about Delhi

In September 2020, India's Parliament passed three farm reform bills that the government claimed would radically change the way in which agriculture was practiced in the country. Yet, just over twelve months later, the same government announced its intention to repeal those laws—a major concession to large-scale, dogged protests launched by farmers in northern India. The repeal of the farm reform laws, hailed by many observers as a short-term victory for struggling farmers, has also raised complex questions about the future of agriculture in a rapidly urbanizing India. To consider some of these questions, Milan is joined on the podcast this week by Harish Damodaran. Harish is a senior fellow at the Centre for Policy Research in Delhi, where he is enjoying a sabbatical from his day job as national rural affairs and agriculture editor at The Indian Express. Harish and Milan talk about the state of Indian agriculture, the motivations behind the farm reform laws, and the complex reasons the government eventually withdrew them. Plus, the two discuss the next stage of farmers' demands and what this setback does to the larger push for agrarian reform. Harish Damodaran, “In burying farm laws, Govt may have held off demand for right to MSP,” Indian Express, November 20, 2021. Harish Damodaran, “Farm Bills 2020: Actual text vs perception,” Indian Express, September 21, 2020.Mukulika Banerjee, “The Rural Roots of Citizenship and Democracy in India,” Grand Tamasha, November 9, 2021.Yamini Aiyar and Mekhala Krishnamurthy, “The farm laws: Why this is not a 1991 moment,” Hindustan Times, November 26, 2021.  

Simblified correspondent Srikeit is on ground in our nation's capital to give a first-hand account of Delhi NCR's politics news-channels patriarchy intense air-pollution. Join the Simblified trio (Chuck got lost in the smog) as we break down the complex causes, effects, politics and cricketing mishaps caused by the haze in Delhi. Add one part news, one part bad jokes, one part Wikipedia research, one part cult references from spending too much time on the internet, one part Wodehouse quotes, and one part quality puns, and you get Simblified. A weekly podcast to help you appear smarter, to an audience that knows no less! Your four hosts - Chuck, Naren, Srikeit and Tony attempt to deconstruct topics with humour (conditions apply). Fans of the show have described it as "fun conversations with relatable folks", "irreverent humour", "the funniest thing to come out of Malad West" and "if I give you a good review will you please let me go". Started in 2016 as a creative outlet, Simblified now has over 200 episodes, including some live ones, and some with guests who are much smarter than the hosts. Welcome to the world of Simblified! You can contact the hosts on: Chuck: twitter.com/chuck_gopal / instagram.com/chuckofalltrades Naren: twitter.com/shenoyn / instagram.com/shenoynv Tony: twitter.com/notytony / instagram.com/notytony Srikeit: twitter.com/srikeit / instagram.com/srikeit

“It was May 2019. I made the biggest decision of my life. I left my super comfortable job at Reebok, packed my life in 4 suitcases and moved across the globe to study more. But NOTHING went as planned. Little did I know that I'll be graduating in the middle of a pandemic. Little did I know that it would be the worst moment to be out in the job market again. And little did I know that I won't be seeing my family for over 2 years. The world has changed completely since then.  But sometimes, when nothing goes per plan, we're pushed to find solutions outside our comfort zone. And more often than not, they are way better than our original plan.”In this week's podcast episode of How I Got Hired, I speak with Pragya Mishra on how she landed the plum role of Head of Marketing at Shield, the LinkedIn Analytics platform, without any real experience in SAAS Marketing or even Tech for that matter.In this juicy episode we talk about:- What made Pragya make big, bold, uncertain moves when life was downright comfortable in every single way- How she moved to Denmark with a job offer that (at first) didn't offer any salary!- How she got hired by Shield, the world's leading app for LinkedIn analyticsAnd so much more!I love Pragya's career story, I hope you enjoying listening to the entire conversation! To learn more about Pragya Mishra, follow her on LinkedIn: https://www.linkedin.com/in/mishrapragya/-------------- Liked this episode? A couple of things:1. Share the podcast with three of your closest friends! And please leave a great review on Apple Podcasts here, as it would mean a lot to me and hopefully help others discover this resource for Job Seekers ! 2. You will love my weekly emails called Charge-Up! .. they're no fluff no spam, where I share my favourite career insights from movies, TV shows, news and my own personal experiences, that I don't share anywhere else. Make sure you sign up here!  3. Come hang out with me LIVE on LinkedIn and Youtube every Friday at 2 pm CET where I answer your questions and often bring in fab guests:LinkedIn: https://www.linkedin.com/in/sonalbahl/ Youtube: https://www.youtube.com/SuperChargeYourselfSign up to the Free, LIVE masterclass to SuperCharge your resume:https://www.superchargeyourself.com/masterclass

Every couple of weeks like clockwork, another child would vanish from Nithari, Delhi. The police didn't seem concerned, and no one wanted to take a closer look at the alleyway - or so-called "black hole" where all the kids had disappeared.  What the locals would eventually find in the sewers surrounding bungalow D5 would bring to light a terrifying killer who indulged in paedophilia, necrophilia and cannibalism - in a case that would change India forever Book: https://linktr.ee/RedHanded_Book Subscribe to our new YouTube Channel: YouTube - Subscribe Pre-order a copy of the book here (US & Canada): Signed copies - US & Canada Pre-order on Wellesley Books Pre-order on Amazon.com Pre-order a copy of the book here (UK, Ireland, Europe, NZ, Aus): Signed copies - UK, Ireland, Europe, NZ, Aus Pre-order on Amazon.co.uk Pre-order on Foyles Follow us on social media: Instagram Twitter Facebook Visit our website: Website Contact us: Contact Sources: Documentaries: The Karma Killings The Slumdog Cannibal https://www.indiatoday.in/magazine/cover-story/story/20070122-nithari-killings-noida-749294-2007-01-22 https://www.livemint.com/Politics/W3UVdT8AW4j8TLrlX1sElI/Nithari-serial-killings-A-timeline-of-the-case-so-far.html http://old.tehelka.com/truth-of-nithari-killings-organ-trade-hanging-surender-koli/ https://scroll.in/reel/827005/documentary-on-the-nithari-serial-murders-answers-some-questions-and-raises-others https://www.timesnownews.com/delhi/article/nithari-killings-cbi-court-pronounces-surinder-koli-guilty-acquits-his-employer-mondinder-singh-pandher/707863 https://blog.ipleaders.in/need-know-nithari-serial-killings/ https://scroll.in/article/679297/nine-reasons-not-to-hang-alleged-nithari-serial-killer-surendra-koli http://old.tehelka.com/surender-koli-nithari-killings-death-penalty-pulled-back-from-the-gallows/ https://timesofindia.indiatimes.com/india/cops-made-merry-on-pandhers-cash/articleshow/1552926.cms http://old.tehelka.com/label/nithari-killings/ https://fountainink.in/reportage/nailing-the-lies-of-nithari

We are nearly done with our sixth season of Grand Tamasha and we have been shamefully overdue in scheduling a news round-up for the Fall.To set things straight and to discuss the latest news coming out of India, Milan is joined on the podcast this week by Grand Tamasha regulars Sadanand Dhume of AEI and the Wall Street Journal and Tanvi Madan of the Brookings Institution. The three discuss the Modi government's abrupt about-turn on the farm law bills, the perilous state of China-India relations, and new murmurs out of Delhi on the trade policy front. Plus, Tanvi, Sadanand, and Milan discuss three stories coming out of India that podcast regulars should be following. Sadanand Dhume, “Farmers Will Reap the Benefits of Modi's Reforms,” Wall Street Journal, October 1, 2020.Sadanand Dhume, “What New Delhi Needs to Stand Up to Beijing,” Wall Street Journal, November 11, 2021.Tanvi Madan, “Major Power Rivalry in South Asia,” Council on Foreign Relations, October 2021.  

Nate talks running with Delhi Cross Country Coach, Skip Baxter. They chat about the rich XC history at DA including the NYS Class-D championship for the girls team in 2019. That was the 4th state title in program history. Skip tells us how he found his way to Delhi and got into coaching. The guys also highlight several recent DA grads that have gone on to run at the D1 level in college.Sportsfield Specialties Leaders in Sports Construction Equipment

Police Matters: The Everyday State and Caste Politics in South India, 1900–1975 (Cornell UP, 2021) moves beyond the city to examine the intertwined nature of police and caste in the Tamil countryside. Radha Kumar argues that the colonial police deployed rigid notions of caste in their everyday tasks, refashioning rural identities in a process that has cast long postcolonial shadows. Kumar draws on previously unexplored police archives to enter the dusty streets and market squares where local constables walked, following their gaze and observing their actions towards potential subversives. Station records present a textured view of ordinary interactions between police and society, showing that state coercion was not only exceptional and spectacular; it was also subtle and continuous, woven into everyday life. The colonial police categorized Indian subjects based on caste to ensure the security of agriculture and trade, and thus the smooth running of the economy. Among policemen and among the objects of their coercive gaze, caste became a particularly salient form of identity in the politics of public spaces. Police Matters demonstrates that, without doubt, modern caste politics have both been shaped by, and shaped, state policing.  Radha Kumar is Assistant Professor of History at the Maxwell School in Syracuse University. Dr. Kumar holds a PhD in History from Princeton University, where she specialized in Modern South Asian Studies. She has conducted archival research in a range of cities including Madurai, Tirunelveli, Bangalore, Chennai, Delhi, and London, and was supported by the History Department at Princeton University and by the Princeton Institute for International and Regional Studies. Sohini Chatterjee is a PhD Student in Gender, Sexuality, and Women's Studies at Western University, Canada. Her work has recently appeared in South Asian Popular Culture and Fat Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Police Matters: The Everyday State and Caste Politics in South India, 1900–1975 (Cornell UP, 2021) moves beyond the city to examine the intertwined nature of police and caste in the Tamil countryside. Radha Kumar argues that the colonial police deployed rigid notions of caste in their everyday tasks, refashioning rural identities in a process that has cast long postcolonial shadows. Kumar draws on previously unexplored police archives to enter the dusty streets and market squares where local constables walked, following their gaze and observing their actions towards potential subversives. Station records present a textured view of ordinary interactions between police and society, showing that state coercion was not only exceptional and spectacular; it was also subtle and continuous, woven into everyday life. The colonial police categorized Indian subjects based on caste to ensure the security of agriculture and trade, and thus the smooth running of the economy. Among policemen and among the objects of their coercive gaze, caste became a particularly salient form of identity in the politics of public spaces. Police Matters demonstrates that, without doubt, modern caste politics have both been shaped by, and shaped, state policing.  Radha Kumar is Assistant Professor of History at the Maxwell School in Syracuse University. Dr. Kumar holds a PhD in History from Princeton University, where she specialized in Modern South Asian Studies. She has conducted archival research in a range of cities including Madurai, Tirunelveli, Bangalore, Chennai, Delhi, and London, and was supported by the History Department at Princeton University and by the Princeton Institute for International and Regional Studies. Sohini Chatterjee is a PhD Student in Gender, Sexuality, and Women's Studies at Western University, Canada. Her work has recently appeared in South Asian Popular Culture and Fat Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

Police Matters: The Everyday State and Caste Politics in South India, 1900–1975 (Cornell UP, 2021) moves beyond the city to examine the intertwined nature of police and caste in the Tamil countryside. Radha Kumar argues that the colonial police deployed rigid notions of caste in their everyday tasks, refashioning rural identities in a process that has cast long postcolonial shadows. Kumar draws on previously unexplored police archives to enter the dusty streets and market squares where local constables walked, following their gaze and observing their actions towards potential subversives. Station records present a textured view of ordinary interactions between police and society, showing that state coercion was not only exceptional and spectacular; it was also subtle and continuous, woven into everyday life. The colonial police categorized Indian subjects based on caste to ensure the security of agriculture and trade, and thus the smooth running of the economy. Among policemen and among the objects of their coercive gaze, caste became a particularly salient form of identity in the politics of public spaces. Police Matters demonstrates that, without doubt, modern caste politics have both been shaped by, and shaped, state policing.  Radha Kumar is Assistant Professor of History at the Maxwell School in Syracuse University. Dr. Kumar holds a PhD in History from Princeton University, where she specialized in Modern South Asian Studies. She has conducted archival research in a range of cities including Madurai, Tirunelveli, Bangalore, Chennai, Delhi, and London, and was supported by the History Department at Princeton University and by the Princeton Institute for International and Regional Studies. Sohini Chatterjee is a PhD Student in Gender, Sexuality, and Women's Studies at Western University, Canada. Her work has recently appeared in South Asian Popular Culture and Fat Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Intro: buzzsaws and clean slates, rage, Where the Wild Things AreLet Me Run This By You: MoneyInterview: We talk to Carole Schweid about Juilliard, Phoebe Brand, John Lehne, Michael Brand, Midnight Cowboy, musical comedy performance, open dance calls, starring in the original cast of A Chorus Line, Bob Fosse, Pat Birch, Martha Graham, Minnie's Boys, Mervyn Nelson, playing Fastrada in the first national tour of Pippin, being a lone wolf in theatre, Lewis J. Stadlen, doing West Side Story at Bucks County Playhouse, Shelly Winters, Mary Hinkson, Nellie Forbush in South Pacific, playing Tzeitel in Fiddler on the Roof, Peppermint Lounge, Nick Dante, Michael Bennett, Marvin Hamlisch, Public Theater, Gerry Schoenfeld, The Shubert, the wish for a job vs. the real experience of working, Theda Bara & The Frontier Rabbi, Agnes de Mille, Play With Your Food, Staged Reading Magic, Albert Hague.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it. 20 years later,2 (16s):We're digging deep talking to our guests about their experiences and trying to make sense1 (20s):If at all we survived theater school and you will too. Are we famous yet? As more space is actually a huge thing.2 (36s):Yeah. I have to apologize for the sound of buzz saws. What is going to be going the whole time I'm talking, doing well, you1 (50s):Took some trees down, right.2 (53s):You know, that's how it started. Yeah. It started with actually, you know, it all was a surprise to me, basically one we've been talking about taking down all the trees in the front of our house. And one day Aaron said, they're coming tomorrow to take down the trees. And I'm like, how much did that cost? Because you know, taking down trees is usually really expensive. And so he says, well, he's going to do everything in the front for whatever. It was $5,000.1 (1m 22s):Yeah. She was pretty good for more than one tree. Cause one tree we had removed was $5,000 at my mom's.2 (1m 28s):Well, and it's not like they have to extract the whole tree. It's just, you know, just chopping it down. Like it's not, I don't know if it's different when they have to take out the, yeah,1 (1m 38s):I think it is when they have to take the stump out the roots and all that.2 (1m 43s):So that was fine. Although I did think to myself, Hmm. We have $5,000 to spend and this is what we're spending it on.1 (1m 54s):I've been there. Oh, I've been there2 (1m 56s):So the morning, but I'm letting it go. And so the morning comes and he tells me to go outside so we can talk about the trees and, and, and I, anyway, we, we designate some trees and they're all in the lower part of the front of our house.1 (2m 10s):Yes. You, and by the way, for people that don't know, like you have a lot of land for, for, for, for not being in the super super country, you have a lot of courage. I mean, you got a lot of trees.2 (2m 21s):Well, yeah, we have an acre and it's a lot of trees and it's a lot of junk trees. What they call junk trees. Because the idea here is once upon a time, when everybody got their heat from wood, you had to have fast growing trees. So it's these skinny trees. Yeah. Anyway, so I thought we were sort of on the same page about what we were going down. This is where I'm getting with this. And I had a couple of meetings yesterday and I was hearing the sound pretty close, but it wasn't until I looked outside that I saw, they took everything out.2 (3m 1s):The, every living thing out in the, in the front, in front of our house, including the only tree I was really attached to was I have a beautiful lilac tree.1 (3m 14s):Okay. Oh shit. And everything out.2 (3m 21s):What's that? Why they1 (3m 22s):Take everything out? Is that the plant? I think,2 (3m 25s):I think what happened was for the first couple of days, the boss was here. And then I think yesterday, the boss was like, you guys just go and finish up. And I don't know that anyway, you know what, I'm just choosing it to be, I'm choosing to look at it like, okay, well we're getting to start over and it can be exactly how we want it to be. So yeah,1 (3m 45s):That is a great attitude because there's nothing you can do you really do about it? Absolutely. Zero. You can do about threes coming out.2 (3m 53s):The only bummer is that it sounds like buzz saws all day at my house and at my neighbor's house, I'm sure they're annoyed with us too. Well,1 (4m 2s):What are you going to put? It is. Okay. So, so, okay. The good, that's the sort of wonky news, but what the good news is, what are you going to put in? Like, is there going to be a whole new,2 (4m 12s):I think it's just going to GRA, I mean, I think it's just going to be grass, which is fine. I mean, my thing was actually, it does a little bit of a metaphor because when we first moved here, we loved how quiet and private and everything is. And part of why everything feels very private at our house is there's trees and bushes blocking our view of anything. I mean, all we can see is trees and bushes when we're laying on the front, which for a while seemed cozy. And then it started to seem like annoying that we could never see. And actually there's kind of a really beautiful view of the mountains behind us. So our mountains Hills.1 (4m 51s):Yeah. But I mean, small mountains, like small2 (4m 53s):Mountains. Yeah. So I realized that it does coincide with our psychological spelunking and trying to just be like more open about everything. Like totally. You know what I mean? Like this is just be open to people seeing our house. This is open to seeing out and let's have, and actually my kids were kind of like, oh, but it's just also open and we don't have any privacy. And I'm like, yeah, well you have your room and bathroom. I mean, there's, there's places to go if you don't want people to, to see you, but let's just be open.1 (5m 31s):There's like a whole, yeah. It's a great metaphor for being visible. Like I am all about lately. I have found a lot of comfort and refuge in the truth of the matter, even if it's not pretty, even if I don't actually like it. So like getting the facts of the matter and also sharing the, of the matter without a judgment. So I appreciate this, like wanting to be seen and then letting go of what people make of that, whether your house is this way or that way, or the neighbors think this or that, I'm also the, I I'm all about it.1 (6m 15s):I'm like, you know, this is, there's something about transparency. That's very comforting for me. It's also scary because people don't like it when they can see, or they can say whatever they want, but the hiding, I think I'm pretty convinced hiding from myself and from others leads to trouble.2 (6m 37s):It leads to trouble. And any time you're having to kind of keep track of what you're, you know, being open about and what you're not, and what you've said, you know, it just it's like it's T it's listen. If I only have a certain amount of real estate in my mind, I really don't want to allocate any of it too. Right. Hiding something and trying to remember. Right.1 (7m 1s):And it's interesting, the more that we do this podcast, the more I see that, like, you know what I thought gene, I thought when we're dead, this podcast is going to remain. And then our children's children's children. I mean, I don't have kids, but my nieces and nephew and your children's children's children will have a record of this. And, and I'd rather it be a record of the truth, the truth and transparency, then some show about pretending. So I think it's going to be good for them to be able to look back and be like, for me, it's like the, my crazy aunt, like, what was she doing? And what did she think? And, and, oh my God, it's a record of the times too.1 (7m 43s):Yeah.2 (7m 43s):I think about that kind of a lot. And I think about, of course I say all this and my kids are probably like going to be, have no interests unless the, until they get to a certain age, I mean, I'll put it to you this way. If I could listen to a podcast of my mother in her, you know, in the time that I don't really the time of life, certainly before I was born, but in my life where I still didn't see her as a person until, you know, I'd love to just things like what her voice sounded like then, and that kind of thing. I mean, it's interesting.1 (8m 16s):I have nothing of my mom, like we have a very few, it was interesting because we didn't, you know, we, there was not a lot of video of my mother and today's actually the 10th anniversary of her passing.2 (8m 28s):Oh, wow. Wow. That's hard.1 (8m 31s):It is hard. You know, it is hard. And I'm working through, I started therapy with a new therapist, like a regular LCSW lady. Who's not because my last guy was an Orthodox Jewish man who wanted me to have children. Like it was a whole new, I just got involved in all the Shannon Diego's of like weirdness. I attracted that weirdest and whatever. So this lady is like a legit, you know, therapist. And they only bummer is, and I totally understand she's on zoom, but like, I I'm so sick of like, I would love to be in a room with a therapist, but I get it. She's in, she's an older lady, which is also great. I was so sick of having like 28 year old therapists.1 (9m 13s):Yeah,2 (9m 13s):Yeah, yeah. For sure.1 (9m 16s):I don't even seem right. Unless clients are like, you know, fit seven to 17. So anyway, so, but all this to say about my mom, I was thinking about it and I think what's harder than right. My mom's death right now is that there's I just, you know, and this is something I wanted to bring up with you is just like, I have a lot of rage that's coming up lately about my childhood and we weren't allowed to feel rage. And my mom was the only one allowed to feel rage. And so this rage mixed with perimenopause slash menopause. I mean, like I still get a period, but like, it's, it's a matter of time before that's over.1 (9m 58s):So, but the rage, so I guess, right. I get, you know, people like to talk about rage as some or anger as something we need to process and we need to do this and that, but the truth of the matter is since we're being transparent, like rage can be really scary. Like sometimes the rage, I feel, it's not like I'm going to do anything. Why wonky? I hope, but it's more like a, I don't know what to do with it. That is my, and I was talking in therapy about that. Like, I'm not actually sure. Practically when the feelings come up, what to do with rage. And I feel like it speaks to in our culture of like, we're all about now, this sort of like, we talk about this fake positivity and shit like that.1 (10m 41s):And also like embracing all your feelings, but there's not really practical things that we learn what to do when you feel like you're going to take your laptop and literally take it and throw it across the room and then go to jail. Like you, you. So I have to like look up things on the internet with literally like what to do with my rage.2 (11m 1s):I think that's why that's part of my attraction to reality. Television shows is a, is a performance of rage. That's that I wouldn't do just because I don't think I could tolerate the consequences. I mean, an upwards interpretation is, oh, it's not my value, but it's really just like, I don't think I can manage the content of the consequences. I'm totally at having all these blown up1 (11m 30s):And people mad at me and legal consequences. I can't,2 (11m 35s):It's something very gratifying about watching people just give in to all of their rage impulses and it's yeah. I, it it's, it may be particularly true for women, but I think it's really just true for everybody that there's very few rage outlets, although I guess actually maybe sports. Well, when it turns, when it turns sideways, then that's also not acceptable.1 (12m 3s):Yeah. I mean, and maybe that's why I love all this true crime is like, these people act out their rage, but like lately to be honest, the true crime hasn't been doing it for me. It's interesting. That is interesting. Yeah. It's sort of like, well, I've watched so much of it that like now I'm watching stuff in different languages, true crime. And I'll start again. No, no, just stories. I haven't all been the only stories that I haven't heard really, really are the ones from other countries now. So I'm watching like, like true crime in new, in Delhi.2 (12m 42s):Do you need your fix? I actually was listening to some podcasts that I listened to. There's always an ad and it's exactly about this. It's like, we love true crime, but we've heard every story we know about every grisly murder, you know, detail. And it was touting itself as a podcast of, for next time I listened to it. I'll note the name of it so I can share it with you. You know, about this crimes. You haven't heard about1 (13m 9s):T the thing is a lot of them now, because I'm becoming more of a kind of sewer. Like a lot of it is just shittily made. So like the, the they're subtitled and dubbed in India, like India. So you've got like the, the they're speaking another language and then they're and if they don't match, so then I'm like, well, who's right. Like, is it the dubbing that's right. Or the subtitles that are right. And, and actually the words matter because I'm a writer. So it was like one anyway, it's poorly done is what I'm saying in my mind. And so it sort of scraped scraping the bottom of the barrel. It's like deli 9 1 1. I swear to God. That's what it, and, and it's, and also it's, it's horrifying because the, you know, the legal systems everywhere fucked, but India has quite a system.2 (13m 57s):I think that to the rage, like, tell me more about what comes up for you with rage and where you,1 (14m 6s):Yeah. Okay. So some of it is physiological, like where I feel literally like, and I think this is what my doctor's talking about. The menopause symptoms. I literally feel like a gnashing, my teeth. Like, I feel a tenseness in my jaw. Like, that's literally that. And she's like, that could also be your heart medication. So talk to your heart doctor. I mean, we're checking out all the things, but like, but it's tension. That's what it really feels like in my body is like tight tension where I feel earth like that. If I had to put a sound effect to it, it's like, ah, so I, I feel that is the first symptom of my rage. And then I feel like, and, and I say out loud, sometimes I hate my life.1 (14m 54s):That's what I say. And that is something I have never allowed myself to say before. Like I, I think unconsciously, I always told myself, like, you just, you have to be grateful and you know, those are the messages we receive, but sometimes life just fucking sucks. And sometimes my life, I just, I just can't stand. And, and in moments, you know, I never loved myself. So it's mostly a physical symptom followed by this is intolerable, what someone is doing. Sometimes my dog or my husband, but even, even if the coworking space, you know, like the lady was talking too loud and I was like, oh my God, this is intolerable.1 (15m 34s):She has to shut up. So agitation, that's what it is. And, and then it passes when I, if I, if I can say, oh my gosh, I am so fricking in Rouge right now. Then it passes.2 (15m 52s):Yeah. Well, it, it kind of sounds like from, from you and probably for most people, the only real option is to turn it in on yourself, you know, like you're not going to put it elsewhere. So you've, you know, you have, which is, so I guess maybe it's okay if you turn it on yourself, if you're doing, if you're working, if you're doing it with acceptance, which is the thing I'm gathering from you, as opposed to stewing and festering. And1 (16m 21s):I mean, it becomes, it's interesting. Yes, it is. So it's like, so red, hot, and so sudden, almost that the only thing I can do is say, okay, this is actually happening. Like, I can't pretend this isn't happening. I, it I'm like physically clenching my fists. And then I, yeah, there is a level of acceptance. I don't get panicked anymore. Now that I, that something is wrong. I just say, oh, this is rage. I name it. I'm like, I feel enraged and white, hot rage, and then it, and then it, and then I say, that's what this is.1 (17m 3s):I don't know why. I don't know where it's coming from. Right. In this moment. It's not proportionate to the lady, like literally talking on the phone at my coworking space that she's not shouting. So it's not that. And I don't want to miss that. I'm not like I can't fool myself to think that it's really, that lady's problem. That I feel like throwing my laptop at her head. And then, and then it passes. But, but, but it is, it is more and more. And, and I think a lot of it, not a lot of it, but you know, my doctor really does think that it's, it's hormonal. A lot of it just doesn't help the matter. I mean, it's not like, oh, great. It's hormonal. Everything's fine. But it, it does help to make me feel a little less bonkers.2 (17m 45s):Maybe you should have like a, a whole rage. Like what, like a rate. Well, first I was thinking you should have a range outfit. Like, oh, for me, if I, I noticed I pee in the winter anyway, I pick like my meanest boots and my leather jacket. When I'm feeling, you know, maybe say maybe kind of a rage outfit, when did Pierce?1 (18m 9s):No, I, I scratched myself in my sleep. Oh no, it's okay. It happens all the time. I do it in my sleep. It's a thing that it's like a little skin tag that I need to get removed. It's2 (18m 23s):So you could have a rage outfit and then you could have a rage playlist, And then you might even have like rage props. I'm just trying to think about a way that your ma you, you could write because if, if how you process something is artistically creatively, then maybe you needed a creative outlet that's specifically for, for race.1 (18m 48s):Yeah. And you know, the, I, I love that. And now I'm thinking about like, as a kid, we, because we, anger was so off limits to us. I used to violently chew gum. Like I would chew on the gum. That was a way, and my mom did the same thing, even though she also got her rage out, but it was like, you know, when people violently chew on their gum, like that was a way I could get my aggression out. That's so sad that that's like the only way.2 (19m 16s):Well, I mean, you find it wherever you can find me. It's like water looking for whatever that expression is, right? Yeah. Huh. Well, I have to get more in touch with my rage because I I'm told that I seem angry a lot.1 (19m 33s):You do.2 (19m 35s):I, I do get told that, but, but that sucks for me because I feel like I'm not expressing my anger and I'm, but I'm not. So I'm not, and I'm being seen as angry at certain times. So that means I didn't even get the benefit of like letting out the anger that somebody is.1 (19m 56s):Right. You didn't even get to act out the anger. It's like, yeah. So for me, miles tells me that all the time, like, he's like, you seem really in couples therapy. Also, I have to admit yesterday was a big day. We had couples therapy on zoom. Then I had individual therapy. And in between I had all kinds of like, just stuff happening. So, but yeah, I'm told I a miles is like, you seem so angry and he's not wrong. And, and we take it out on the people that we live in a two by four apartment with. So I also feel like this office space is helping with that, but yeah, I dunno, I'm going to have to keep exploring my, my rage and that's what it is.1 (20m 37s):And also it is like, I am the character in where the wild things are that kid, that is what I feel like. And it feels it's like the perfect cause he wants to gnash his teeth and, and he does, and a thrash, thrash, thrashing mash, or the words 2 (21m 6s):Let me run this by you that I wanted to do when we're going to talk to Molly that we didn't get to do. And it was based on made, you know, and just about money and, and wondering like what your relationship is right now with money. And also, but when were you at your lowest with money? What do you remember as being your lowest moment? Sure, sure. With money with money.1 (21m 40s):Okay. I have moments of what first comes to mind was when right. I was at DePaul. So it's an apropos in college and there was obviously a sense. I had a sense of lack, always, even though based on whatever, but it was phone. Somehow my accounts were always negative, right? Like, and I would call the number, the banking number, incessantly to check, and it would always be negative. So I have this panic thoughts about that. Like being a time of like, and that's not the only time that happened like that.1 (22m 23s):Where, what is the feeling? The feeling was that, and this was in college where it started to happen, where I felt like there's never enough. No, one's going to help me. I'm irresponsible with money. Was the message I told myself and I probably was, I was in college, but I can't handle money. And literally that, that panic was also, I mean, it was true. I had no money, but my parents would have backed me, probably helped me out, but I was too scared to ask for help. So that's like, that's when, when you asked that question, that's where I go.1 (23m 4s):But, but that's also a college kind of me. So like in terms of an adult, me, that's a really great, great question. My lowest, I don't know. What about you?2 (23m 22s):Well, I've got a lot of Loma Loehmann's moments with money when I was in high school. The thing was, I lost my wallet all the time.1 (23m 35s):Oh, I remember this. I remember you talking about,2 (23m 38s):Yeah, that'd be still lose stuff all the time. That actually started at a young age with, you know, my mom would, she, my mom was really into jewelry and she would buy me destroyed. And there's nothing wrong with the fact that she brought me jewelry, but I lost it. You know, she buy me nice gold jewelry1 (23m 59s):Because she likes nice things. That's right. Yeah.2 (24m 4s):In college it was pretty bad. And the first time it was pretty bad. I had to move back in with my mom because I couldn't afford rent. And then the second time I just, I re I really, if I had more bravery, I probably would have signed up to be one of those girls in the back of the Chicago reader. Like, I, I, I just figured what ha how literally, how else? Because I had a job, but I only worked however much I could work given the fact that we were in rehearsals and like busy all day, so I never could make enough money. And then I just, I think I always have had a dysfunctional relationship with money.1 (24m 51s):Wait a minute, but I have to interrupt. Why, why didn't our parents fucking help us? Okay. Look, I know I sound like a spoiled asshole brat, but like, when I think of the anxiety that we were going through and I know your mom did, so I'm not going to talk shit about your mom or anything, but I'm just saying like, why did we feel so alone in this when we were so young, this is not right.2 (25m 11s):Yeah. Well, my mom did help me out as much as she possibly could, but I think part of it too, my dad certainly didn't think it was that. I mean, when my mom was 18 and my dad was 19, they bought a house and had a baby. So I think part of it is, has been like, what's the matter with you? Cause I didn't go to college, you know, that's the other thing. So, so then when I, then I had a period for like 10 years where I always had three jobs, me two, what1 (25m 46s):Did you have enough then? I mean like, could you make rapid enough?2 (25m 49s):I had enough then yeah, I had enough then. But then when Aaron decided he wants to go to medical school, it was really on me to, to bring in the income. I mean, his parents always gave him money. They helped, it was a lot more. I mean, and actually it's why he became a therapist because I thought, well, we're going to be living with no income because he's going to be a student. Right. So I better giddy up and get a job. So the whole time I was in social work school, I was bartending. I remember that. And then I went quickly into private practice so that I could make money.2 (26m 29s):And it turned out to be, it turned out to backfire on me. Tell1 (26m 35s):Me, tell me, tell me more.2 (26m 37s):It backfired in two ways. Number one, I was, I shouldn't have been operating a private practice without my LCSW. I had my MSW and I was working at the time in a psych hospital. And all of the psychiatrist said, you should start your private practice. You should start your private practice. And I remember saying at the beginning, I don't know if I'm allowed to oh yes, yes. You definitely can. I know tons of MSWs into plenty of people and it's true. I don't know if it's still true now in New York, but at that time you could walk around and see plenty of nameplates for offices where somebody in private practice and that just have an MSW.2 (27m 18s):They just had to have a supervisor1 (27m 19s):Or something.2 (27m 22s):I don't know. Okay. I dunno. Right. So that ended up coming to haunt me when a disgruntled patient. And they're all disgruntled in some way, a family who actually had been swindled by a con artist, like they, they were a blue blood, rich ass family and they got swindled by a con artist. And so they were talking about rage. They had a lot of rage about that. When this guy who was paying for his daughter's treatment, didn't think it was going where, you know, he wanted it to right.2 (28m 4s):He started pushing back about the fee and then he was submitting to his insurance company and they were not reimbursing because I didn't have the LCSW. So then he reported me to the New York state office of professional discipline or1 (28m 21s):Whatever yeah.2 (28m 21s):Regulation or whatever. Yeah. And I ha I had to go through a whole thing. I had to have a lawyer and I had to go, yeah, yeah. It was a nightmare. It was a complete and total nightmare. And I, and I said nothing, but like, yeah, I did that. I did do that. And I did it because I needed to make the money. I mean, in some ways I don't regret it because I did it worked for the time that it worked. And then by the time it stopped working, I was ready to leave private practice anyway. Oh my God. Yeah. But then it also backfired because we were taking in this money, which we desperately needed living in New York city with two kids.2 (29m 3s):And, and we were, we were spending it all and not hold withholding any for taxes. So then that started, that started, that started almost 10 year saga of just, I mean, I, it's embarrassing to even say how much money we've paid in just in fees, compounded fees. Nope. I'm sure. In the last 10 years we've given the government a million dollars.1 (29m 29s):That sounds, that sounds about right. And you know, I think the thing with money too, is the amount of forgiveness I've need to muster up for the financial decisions that I have made. So one of them that I'm super embarrassed about is that, and I, and I hear you when it's like, yeah, I, it, it's embarrassing. I, I, when I did my solo show, I inherited the year that my mom died. My great aunt also died, who I very barely knew. And I inherited like, like a lot of money. Well, to me, a lot, like 50 grand from her, and I spent 15,000 on a publicist for my solo show that did nothing.1 (30m 14s):So I was swindled. Oh,2 (30m 17s):I'm so sorry to hear that. That really did nothing.1 (30m 22s):I could have done it all on my own. I could have done it all on my own, on drugs, in a coma. Do you know what I'm saying? Like, like, come on. So I have done made some questionable decisions. I did the best we did the best we could with, with the information that we all had at the time. I would never make that decision. I wouldn't, I will never make that mistake again. So yeah. Money is very, very, obviously this is so like kind of obvious to say, but it is, it is. So it is a way in which we really, really use it to either prize or shame ourselves. Right. And, and, and w I do it either way, like I do it.1 (31m 2s):Oh, I'm so fancy. I inherited this dough. And then I also do it. It's that thing that they talk about in program, which is like, you're the worm, but you're the best worm for the festival, special worms. And like, you're not a worker among workers. I'm just like the best idiot out there. It's like,2 (31m 18s):Dude. Yeah. And you're making me realize that money might be the only very quantifiable way of understanding your psychology list. The money is like, understanding your psychology through math. It's going okay. If you're a person like me who gets offered a credit card at age 20 totally signs up and, and immediately maxes it out at whatever, to get 27% interest rate. So whatever little thousand dollars of clothes I got, I probably paid $10 for it. And for the longest time. So, so that's me being afraid of the truth of my financial situation, being unwilling to sacrifice, having, you know, whatever, cute clothes being about the immediate gratification of it all and not thinking longterm.2 (32m 15s):Yeah.1 (32m 16s):Okay. Well, not asking for help either. Like, like, I don't know who I'd asked, but someone had to know more than me. I didn't ask my parents. They didn't really know what was happening at, or that just was their generation of like, not teaching us about money. It was sort of like, good luck. Get it together. We got it together. You get it together. Okay. Fine. But like unwillingness and fear to ask, to be taught something about money. Like, I didn't know, Jack shit about credit or interest Jack shit.2 (32m 46s):Yeah. And I recently realized that I'm basically redoing that with my kids, because we supposedly have this allowance. Only one of my kids ever remembers to ask for it because you know, only one of my kids is very, you know, very interested in money, but like, in a way I can understand why the others don't because it's like, well, anytime they want something, I pay for it. I never say sometimes I'll say recently, I've gotten better about saying, if we're going to go back to school shopping I'll especially if the oldest one, I'll say, this is your budget. If you, if you spend it all on one pair of sneakers, then I hope you're okay with your sweat pants that don't fit and wear them everyday for the rest of the school year.2 (33m 31s):Right. But it's, we've, we've just been extremely inconsistent in tying, like, for example, chores to your allowance,1 (33m 42s):It's fucking miserable and hard. And I have trouble doing that for myself. I wouldn't be able to do that for my children. If I had children, I can't not give the dog people food. What are you talking about? How am I going to bring it? Doesn't shock me. We didn't learn the skills and I'm not blaming. I mean, I'm blaming, of course my parents, but I'm also just saying, it's just the facts. If we're going to be that in the truth, like, I didn't learn, I didn't educate myself and nobody educated me. So I'm really learning through trial and error. Mostly error, how to be okay with money. And it is you're right. Like finances, romance, and finance teach us the most about our psychology.2 (34m 24s):Yeah. Yeah. Romance finance. I love that. 1 (34m 28s):I think that my boss at Lutheran social services to say all the time, finance and romance, romance, and finance, that's what all these addictions are about is that's how you see them. I'm like, she's right. I mean, she was, I liked her. She was bonkers, but I liked her. She said some good. She, she also is famous for saying, and she didn't say it, but she would always quote, the, no one gets out of here alive. You know, none of us getting out of here life, we might as well start2 (34m 54s):. Well, today on the podcast, we were talking to Carol Schweid and original cast member of the original production of a chorus line on Broadway. She's got great stories to tell she's a fascinating person. And I think you're going to really enjoy this conversation with Carol Schweid. Exactly. Carol shrine. Congratulations. You survived theater school. I did. You did.2 (35m 34s):And where did you go to theater school. Okay. First of all,3 (35m 38s):Let me just take my coffee, my extra coffee off of the stove and put it on my table. Cause it's gonna burn because we don't want that.4 (35m 51s):Okay. You're I am looking for a cop. If you have one, you know, this is ridiculous.3 (36m 2s):Hi there. Hi. This is a riot that you talk about surviving theater school. I think it's great. Okay. So this is working, right? You can hear me. Yeah, no, totally. A hundred percent. So this is my, I started college at Boston university. I was an acting major, which I loved. I really did, but I, what I loved more than anything was I loved the history of the theater. We had a great professor who told the tales of the gladiators and the, you know, the gladiators on the island and the fighting, and then the island, the survivors, and then the island would slowly sink into the water.3 (36m 45s):What is this? What did I miss? It was the early history of the theater. It was starting on the church steps. It was, you know, the second, whatever all of that history was, I found it really interesting. I also loved the station shop crew stuff. I liked learning about lighting. I was terrible at it. I, you know, I would fall off ladder, but I, I, I enjoyed the backstage stuff as much as I enjoy. I just, I liked it. I, we did the rose tattoo and my, and my first job was to take care of the goat. I was on the prop crew.3 (37m 28s):I took care of the goat. Was it a stuffed goat? No, it was a real goat. Wow. What can I tell you? The rose tattoo. There's a goat in the play. I didn't realize you could have livestock and colleges, college, whatever it was. I look like I have jaundice with is that something's wrong with the light jump I sent you stop your, where is the microphone part of your, do you want me to hold it up better? Because when you move, it hits your shirt and it makes like a scratching, right? That's right. I'll do it this way. I won't move around. When you look tan, you look, you don't like jaundice at all. Okay. Well then that's all right. Good. Thanks. Were the goat handlers.3 (38m 8s):Good to talk to you. I mean, that was, and I didn't mind, I didn't mind being an usher. All of those things, you know, I remember somebody sitting us down and saying, you're you are the first person. The audience we'll meet tonight as an usher. I took all of the stuff I did, but the acting business was very confusing to me. I didn't quite know. I had done a lot of theater and dancing and been in the shows and stuff, but I really, I was a little more of a dancer than an actor. I'd taken class in the city. I'd followed some cute guy from summer camp to his acting class. But half the time, I honestly didn't understand a word.3 (38m 48s):Anybody said, I just, nobody does. I really didn't get it so much at the time I loved it, but I didn't always get it. And for some reason, and I have no idea where this, why this happened. I had a boyfriend in summer stock whose mother worked at Barnard and her best friend was a woman named Martha Hill. Martha Hill ran the dance department at a school called Julliard. Nope. I had no idea. Cool. Just a little, nothing school. This is back in the day. It's a long time ago. It was just a plain old school. It wasn't like a school, you know, where you bow down. And I really was a very good dancer and always loved dancing.3 (39m 33s):You know, I've been dancing since I'm like a kid, a little five or six or whatever. So I was a little disenchanted with my successes at Boston U even though I had friends, I was having a great time. I mean, Boston in the late sixties was amazingly fun, but I felt like I wasn't getting it. I mean, it wasn't a school that was cutting people. Thank God, because that would have been torture. I don't know how anybody survives that, but I audition for this dance department in this school called Juilliard and got in and then told my parents that I was going to change colleges. I remember making up a dance in the basement of my dorm in Boston.3 (40m 17s):Cause you had a sort of take class and then you had to show something that you should have made up. And somebody else from college was leaving school to come to New York to be a singer. So we decided we were going to be roommates. And then we had a summer stock. Somebody at BU started some summer theaters. So I had a job or two, I think I had some friends from there. So I ended up moving, changing colleges and going to Juilliard. And I spent three years there. I was a modern dancer major. So we had the Limone company, including Jose Lamone wow teachers and the Graham company.3 (40m 59s):I mean, Martha, Martha Graham did not teach, but her company did as a winter and Helen, I was Helen McGee. One of the, they were maniacs. I mean, they're, they're like gods and goddesses and their whole life is about dance. And I was one of those demonstrators for her eight o'clock beginning class, my third year of school. I mean, I, it was all about technique. We had amazing ballet teachers. We had Fiorella Keane who, I mean, Anthony tutor taught class there and he was Anthony. I mean, so I got a out of being at that school that I have never lost. I mean, I can, I'm making up the answers for high school kids now really.3 (41m 42s):I'm just finishing up a production of grease, which is really kind of boring, but whatever I liked Greece, tell me more. Yeah. It's okay. If you hear it enough, you really get sick of it. Well, that's true. Yeah. I mean high school kids doing high school kids is like, Jesus, God, you just want to slit your throat. The moodiness when it comes to the girls. I mean, I love them. I really love them. I love the guys because puppies, they fall all over each other and they're fabulous, but that's a lie anyway. So I did something that I don't know why I did it and how it worked out. That way I left. I had a very best friend in college that was, you know, and I came to New York and made, made and shared an apartment with this slightly crazy woman.3 (42m 32s):And a year later I got myself a studio apartment on west end avenue and 71st street. And my mom co-signed the lease. And I spent three years dancing, honestly dancing almost every day. I wanted to take sights singing, but they wouldn't let me because I was in the dance department. And I didn't know, you could advocate for that. Sure. I didn't know. You could take classes at Columbia. I mean, who had time anyway, but was it a three-year program? It was a four year program, but I had taken a music class at BU that was like music appreciation one. Yeah. And for whatever reason, they gave me credit for that.3 (43m 14s):So I had a full year credit. Yep. Three years of Juilliard where I really worked my tail off. What's weird about it is that I am, you know, just a plain old Jewish girl from New Jersey, you know, a middle-class Jewish girlfriend. And to, to think that I could have a profession where people don't talk and don't eat, which is what the answers do is a riot to me. Yeah. Yeah. It's an absolute riot because you know, I mean, that should be basically the manual for dancers. Don't talk, don't eat, but I always knew that I was heading to Broadway. I really have always wanted to do that.3 (43m 55s):And I, and, and w was not really ever in question that I would, I somehow assumed if I worked hard and figured it out enough, I would find my way to working on Broadway. And I, and I made the right choice in the sense of switching colleges. Because in the seventies, if you look at your list of Broadway shows, all the directors were choreographers. They were all dancers, all of them Fauci, Michael Bennett champion, all of them. So I started working when I got out of school, you know, it was, and I had already done a couple of summers of summer stock and I did a summer Bushkill pencil, you know, these ridiculous, stupid theaters all over, but it was a blast.3 (44m 36s):It was fun. Where, what was your first job out of school? I was still, I was in school and it was the Mount Suttington Playhouse, which was like a tin shell in Connecticut. And I think it was still in college. Cause two guys from school had opened this theater at the skiing place, but it wasn't skiing. Then it was a sh it was like a tin shell. So couldn't really do a show when it was raining very well. And I believe it was stopped the world. I want to get off and I can still remember the Alto harmony to some of the songs. So you okay. Wait, so you don't consider, you didn't consider yourself a, an actor or did you?3 (45m 20s):Well, I did, but I think what happened was I had to audition for something. It'd be you like, they had grad programs and it wasn't that I was unsuccessful there, but somebody came and I didn't get cast. I didn't get hired. And I didn't understand, you know, like they give you all these acting exercises. We do sense memory. Well, I didn't know they were exercises. I didn't, they were they're like plea aids. Right. They're like learning things. I took this all very seriously. I would stand in a room and try to feel it was like that song from chorus line, you know, try to feel the emotion, feel the, yeah, yeah, yeah, yeah.3 (46m 5s):I did all of that. I didn't really understand the simple, what am I want here? And what's in my way of trying to get it. Yeah. It took me so long to find teachers that I really could understand and make me a better actor. So when did you find them? When did you start to find them? Oh, that's interesting. Well, I found a couple of good teachers in New York. I mean, honestly there was a woman named Mary Tarsa who had been in the group theater and an older lady. I mean, it's a long time ago anyway, you know, but I remember sitting in her class and she would talk about using imagery and th and I started to sort of understand a little bit, which is amazing to me because after I moved to Westport and I met, do you know the name Phoebe brand?3 (46m 58s):Yeah. Phoebe brand was in our theater workshop. Oh, taught a class. She was already up in her eighties and she taught a class, a Shakespeare class on Sunday mornings. And all of a sudden these things that I didn't understand from decades before. Hmm. It sort of pulled it all together. But for me, I went, I was in California after I got married and moved to LA for a couple of years, found a teacher named John LAN and Lee H N E and two years in his class. I started to really understand how to do it. And then when I came back to New York, he sent me to Michael Howard and Michael Howard, Michael Howard was a great teacher for me.3 (47m 44s):He's still a great, I don't know if he's still around if he's teaching or not, but he was a wonderful teacher. And I started to understand how to do it. Was Len the, did he teach the method or what was yes, he was, he was an actor studio teacher. And I started to understand about being present on the stage and being able to deal with people. All of it, it just changed dramatically. I mean, I started to understand what this was about and seeing other good actors and chipping away at it and finding people to rehearse with. And1 (48m 22s):You, you, from what I know, and what I'm gathering is that once you graduated Juilliard, you were cast in New York.3 (48m 30s):Well, you know, I did get my very, my V I I've. I mean, I, I remember going to see midnight cowboy, which was about the same time as I got out of college. And I remember going into a terrible panic of, oh my God. I mean, really scared about all of it. And I, I went, I joined a class that a friend of mine, somebody told me about this class, you know, I always follow somebody to a class. I'm always, I have good friends. And I, somebody says, oh, I love this guy come to class and I'd show up.3 (49m 12s):And this was a musical comedy singing class, kind of where there were writers in the class and actors in the class. And the writers in the class would work on a musical that they didn't have permission for. It wasn't like they were, we were doing this for money or for, for future. So my friend who I became friends with wrote her musical version of barefoot in the park and which has never been done, but I remember I was in it and this guy was in it. And we, it was the kind of a class where it was a very warm, funny group, funny group of wacko theater people. And I would go to open calls and I'd usually go to open dance calls because that was a door for me.3 (49m 59s):And also I used to have to sneak out of Jew, not sneak necessarily, but essentially sneak out to take my singing lessons. And I took singing lessons every, you know, every week for years, for three years, I would, you know, and I, and I was not really, I don't think a very good singer, but I became a good singer. I would sneak out of school and go to an acting class. I don't even know when I started that, but I know that I would find the time to do it and then talk about acting and find a teacher so that when I would audition for a musical and I would get through the dancing. Usually if I got through the first cut, I would make it to the end. I wouldn't always get the job, but if I made it through that first horrible, random cut, you know, where there's 200 people in your dancing across the stage and it's yes, no, yes, no.3 (50m 47s):Is it really?1 (50m 48s):Because I'm not a dancer. So I never had this. I, when my agents are like, oh, there's an open dance call. I'm like, ah, that's you sent the wrong person, the email. So it's really like that, like in, in chorus line where they say, you know,3 (51m 1s):Oh yeah. It's like all that jazz. It's really like that.2 (51m 6s):Wait, I have a question. I want to hear the re the rest of that. But I, I just, I've never asked anybody. What's the biggest difference between the people who got cut immediately. I mean, was it training or were there people that, in other words, were there people who were just walking in off the street with no training trying to audition? Yeah,1 (51m 29s):No, truly an open call.3 (51m 31s):No. And sometimes these were equity calls. Cause I, I, I did get my equity card on a summer. That one summer I worked for a non-union, you know, we were in either Bushkill Pennsylvania or Southern Eaton Connecticut, or I did a couple of those summers. And then the next summer, the choreographer from that show had an equity job. And he hired like three of us from our non-unions summer stock, because we were good enough. And1 (52m 4s):So when you went to these open calls, everyone, there was a bad-ass dancer. No one, there was like,3 (52m 10s):That's not true. That's not true. There were all different levels of dancers, but it was also a look await, you know, it was always, I was always like seven pounds overweight. It was like, the torture is thing of weight does enough to put anybody over the edge1 (52m 26s):That they literally3 (52m 27s):Weigh you, Carol. Oh God. No. Oh, but it's so look, and I will tell you there's one. There was one time when I remember auditioning for above Fossey show and there were a lot of people on the stage and we were whatever we were doing. And then at 1.3 Fossey dancers, it was their turn. And these three gals, okay. Their hair was perfect. Their makeup was fabulous. They had a little necklace, they had a black leotards, you know, cut up high, but not out of control. Good tights, no, no runs, nice shoes, nails done.3 (53m 7s):And they were fantastic. They were clean. They were technically, and we all sort of went, oh fuck.1 (53m 16s):Right.3 (53m 18s):Right. And I have friends who became Fossey dancers. I mean, I worked for Bob, but I have friends who did a lot of shows him. And they had that same experience where they saw other people, the way it should be. And then they would go back a month later and get the job because they knew what it took. It was all about knowing what it takes. But the thing about having studied acting and having slowly studied singing is that in the world of musical theater, I was ahead of the game because there's not that much time. So you have to be willing to spend all of your time.3 (54m 0s):Right.1 (54m 1s):There are some people I'm assuming Carol, that could dance wonderfully, but couldn't do the singing and the acting part. And that's where you were like, that's the triple threat newness of it all is like, you could do3 (54m 12s):Well, I could do them better than a lot of people. And I certainly could sing well, and I had, I could sing a short song and I knew that you sing a short song. I knew that you'd probably do an uptempo, you know? And also I tend to be a little angry when I go into an audition. It's like, why do I fuck? Do I have to audition? I better, duh. So I needed to find things that allowed me to be a little angry so I could be myself. And I could also be a little funny if I could figure out how to do that. So all of these things worked in my favor. And then of course, like everybody else in her, a lot of people, pat Birch, who was a choreographer, she had like a gazillion shows running, including Greece on Broadway. And now over here, I don't know if she did grease, but she did over here.3 (54m 55s):She did. She was very prolific choreographer. She had been a Martha Graham dancer and she had taught a couple of classes at Julliard. And when it came to my auditioning for her, she needed girls who could dance like boys. She didn't need tall leggy, chorus girls. We were doing the show she was working on, was a show called Minnie's boys. And it was a show about the Marx brothers and the last number of the show. We were all the whole chorus was dressed up like different Marx brothers. And she needed girls who could be low to the ground, who can, you could turn who and I was the right person.3 (55m 36s):And I remember being in that class, that wonderful musical theater class with a teacher named Mervin Nelson, who was just a great older guy who kind of worked in the business. I remember I had to go to my callback. I went to my class and the callback was at night. And I remember him walking me to the door, putting his arm around me and saying, go get the job. And if you don't get this one, we'll get you. The next one1 (56m 4s):That makes me want to3 (56m 4s):Cry. Well, it made me feel like part of the family, cause we all want to be part of that theater family. And so I tend to do that when I'm with an actor, who's going to go get a job or go get, you know, you want to feel like it's possible. Yeah. You feel like you can, you deserve it.1 (56m 29s):You said, you mentioned briefly that you worked for Bob3 (56m 32s):Fossey. I did.1 (56m 35s):Oh my gosh. Did you turn into one of those ladies that looked like a bossy dancer too? Like, did you then show up to those auditions? Like, oh3 (56m 43s):No, I don't think I, I couldn't, I didn't, I could not get into a chorus of Bob Fossey, but I did get to play for strata in Pippin in the, in the, in the first national tour. And he, Bob was the, he was the director and I, I knew I was the right person for that job. It was also a funny, kind of lovely circumstances that I was in some off-Broadway an off-Broadway show that had started as an awful off, off of a, that, that Bubba, that moved to an off-Broadway theater. I got some excellent reviews. And I think the day the review came out was the day I had my audition for Bob Fossey.3 (57m 24s):So I, and I played it. I had talked to people who knew him. I talked to, you know, I, I knew that I, I don't know, I just, I, I had done some work and I just, I don't know the right person at the right time, somebody, he needed it. That part required a good dancer. Who could, I don't know how I got the part. I just,1 (57m 57s):I'm kind of getting the impression that we're talking about being a strong dancer.3 (58m 0s):Well, let's strong dancer. And also being able to, being able to talk and sing was really the key. I'm not sure that I certainly, as a young person, I, I didn't do nearly as much comedy as I did when I got a little older, but, and also there were a lot of divisions. You sort of either did musicals or you did straight plays and it was hard to get into an audition even for a straight play. And the truth is I think that a lot of us who thought we were better than we were as you get better, you see when you really, wasn't a very strong actor.1 (58m 43s):Right. But there's something about that. What I'm noticing and what you're talking about is like, there's something about the confidence that you had by maybe thinking that you might've been a little better than you were that actually behooves young actors and performers that, you know, cause when Gina and I talked to these people were like, oh my God, they have a healthy ego, which actually helps them to not give up as where I was like, I'm terrible. I'm giving up at the first hour.3 (59m 9s):Exactly. Right. Right. And, and it, and it goes back and forth. It's like a CSO one day, you feel like, oh yeah, I'm good at this. I can walk it. I get, I'm like, I'm okay with this. And the next day you just to hide under the bed, I think that's sort of the way it goes. I didn't know that people who worked on Broadway even then all had coaches and teachers and support systems and you know, being kind of a little more of a lone Wolf, which I was, and still fight against in a way I come against that a lot, for whatever reasons, you know, whatever it doesn't work, what to be a lone Wolf.3 (59m 54s):Yeah. Yeah. You can't do this alone. You can't do it without a support system. It's just too hard because when I actually had the best opportunity I had, which was being part of a chorus line, it was harder than I thought to just be normal, come up with a good performance every night, you know, it was up and down and loaded and that you lost your voice and had nobody to talk to because you couldn't talk anyway. And we didn't have the internet yet. You know, there was so many, it was so much pressure and so much, and I hadn't really figured out how to create that support system up for myself.3 (1h 0m 42s):And it was harder, harder than it needed to be. Did you ultimately find it with the cast? No. Oh, not really where they mean, oh, none of the cast was fine. It wasn't that anybody was mean it's that I didn't take care of myself and I didn't know how I was supposed to take care of my shirt. How old were you when you were cast in a chorus line? 27? Maybe I was, I was young and, but I wasn't that young. I just, but it wasn't that C w it was a strange situation to, I was, I had already had one Broadway show, so I had done, and then I had gone out of town to bucks county Playhouse.3 (1h 1m 25s):And did west side story Romeo was your first Broadway show. I'm sorry. It was called Minnie's boys. Oh, that was it. That was my, I did. And it was a show about the Marx brothers. Right. And I don't know if you know who Louis. We would probably do Louis Stadol and Louis J Staglin who works with, he works with Nathan Lane a lot. Oh yeah. Yeah. He's like second bun and he's incredibly talented. He played Groucho. Okay. We were all 25 years old. We were kids. We were right out of college. And the weirdest part of all was that the mother was played by Shelley winters. And this was a musical. What a weird you've really. Okay. So then you went onto chorus line.3 (1h 2m 6s):Well then, well then in between that, this is like, you know, then, then I went out of town to bucks county. I love being in bucks county for a year. We did west side story. We did Romeo and Juliet during the week. We do them together, one in the morning, one in the afternoon for high school kids. And then on the weekends, we do one of the, and I was the only person in the cast who liked dancing at 10 o'clock in the morning. You know, I didn't mind doing west side at 10 in the morning. I'd been up at eight, being a demonstrator for Mary Hinkson, teaching people how to do a contraction. So I didn't care. I love working in the daytime. That's what I play with your food is such a nice success. My lunchtime theaters here, I get tired at night.3 (1h 2m 47s):I don't know.2 (1h 2m 49s):Most people do wait. So was the, was the audition process for chorus line?3 (1h 2m 56s):I have a great story. I can tell you what my story is. Okay. So I, I was in, I don't know what I was doing. I had done a lot of off-Broadway work. I had been doing, I had been working a lot. And then of course there were the year where I didn't work. And then I went off to south North Carolina and played Nellie Forbush in south Pacific, in the dinner theater for three months. And I loved that. Actually, I think it was one of those times I had a job and a boyfriend and it was like a relief. It was wonderful to have like a life and then do the show at night. You know, I, I enjoyed that a lot and I didn't, you know, it was a big part and I didn't panic about seeing it.3 (1h 3m 37s):And it was just, I learned a lot from doing a part like that. I was doing Fiddler on the roof at a dinner theater in New Jersey, down the street from where my folks lived. And occasionally my mom would stop by her rehearsal and watch the wedding scene. Honest to God. I'm not kidding. She's like, Carol, you ever gonna get married? Are you ever gonna? Okay. So I'm doing Fiddler on the roof, in New Jersey. And there's a guy in the cast, one of the bottle dancers who were dropping off at night on 55th street, because he's working on this little musical about dancers and he would bring in monologues and he'd asked me to read them at rehearsal because he wanted to hear them out loud.3 (1h 4m 25s):And there was some stuff about this place to ever hear the peppermint lounge back in the studio. Right. It was a disco thing, but it was also a place where there was something. I remember one the couch girls, girls who would just lie on the couches and the guys, I mean really crazy stuff that did not make it into the show, but some interesting stuff. And I was playing the eldest daughter sidle, and it's a terrific part for me. So I was good. Yeah. And Nick knew I was a dancer. Anyway, this little show called the chorus line was in its workshop. Second workshop. They had already done the I, cause I was not a Michael Bennett dancer. I didn't, you know, I, I, I had auditioned for my goal once for the tour of two for the Seesaw.3 (1h 5m 10s):And it was the leading part and I didn't get it. I auditioned, I sang and I read and I read and I sang and I didn't get the part. And I came home and I was like in hysterics for like five days. I just, you know, I, I didn't get the part year and a half later, I'm doing Fiddler on the roof with Nick, Dante in New Jersey. And somebody leaves the second workshop and Nick brings up my name because there's a job all of a sudden to cover, to be in the opening and to cover a couple of parts next, bring up my name. And Michael Bennett says, wait a minute. I know her. I know she's an actress and she's a singer. Can she dance?3 (1h 5m 52s):So I showed up the next morning and I danced for 10 minutes and I got the job. I mean, I think, wow. Yeah. That's a great story.2 (1h 6m 1s):No. So that means you didn't have to participate in3 (1h 6m 4s):Callbacks or nothing. Oh, I started that day. I mean, honestly, it was Fiddler on the roof, you know what, I don't remember whether, how it went. Cause we were already in performance tour or something, you know, I, I it's a long time ago, so I don't really remember, but I know that this particular story is the absolute truth. That's fantastic. That2 (1h 6m 27s):Was it a hit right away3 (1h 6m 29s):Chorus line. Well, it wasn't, we were in previews. I'm no, we weren't even previous the second workshop, which means it was still being figured out. And when I came to the first rehearsal and sat and watched what was going on, I could not believe what I was seeing because the truth of what was happening on stage and the way it was being built was astounding. It was absolutely astounding because something about it was so bizarre. Oh. And also, also Marvin Hamlisch was the rehearsal pianist on Minnie's boys.3 (1h 7m 10s):Wow. So I knew him a little bit, not well, you know, but he was the rehearsal pianist that nobody would listen to a show about the Marx brothers, Marvin would say, wait, this is the Marx brothers. You got to have a naked girl running out of the orchestra pit. You gotta, you gotta, and of course, nobody would listen to him. Wait a minute, just turn this off, stop, stop, turn off. Sorry. So I couldn't get over what I was seeing. And I, I knew from the beginning, of course, I think most of us did that. Something very, very unique was going on and it was always changing. Like Donna McKechnie came in late at the audition, all dressed up in like a fur thing.3 (1h 7m 56s):And it was like, I'm sorry, I'm late. I'm sorry. I'm late. And then Zach says, would you put on dance clothes? And she said, no, no, wait a minute. Anyway, you couldn't help. But know sort of, you just kind of put,2 (1h 8m 8s):I mean, I remember seeing it when I was a kid and not, not being able to relate as an actor, but now that I think back, it just must've felt so gratifying to be seen for all of the, you know, because like we w the Joe Montana episode, we3 (1h 8m 28s):Haven't listened to yet, but I'm looking forward to2 (1h 8m 30s):It here today. But he was saying, I love3 (1h 8m 33s):Him2 (1h 8m 34s):For you. You were saying that when he won the Tony and everybody would say, well, it's like to win the Tony, what's it? Like he said, it's like, you won the lottery, but you been buying tickets for 15 years. You know, that's the part of acting that people now, I think it's a pretty common knowledge that it's really difficult to be an actor, but I don't know how Hmm, how known that was then. And it just, must've been so gratifying for all of those people. I mean, who are living in their real life? The story of that musical. Yeah.3 (1h 9m 9s):I think that that's true. And also, I mean, it really did come out of people's experiences. Those stories are so, so to be part of something like that, and down at the public theater, which of course it was a vol place to be, you know, you, you knew that Meryl Streep was walking down the hallway and you knew that. I mean, talk about confidence. I mean, I don't know if you've read her new book, no book about her. No, it's worth the time I listened to it. Actually, I didn't read it. I listened to, it's quite wonderful because you see a very confident person who's working on creating who she is.1 (1h 9m 47s):Do you feel, I feel like you have a really strong sense of confidence about yourself too. Where did that come from? Would you agree? First of all, that you have, it sounds like you had some comps, some real chutzpah as a youngster and maybe now as well. Where'd that come from3 (1h 10m 5s):Beats me. I have it now because I, I, I, I've had a lot of, a lot of experience. And I, I think that, that, I, I think I know a lot about this, but I don't know that I had it. The trick was to have this kind of confidence when it really matters. Yes. And I think I had it, like if I was in an off-Broadway show, I could say, I don't think that's good enough. Could you restage this blah, blah, blah. Or if I'm in North Carolina, I'm not, I think we need to dah, dah, dah, dah, dah. But when it comes down to the real nitty gritty of standing up for yourself, when it really, really matters, boy, that's harder than it looks.3 (1h 10m 51s):You know, even things like, I mean, my character, when I eventually took over the role of Miralis, which I under, you know, I was we've covered all these parts. There were nine of us. We sang in the little booth in the wings. We had microphones and little headsets. And the coolest part of all was Jerry Schoenfeld, who was the chairman of the Schubert organization would bring any visiting dignitary who was visiting the city that he was showing around his theaters. He would bring them into our little booth. And then we would watch the show from stage left in our little booth while we're singing, give me the ball, give him the ball. Cause half the dancers on the stage, cause stop singing because they had a solo coming up.3 (1h 11m 31s):So, you know, singing in a musical is not easy. You know, there's a lot of pressure and you got to hit high notes and you, you know, you just wake up in the middle of the night going torture, torture, and you have to work through that and finally go, fuck it. You know, fuck it. I don't care what I weigh. Fuck it. I don't care if I, if I can't hit the high note, but it, it takes a long time to get there. You know, I see people who do this all the time. I don't know how they live. I don't know how they sleep at night. There's no wonder people like to hire singers who have graduated from programs where they really understand their voice, know how to protect that, which you don't, you know, you have to learn, you have to learn how to really take.3 (1h 12m 24s):That's why, you know, it's wondering about ballet companies now have misuses and we didn't have any of that. You were hanging out there alone. I felt maybe I'm wrong, but that's how I felt. And if I was vulnerable or if I didn't feel well, and I was like, oh, what am I going to do? I can't tell anybo

❗⁠您的一杯咖啡錢 = 我們遠大的目標！捐款支持我們：https://pse.is/3jknpx

Having taken you, our dear listeners, through the Yuan, Chagatayid and Ilkhanates, we now turn our attention to the northwestern corner of the Mongol Empire: the Jochid ulus, the Golden Horde. Ruled by the line of Chinggis' eldest son Jochi, this single division of the Mongol Empire was larger than the maximum extent of most empires, dominating from the borders of Hungary and the Balkans, briefly taking the submission of Serbia, stretching ever eastwards over what is now Ukraine, Russia, through Kazakhstan before terminating at the Irtysh River. Under its hegemony were many distinct populations; the cities of the Rus' principalities, the fur trading centres of the Volga Bulghars along the Samara Bend, the mercantile outposts of the Crimean peninsula which gave the Jochid Khans access to the Mediterranean Sea, to the Khwarezm delta, giving them a position in the heart of the Central Asian trade. These distant frontiers, hundreds upon hundreds of kilometres apart, were connected by the western half of the great Eurasian steppe, the Qipchaq Desert as it was known to Islamic writers. Thus was the Golden Horde, and over the next few episodes we'll take you through its history, from its establishment under Batu, to the height of its glory under Özbeg, to its lengthy disintegration from the end of the fourteenth century onwards. This first episode will serve as an introduction to the history of the Golden Horde, beginning first with its very name and important historiographical matters, then taking you through its origins, up to the death of Berke and ascension of Möngke-Temür, the first ruler of the Golden Horde as an independent state.  I'm your host David, and this is Kings and Generals: Ages of Conquest.       As good a place to start as any is terminology, and the Golden Horde is known by a host of names. Firstly and most famously, we can note that the Golden Horde is a later appellation, given to the state centuries later in Rus' chronicles. In Russian this is Zolotaya Orda (Золотой Орды),  which in Mongolian and Turkish would be Altan Orda. The English word “horde” comes directly from Mongolian ordu, though also used in Turkic languages, and signifies, depending on the case, a command headquarters, the army, tent or palace- quite different from the image of uncontrolled rabble that usually comes to mind with the term. While commonly said that the Rus' chronicles took the term from the golden colour of the Khan's tents, we actually do see the term Golden Horde used among the Mongols before the emergence of the Golden Horde state. For the Mongols and Turks, all the cardinal directions have colour associated with them. Gold is the colour associated with the center; while the divisions of the army would be known by their direction and colour, the overall command or imperial government could be known as the center, the qol, or by its colour, altan. This is further augmented by the association of the colour gold with the Chinggisids themselves, as descent from Chinggis Khan was the altan urugh, the Golden Lineage; and the name of a well-known Mongolian folk band. For example, in 1246 when the Franciscan Friar John de Plano Carpini travelled to Mongolia as an envoy from the Pope, he visited a number of camps of the new Khan, Güyük. Each camp was named, and one of these was, as Carpini notes, called the Golden Horde. In this case, Carpini also describes Güyük's tent as being literally covered in gold, with even the nails holding the wooden beams being gold.       So Altan orda, or Golden Horde, may well have been in use within the Golden Horde khanate. However, the term is never used to refer to it in the thirteenth or fourteenth centuries. What we see instead is a collection of other terms. In the Ilkhanate, it was common to refer to the rulers as the Khans of Qipchap, and the state as the Desht-i-Qipchaq, the Qipchaq steppe or desert. Hence in modern writing you will sometimes see it as the Qipchap Khanate. But this seems unlikely to have been a term in use by the Jochid Khans, given that the Qipchaps were the Khan's subjects and seen as Mongol slaves; a rather strange thing for the Mongols to name themselves after them. Given that it was the pre-Mongol term for the region, and the Ilkhanid writers liked to denigrate the Jochid Khans whenever possible, it makes rather good sense that they would continue using it.       Many modern historians, and our series researcher, like to refer to it as the Jochid ulus, the patrimony of the house of Jochi, particularly before the actual independence of the Golden Horde following 1260. This term appears closer to what we see in Yuan and Mamluk sources, where the Golden Horde was usually called the ulus of Batu or Berke, or ulus of whoever was currently the reigning Khan. Either designating themselves by the current ruler, or by the more general ulug ulus, meaning “great state or patrimony,” with perhaps just the encampment of the Khan known as the altan ordu, the Golden Horde, among the Jochids themselves. Over the following episodes the term Jochid ulus will be used to refer to the state in general, and Golden Horde will be used specifically for the independent khanate which emerged after the Berke-Hülegü war in the 1260s.       There is another matter with terminology worth pointing out before we go further. The Jochid domains were split into two halves; west of the Ural river, ruled by the line of Batu, Jochi's second son. And east of the Ural River, ruled by the line of Orda, Jochi's first son. Now, Batu may have been the general head of the Jochids, or a first amongst equals, or Orda and Batu may have been given totally distinct domains. Perhaps the ulus of Orda simply became more autonomous over the thirteenth century. Opinions differ greatly, and unfortunately little information survives on the exact relationship, but the ulus of Orda was, by 1300, effectively independent and the Batuid Khans Toqta and Özbeg would, through military intervention, bring it under their influence. So essentially, there were two wings of the Jochids with a murky relationship, which is further obfuscated by inconsistent naming of them in the historical sources. Rus' and Timurid sources also refer to the White Horde and the Blue Horde. The Rus' sources follow Turko-Mongolian colour directions and have the White Horde, the lands ruled by the line of Batu, the more westerly, and Orda's ulus being the Blue Horde to the east.  Except in Timurid sources, this is reversed, with Batu's line ruling the Blue Horde, and Orda the White.        There has been no shortage of scholarly debate over this, and you will see the terms used differently among modern writers. This is not even getting into the matter if the Golden Horde was then itself another division within this, referring to territory belonging directly to the Khan within the Batuid Horde. For the sake of clarity, this podcast will work on the following assumptions, with recognition that other scholars interpretations may differ greatly: that following Jochi's death around 1227, the Jochid lines and lands were divided among Batu and Orda, with Batu acting as the head of the lineage. The western half of this division, under Batu, we will call the White Horde, and Orda's eastern division will be the Blue Horde. Together, these were the Jochid ulus, with the rest of their brothers given allotments within the larger domains. While Batu was the senior in the hierarchy, Orda was largely autonomous, which following the Berke-Hülegü war turned into the Blue Horde becoming effectively independent until the start of the fourteenth century, as apparently suggested by Rashid al-Din and Marco Polo,        One final note is that we have effectively no internal sources surviving from the Golden Horde. In the opinion of scholars like Charles Halperin, the Golden Horde simply had no chronicle tradition. Any records they maintained were likely lost in the upheavals of the late fourteenth century that culminated in the great invasion under Tamerlane in the 1390s, where effectively every major city in the steppe region of the Horde was destroyed.  The closest we come to Golden Horde point-of-view chronicles appear in the sixteenth century onwards, long after the dissolution of the Horde. The first and most notable was the mid-sixteenth century Qara Tawarikh of Ötemish Hajji, based in Khiva in the service of descendants of Jochi's son, Shiban. Sent to the lower Volga by his masters, there he collected oral folk tales which he compiled into his history. While often bearing intriguing and amusing tales, they reveal little in the way of the internal machinations of the Golden Horde. Luckily we are serviced from more contemporary sources, most notably Ilkhanid and Mamluk sources- once again our friend the Ilkhanid vizier Rashid al-Din is of utmost importance, who provides us an important outline of the Golden Horde's politics up to 1300. The Mamluks and Ilkhanid sources largely collected information from Jochid diplomats or refugees. Most of our understanding of Golden Horde political events, and the details of the following episodes, comes from these sources.   Post-Ilkhanid Timurid and Jalayirid authors help somewhat for the later fourteenth century, while the Rus' sources provide information on the Golden Horde almost exclusively in the context of its interactions with the principalities, similar to other European and Byzantine sources. A few details can be gleaned too from travellers like Marco Polo and Ibn Battuta, and even distant Yuan sources from China. Archaeology has provided some interesting details, particularly relating to trade and the extensive coinage circulation of the Jochids. Despite this, the Golden Horde remains, regardless of its fame, arguably one of the poorer understood of the Mongol Khanates.       So, with that bit of paperwork out of the way, let's get on with it! The kernel of the immense Golden Horde can be found in the first decades of the thirteenth century. In the first ten years of the Mongol Empire Jochi, Chinggis Khan's first son, was tasked with leading campaigns around Lake Baikal, as well as the first expeditions that brought their armies far to the west of Mongolia. While around Baikal he had been sent to subdue the local peoples, in 1216 Jochi and Sübe'edei pursued fleeing Merkits across Kazakhstan, to the region between the Aral Sea and the Caspian. Here, the Merkits had allied with Qangli-Qipchaps, beginning the long running Mongol animosity to the various Qipchap peoples. While Jochi was the victor here, he was forced into battle with the Khwarezm-Shah Muhammad on his return, as we have previously detailed. But the result seems to have been an association of these western steppes as Jochi's lands, in the eyes of the Mongol leadership.       Such an association was strengthened following the campaign against the Khwarezmian Empire. The Mongols saw conquering a region as making it part of the patrimony of a given prince, and such a belief fueled into the interactions between Jochi and his brothers, especially Chagatai. This was most apparent at the siege of the Khwarezmian capital of Gurganj, where Jochi sought to minimize destruction to the city- not out of humanity, but as it would be a jewel in his domains as one of the preeminent trade cities in Central Asia. Chagatai, in a long running competition with his brother, was not nearly so compassionate. The end result was Gurganj being almost totally annihilated, and Jochi and Chagatai's antagonism reaching the frustrated ears of their father. As you may recall, Jochi's mother Börte had been captured by Merkits before he was born, leaving an air of doubt around the true identity of his father. Chinggis, to his credit, always treated Jochi as fully legitimate, and indeed up until 1221, in the opinion of some scholars, appears to have been grooming him as his primary heir. However, the falling out between Jochi and Chagatai over the siege of Gurganj, and Chagatai's apparent refusal to accept Jochi as anything but a “Merkit bastard,” as attributed to him in the Secret History of the Mongols, left Chinggis with  the realization that should Jochi become Khan, it would only lead to war between the brothers. And hence, the decision to make Ögedai the designated heir.       It has often been speculated that Jochi's massive patrimony was essentially a means to keep him and Chagatai as far apart as possible,and appeasing Jochi once he was excluded from the throne.  Following the conquest of Khwarezm, Jochi seems to have taken well to the western steppe being his territory, the grasslands between the Ural and Irtysh Rivers. Juzjani, writing around 1260, writes of Jochi falling in love with these lands, believing them to be the finest in the world. Some later, pro-Toluid sources portray Jochi then spending the last years of his life doing nothing but hunting and drinking in these lands, but this seems to have been aimed at discrediting his fitness. Rather he likely spent this time consolidating and gradually pushing west his new realm, past the Aral Sea towards the Ural River, while his primary camp was along the Irtysh. Though effectively nothing is known of Jochi's administration, we can regard this period as the true founding of what became the Jochid ulus, and eventually the Golden Horde. Though he died between 1225 and 1227, either of illness, a hunting accident or poisoned by his father, Chinggis immediately confirmed upon Jochi's many offspring -at least 14 sons- their rights to their father's lands. And Chinggis, or perhaps Ögedai, made Jochi's second son Batu the head of the lineage. It was then that the division of the Jochid lands into two wings under Orda and Batu may have been first implemented.        By the start of Ögedai's reign, the western border of the Mongol Empire  extended past the Ural River, and Mongol armies were attacking the Volga Bulghars.  While we do not have much information on it, we may presume a level of involvement on the part of Batu and his brothers. Of course, in the second half of the 1230s Ögedai ordered the great invasion that overran the western steppe. Starting from the Ural River, within 5 years the Mongol Empire was extended some 3,000 kilometres westwards to the borders of Hungary. Whereas previously the urban area of the Jochid lands was restricted to the Khwarezm Delta and the scattered steppe settlements, now it included the cities of the Rus' principalities, Volga Bulghars, other Volga communities, and the Crimean peninsula. All in addition to the western half of the great Eurasian steppe, and the now subdued Cuman-Qipchaq peoples. By 1242, Batu was arguably the single most powerful individual in the Mongol Empire. Enjoying the rich grasslands along the Volga between the Black and Caspian Seas, Batu created a permanent capital, Sarai. Much like the imperial capital of Qaraqorum, Sarai served as a base to collect tribute, receive embassies, and house the administration and records, while Batu and the other Jochid princes continued to nomadize. The newly conquered territories were quickly incorporated in the Mongol tax system, and the Rus' principalities began to see Mongol basqaqs and darughachi come to collect the Khan's due.       But Batu was an ambitious man. There was clearly an understanding that the Jochids were granted the west of Asia as theirs, and he took this quite literally. As the Mongol Empire incorporated Iran, the Caucasus and Anatolia over the 1230s through 40s, Batu ensured that Jochid land rights were not just respected, but expanded. The administration in these regions was picked either from Batu's men, or from his consultation, such as Baiju Noyan, the commander of the Caucasian tamma forces and who brought the Rumi Seljuqs under Mongol rule.    In the turmoil following Ögedai's death, Batu extended his hold over western Asia. Naturally, this put him on a collision course with the Central Government. When Ögedai's widow, Törögene tried to hunt down her political rivals, such as the head of the Central Asia Secretariat Mas'ud Beg, Batu gave shelter to him. When her son Güyük took the throne, Batu did not attend his quriltai in person, putting off any meeting due to, Batu claimed, the severe gout he suffered from preventing his travel. Batu and Güyük had been rivals ever since the great western campaign, where Güyük had insulted Batu's leadership. Güyük hoped to put a cap on the decentralization of power which had occurred during the last years of his father's reign and during his mother's regency, and showed a willingness to execute imperial princes, such as the last of Chinggis Khan's surviving brothers, Temüge. When rumour came to Batu that Güyük was planning a massive new campaign to subdue the west, Batu must have suspected that Güyük planned on bringing him to heel too; either limiting his political freedom, or outright replacing him with Batu's older brother, Orda, with whom Güyük was on good terms with.    The news of Güyük's advance came from Sorqaqtani Beki, the widow of Tolui and sister of one of Jochi's most important wives. Sources like William of Rubruck have Batu preemptively poison Güyük in spring 1248, thus avoiding civil war. Batu and Sorqaqtani then promptly had many of Güyük's favourites executed and, in a quriltai in Batu's territory, had her son Möngke declared Khan of Khans in 1250, before an official ceremony in Mongolia the next year. The relationship was an effective one. In being key supporters for Möngke's otherwise illegal election, Jochid land rights were confirmed across the empire. Transoxania was cleared of Chagatayids and handed over the Jochids, Georgia confirmed for Batu's younger brother Berke, and travellers who passed through the empire in these years like William of Rubruck basically have the empire divided between Batu and Möngke. Most of western Asia, both north and south of the Caucasus, was overseen by Batu and his men. When Batu died around 1255, the Jochids enjoyed a preeminence second only to the Great Khan himself. The special place of the Jochid leader was recognized by numerous contemporary sources, and it is notable that while the rest of the empire was divided into the great branch secretariats, that the Jochid lands were not placed into one until late in Möngke's reign, and there is little indication it was ever properly established before Jochid independence.    However, despite even Möngke recognizing Batu's power, as a part of his wider centralizing efforts he reminded Batu of the leash on him. Batu's interactions with William of Rubruck indicate that Batu saw his power to conduct foreign diplomacy was limited; the Jochid lands were not exempted from Möngke's empire-wide censuses, and when Möngke demanded Batu provide troops for Hülegü's campaigns against the Nizari Ismailis and Baghdad, Batu duly complied. During Batu's lifetime it was the name of the Great Khan who continued to be minted on coinage in the Jochid lands, and Rus' princes still had to receive yarliqs, or confirmation, not from Batu but from Qaraqorum. And in 1257, Möngke ordered the Jochid lands to be incorporated into a new Secretariat, and thus bring them better under the control of the Central Government. There is no indication from the sources that Batu or his successors resisted Möngke in any capacity in these efforts   Following Batu's death, Möngke promptly ratified Batu's son Sartaq as his successor, but as Sartaq returned from Qaraqorum, he died under mysterious circumstances; in a few sources, the blame falls onto his uncles, Berke and Berkechir. Sartaq's son or brother Ilagchi was made Khan under the regency of Batu's widow Boraqchin Khatun, but soon both were dead. Though Ilagchi's cause of death is unmentioned, for Boraqchin the Mamluk sources note that Berke had her tried and executed for treason. Still, for Sartaq and Ilagchi the tendency for Mongol princes to die at inopportune times can't be forgotten, and Berke may have simply reacted to a favourable circumstance.  The fact that he stood with the most to gain from their deaths made him the likely scapegoat even to contemporary writers, even if he happened to actually be innocent of the matter. Much like how Batu may or may not have poisoned Güyük, the deaths are a little too convenient for the relevant Jochid princes to be easily dismissed.   Between 1257 and 1259, possibly waiting for Möngke to begin his Song campaign and be unable to interfere, Berke became the head of the Jochid ulus. As the aqa of the Jochids, that is, the senior member of the line of Jochi, he did this with the approval of his fellow Jochid princes and military leaders. But there is no indication that Berke ever received support from Qaraqorum for his enthronement. Given that Chinggis Khan had confirmed upon Batu the right to rule, the shift from brother-to-brother, though common in steppe successions, was still an extreme matter.   Part of the success of Berke's ascension may have been achieved through an agreement with Batu's family. According to the fourteenth century Mamluk author al-Mufaddal, the childless Berke designated Batu's grandson Möngke-Temür as his heir. Some historians like Roman Pochekaev have suggested that Berke's enthronement may have been leveraged as part of an agreement; that Berke, as the most senior member of the Jochids, could take the throne following the death of Ilagchi Khan. But, the prestige of Batu made his line the designated leaders of the White Horde. Without his own children, on Berke's death the throne would fall back to the line of Batu, under his grandson Möngke-Temür.  And so it would remain among Batu's descendants until the 1360s, almost 100 years after Berke's death.    As you likely know, Berke was the first Mongol prince known to convert to Islam. The exact time of his conversion varies in the sources, but a convincing argument has been put forward by professor István Vásáry. Essentially, that Berke, likely through a Muslim mid-wife that raised him (and not a Khwarezmian Princess, as sometimes suggested) was either in his youth a convert to Islam, or at least extremely influenced by it. By the time of the 1251 quriltai in Mongolia which confirmed Möngke as Great Khan, Berke is attested in independent sources writing at the same time to have sought to Islamize the event; getting the meat to be slaughtered for the feast to be halal, according to Juvaini, and trying to get Möngke to swear on the Quran, according to Juzjani. On his return from Mongolia, he was contacted by a Sufi shaykh in Bukhara, Sayf ad-Din Bakharzi, who is mentioned in a number of sources in connection with Berke's conversion. Having heard of a prominent Mongol prince's interest in Islam, the Shaykh invited Berke to Bukhara, and there gave him a formal education in the religion, leading to Berke to make a more official declaration of his faith likely around 1252. Berke's conversion was accompanied by the conversion of his wives, a number of other princes, members of his family and his generals, though all evidence suggests there was only limited spread of the faith among the rank and file Mongols at the time.    As Khan, Berke sought to ensure Jochid hegemony on frontier regions. His troops crushed a newly independent Ruthenian Kingdom in Galicia, and in 1259 his armies under Burundai Noyan led a devastating raid into Poland. Possibly in this time Bulgaria began paying tribute to the Jochids as well. Berke demanded the submission of the Hungarian King, Béla IV, and offered a marriage alliance between their families. As Hungary was spared any damage in Burundai's 1259 campaign, it has been suggested that Béla undertook a nominal submission to Berke, sending tribute and gifts in order to spare Hungary from another assault.    In Khwarezm and the Caucasus Berke continued to exercise influence. But tensions were fraying with his cousin Hülegü, who in 1258 sacked Baghdad and killed the ‘Abbasid Caliph. Obviously, as a Muslim Berke was not keen to learn of the Caliph's death. According to the contemporary author Juzjani, writing from distant Delhi, Berke had been in contact with the Caliph in the years preceding the siege. Much of Berke's anger though, as gleaned from his letters to the Mamluks and the writing of Rashid al-Din, was at Hülegü's failure to consult with Berke as the senior member of the family, and as the master of western Asia. Though Jochid troops partook in the siege, and we have no indication from the sources that Berke tried to prevent them taking part, it seems Hülegü did not reach out to Berke regarding the fate of Baghdad, or in the dispensation of loot.   Berke was greatly angered at this, and relations only worsened over the following years, once Hülegü killed the Jochid princes in his retinue on charges of sorcery; it just so happened that these same prince had previously annoyed Hülegü through attempting to enforce Jochid land rights over Iran and Iraq. The final straw came in early 1260 once Hülegü learned of Möngke's death. Hülegü by then had already set up in the pastures of Azerbaijan, land Berke considered his. As he learned of the fighting between his brothers Khubilai and Ariq Böke which broke out later that year, Hülegü decided to use the interregnum to seize the pastures of the Caucasus, as well as all of the land between the Amu Darya and Syria, for himself. Berke's officials in these lands were driven out or killed. With no Great Khan to intercede, Berke felt forced to resort to violence to avenge his fallen kinsmen and retake his lands; in 1262 he went to war with Hülegü, and so did the Mongol Empire in the west split asunder.   We've covered the Berke-Hülegü war in detail in a previous episode, so we don't need to repeat ourselves here. The end result was both Berke and Hülegü dead by 1266, and the frontier between them set along the Kura River, where Hülegü's son and successor Abaqa built a wall to keep out the Jochids- though the jury is out on whether he made them pay for it. The conflict set the border between the newly emerged Ilkhanate and the Jochid state for the next century, and the Jochids would not forget the sting of losing this territory to the Ilkhanids for that time either.    On Berke's death his coffin was carried back to Sarai.  Berke's reign, though much shorter than Batu's, had been a decisive one. For not only did it determine many aspects of the Golden Horde's diplomacy and character, notably antagonism to the Ilkhans, a predatory view to the Chagatayids who in the 1260s retook control of Transoxiana and killed Berke's officials, and a cool, distant view to Khubilai Khaan's legitimacy. He helped begin the alliance with the Mamluk Sultans, which never materialized into any actual military cooperation but uneased the Ilkhans and allowed the Mamluks to continue to purchase Qipchaq slaves from the steppe. This alliance too would survive essentially until the dissolution of the Golden Horde at the start of the fifteenth century.    But it also seeded the kernel for eventual islamization of the Khanate, a slow process which would only be fulfilled some sixty years later under Özbeg Khan. While their father was the true founder of the Jochid ulus in the 1200s, both Batu and Berke could argue for this title. Batu posthumously became the Sain Khan, the Good Khan, while to the Mamluks the Golden Horde rulers ascended to the throne of Berke. With his death, it seems at Sarai a quriltai was held to confirm the enthronement of his grand-nephew, Möngke-Temür, the first true independent ruler of what we can call the Golden Horde, and subject of our new episode, so be sure to subscribe to the Kings and Generals Podcast to follow. If you enjoyed this and would like to help us continue bringing you great content, consider supporting us on patreon a www.patreon.com/kingsandgenerals, or giving us a like, comment and review on the podcast catcher of your choice, and share with your friends, it helps immensely. This episode was researched and written by our series historian, Jack Wilson. I'm your host David, and we'll catch you on the next one.   

Abhijit Iyer Mitra joins Sanjay Dixit to discuss why the three farm laws were abandoned by Modi, when apparently the movement against it had flopped save the nuisance on the roads around Delhi, and there was a broad favourable consensus among the public. Is the 'sabka vishwas' fetish being taken to an illogical extreme?

The Bharatvaarta Weekly is our reaction to the news headlines of the week that was. This week we spoke about the Vir Das controversy, delivery of the S400 air defence systems from Russia, Delhi lockdown due to smog, repeal of the farm laws, and more. If you liked this episode, then don't forget to subscribe to our channel and share this content. You can stay updated with everything at Bharatvaarta by following us on social media: we're @bharatvaarta on Twitter, facebook.com/bharatvaarta.in on Facebook, and @bharatvaarta on Instagram).

Today we discuss the UN Climate Change Conference (COP26) negotiations that have just ended. In light of all that has transpired in the last year we take a refreshed look at these talks after the COVID pandemic. What are their significance? Join us as we discuss it in the episode. Additional Resources:Whitney Webb on Glasgow Financial Alliance for Net ZeroWhitney Webb on Natural Asset CompaniesDelhi considers new lockdown — this time for pollution, not covid ITunes and Spotify only show our last 150 episodes:To see all our episodes go to:What's Left? Website:Contact us @:  Subscribe to What's Left? on Telegram:iTunes: Spotify: Bitchute: YouTube:  LBRY: Telegram :Odysee: stitcher: Googleplaymusic: 

More about Sanat - https://iiitd.ac.in/sanatWhite paper on Indian supplier landscape: “Driving innovation in the Indian space sector using digital technologies”Discover how Dassault Systèmes can help New Space companies achieve fast, sustainable innovation: The New Frontier of Satellite Technology 3D Perspective on New Space, new horizons Support the NewSpace India podcast by becoming a Patreon - https://www.patreon.com/newspaceindiaWant to keep in touch with the NewSpace India community? Do join us on Discordhttps://discord.gg/WRJ8Yagb8TFor comments/suggestions, write to curator@newspaceindia.com ★ Support this podcast on Patreon ★

durée : 00:02:40 - Géopolitique - par : Pierre Haski - La capitale indienne est plongée dans le smog, forçant le gouvernement à fermer des centrales à charbon… trois jours après que l'Inde a contraint la COP26 à atténuer sa déclaration finale sur le charbon.

Can UK prime minister Boris Johnson survive accusations of corruption and sleaze? Also in the programme: India's fight against deadly pollution in Delhi and the week's film-industry news.

For India's Hindi and English news channels, following Modi wherever he goes is a win-win strategy: they earn PM and BJP's goodwill at a very low cost to themselves. ----more---- https://theprint.in/opinion/telescope/kejriwal-tv-ads-disappear-in-delhi-smog-but-modi-gets-quality-air-time-with-up-expressway/767680/

Over the past few weeks, a thick brown smog has enveloped Delhi. The pollution is so bad that the capital and surrounding states have shut schools and imposed work-from-home orders. Toxic air at levels 20 times higher than those deemed healthy by the World Health Organization has become a seasonal occurrence in India, causing about 1.6 million premature deaths every year. Madeleine Finlay speaks to Guardian South Asia correspondent Hannah Ellis-Peterson and environmental researcher Karthik Ganesan about what it is like to live with poisonous air – and what needs to be done. Help support our independent journalism at theguardian.com/sciencepod

President Biden visits Motor City: Detroit, Michigan, where General Motors unveiled their new electric vehicle plant. Biden was there to talk up his infrastructure bill and to promote the transition to electric vehicles which he says will bring jobs to America. We hear from Steve Carmody, a reporter for Radio Michigan, and speak to Edward Alden at the Council on Foreign Relations about how the infrastructure bill could ruffle feathers in Canada and Mexico. In India, taxation on alcohol is undergoing huge reforms as government run retailers are replaced by private outlets; the BBC's Davina Gupta tells us more. Apple concedes that its customers can repair their own products after lengthy disputes against the so-called Right to Repair – Nathan Proctor of the US Public Interest Research Group explains what it all means. A Korean movie has become the biggest grossing film in the world this year, and troubling allegations are made against one of Kenya's largest conservation agencies. Throughout the programme we're joined by Jyoti Malhotra, National & Strategic Affairs Editor at The Print in Delhi, and Steven Bertoni, Editor at Forbes in New York. Picture: President Biden in a GM car Credit:Reuters

Today on TruNews, Rick Wiles is right again, this time about climate lockdowns. As mainstream news outlets mock anyone for challenging the COP26 climate narrative, New Delhi is making way to sequester everyone at home for weeks for air pollution.  In other news, the CDC declares that a lab has been discovered in the Northeast stashing fifteen vials of smallpox. Christmas is canceled in the island of Gibraltar this year, as the 100% fully vaccinated population is experiencing a COVID surge, leading to cancellations of events and reinstatement of mask mandates.  Finally, a UK weather forecaster says we need to be prepared for a little ice age this winter.  Rick Wiles, Doc Burkhart.  Airdate 11/17/21

TGC x Ricky Ponting. A match made in (mostly) 2s/3s at Mowbray. We talk to Ricky about The Ashes, coaching Delhi, being poached by India, Australian team harmonies and getting a few.Use the code GETAFEW for 20% off a case of Ponting Wines.Check out our Patreon for exclusive content every single week at https://www.patreon.com/gradecricketerThis episode is brought to you by Budgy Smuggler. You can get free shipping on your order by using the code 'CHAMP' at https://www.budgysmuggler.com.auT20 Stars products are made from one of the best cricket manufacturers in the world and they have cut out the middle person so the cricket gear goes straight from the manufacturer to you. Free shipping and free returns - visit www.t20stars.comAnd of course, if you want to check out the Ponting Wines Range, head to pontingwines.com.au and get a few today.You can follow The Grade Cricketer on Facebook, Instagram and Twitter:https://www.facebook.com/gradecricketerhttps://www.instagram.com/thegradecricketer/https://twitter.com/gradecricketerThe Grade Cricketer hosts are Ian Higgins and Sam Perry.You can follow them on Instagram and Twitter:Ian Higgins:https://www.instagram.com/higgins_ian/https://twitter.com/1an_HigginsSam Perry:https://www.instagram.com/sj_perry/https://twitter.com/sjjperry

With inflation rising across Europe, Spain is particularly hit with prices rising 5.5%. That's the highest level seen for almost 30 years, and the BBC's Guy Hedgecoe in Madrid tells us how people in the country are responding. And we get wider context on the global inflation picture from Karen Ward, chief market strategist for Europe, the Middle East and Africa at JP Morgan Asset Management, who also used to chair the UK's Council of Economic Advisers. Also in the programme, the BBC's Tamasin Ford reports on how the makers of period pants, which are underwear that absorbs liquid, hope to disrupt the global market for menstrual-related products, as well as help women and the environment. Plus, the Indian capital Delhi has introduced reforms to the way alcohol is sold, with state-run shops ceasing trade and being replaced by much more luxurious privately-owned liquor stores. The BBC's Devina Gupta in Delhi explains what was behind the move.

It's the latest measure to try to clear the toxic smog in the Indian capital. Also: new protests begin in Sudan against last month's coup, and the growing appeal of the Mexican artist Frida Kahlo as one of her paintings fetches a record price.

Find out the cause of the toxic air shutting parts of New Delhi, hear a special report from the Cape Canaveral space launch, find out how Sikhs celebrate Guru Nanak Jyanti and why locusts become the second insect on the EU's “novel food” list 

Every year, like clockwork, the Delhi-National Capital Region (NCR) is blanketed in smog in the winter months and the Air Quality Index (AQI) levels in different parts of the capital spike through the roof. This year, despite there being strict enforcement on bursting crackers, Delhi woke up to a thick smog the day after Diwali and the AQI remained at a “severe” level for days till 14 November when it reduced to “very poor”. Even the Supreme Court (SC) had to step in and pull up the Delhi government. A three-judge bench, comprising Chief Justice NV Ramana, sought to know what measures the Union and the Delhi government were taking to control pollution. The SC also contemplated measures like placing the entire city under a lockdown or an odd-even system of managing vehicular traffic. But how significant are these band-aid-like measures? And fingers, of course, were also pointed towards stubble burning in the Punjab and Haryana. However, this time, the tables turned as contribution of stubble burnings to Delhi's pollution was reportedly only 10 percent. But can we always place the blame on farmers when it comes to air pollution in the capital? Is there a win-win solution for all parties? Host and Producer: Himmat Shaligram Guest: Santosh Harish, a fellow at the Centre for Policy Research  Editor: Shelly Walia Music: Big Bang Fuzz Listen to The Big Story podcast on: Apple: https://apple.co/2AYdLIl Saavn: http://bit.ly/2oix78C Google Podcasts: http://bit.ly/2ntMV7S Spotify: https://spoti.fi/2IyLAUQ Deezer: http://bit.ly/2Vrf5Ng Castbox: http://bit.ly/2VqZ9ur

Joe Biden will speak to Xi Jinping over video call as the two leaders meet virtually to discuss US China relations – our correspondent in Beijing Stephen McDonnell gives us the latest, plus there's analysis from Rui Zhong at the Wilson Centre in Washington DC. There's a lockdown in Delhi, but this time it's due to pollution; schools have closed and the authorities are considering imposing a city-wide curfew to keep people out of the smog. We hear from the BBC's Arunoday Mukherjee in the capital. In the US President Biden signs his infrastructure spending bill into law, in Portugal the BBC's Alison Roberts explains how bosses have been banned from contacting workers after they've left the office, and Peter Morgan explains how to resign from a job with style and grace. Throughout the programme we're joined by Sushma Ramachandran, an independent business journalist and columnist for The Tribune newspaper in Delhi, and Peter Morici, emeritus professor at the Robert H Smith Business School of University of Maryland. Picture: Biden delivers a speech Credit: EPA

In this episode, Esha Roy joins host Snigdha Sharma to discuss the attack on an Assam Rifles convoy in Manipur that killed an officer, his family, and four personnel. Next, Mallica Joshi tells us why the government is still resorting to emergency control measures when it comes to air pollution in DelhiAnd finally, we go over the proposed cryptocurrencies bill.

Yet again Delhi gets covered in a layer of pollution. Shekhar Gupta explains this seasonal pollution that comes every year. What numbers tells us, how is it caused and why is Diwali not the only reason.  Episode 878 of CutTheClutter looks at the practical ways to solve it in the long run.

Polish police have confronted a large crowd of migrants on the border with Belarus, as EU ministers in Brussels discuss further sanctions against Minsk. Also, an American journalist sentenced to eleven years in prison in Myanmar has been released and is on his way home. And officials in Delhi, say they're ready to impose a complete city-wide lockdown in the Indian capital to curb air pollution.

From the BBC World Service: Foreign ministers from across the European Union are widening the criteria the bloc uses to impose sanctions on Belarus as thousands of migrants remain trapped in freezing conditions at the border with Poland. Also, the Beijing Stock Exchange officially opens for business. Plus, Austria introduces lockdown restrictions for unvaccinated citizens. And, India considers pollution lockdown measures in Delhi amid worsening air quality levels.

From the BBC World Service: Foreign ministers from across the European Union are widening the criteria the bloc uses to impose sanctions on Belarus as thousands of migrants remain trapped in freezing conditions at the border with Poland. Also, the Beijing Stock Exchange officially opens for business. Plus, Austria introduces lockdown restrictions for unvaccinated citizens. And, India considers pollution lockdown measures in Delhi amid worsening air quality levels.

LINKS buymeacoffee.com/changeug The ChangeUnderground Academy No-Dig Gardening Course: https://worldorganicnews.com/changeunderground/ FREE eBook: https://worldorganicnews.com/freeebook/ email: jon@worldorganicnews.com   Facebook Page: https://www.facebook.com/groups/1546564598887681   Transcript https://worldorganicnews.com/episode278/   Bubugo Conservation Trust http://www.bubugoconservation.org/   Fertiliser prices boom as Incitec Pivot plans closure of Gibson Island plant https://www.abc.net.au/news/rural/2021-11-13/incitec-pivot-shut-brisbane-plant-amidst-fertiliser-price-boom/100610750   Nations reach climate deal at COP26 after compromise on coal https://www.abc.net.au/news/2021-11-14/cop26-climate-deal-reached-with-coal-compromise/100618866   COP26 Reaches Consensus on Key Actions to Address Climate Change (POress Release) https://unfccc.int/news/cop26-reaches-consensus-on-key-actions-to-address-climate-change   COP26 climate deal ‘too late' for vulnerable countries but too much for others https://www.politico.eu/article/cop26-climate-summit-deal-vulnerable-countries/   A watered-down COP26 deal as Delhi chokes https://www.bbc.com/news/world-asia-india-59286783   Cuba's organic revolution https://www.theguardian.com/environment/2008/apr/04/organics.food    

Aaron Miller leads VOM's work in the Middle East. Recently he spoke in a college chapel, including telling the story of an experience of persecution he endured in India. Aaron says even though the Bible promises Christians will face persecution, in that moment of suffering as he was punched and kicked he was surprised. But something else happened as well: he experienced God's presence and grace in a significant and sacred way. “In a way that I never dreamed of, I had a fellowship with Christ that I did not have before,” he says of that day. Aaron also shares stories of persecuted Christians in Colombia, Bangladesh and the Middle East. Aaron Miller has previously appeared on VOM Radio; you can hear some of those conversations here, here and here. Our thanks to Reformation Bible College for permission to share Aaron's chapel presentation with VOM Radio listeners. Never miss an episode of VOM Radio. Subscribe to the podcast.

This week on NL Hafta, Abhinandan Sekhri, Raman Kirpal and Manisha Pande are joined by Subir Bhaumik, former correspondent with BBC and Reuters, and Vivek Kaul, journalist and economics commentator. Starting with the violence in Tripura, Subir offers some background and explains the roles of social media and the state police. “Tripura's clashes have never been communal,” he says. “It's the regional differences that initiate such issues. But this time, it's clearly Hindu-Muslim...Fake news and misinformation is the core reason of any such riot in Tripura.”To listen to the full episode, subscribe to Newslaundry. See acast.com/privacy for privacy and opt-out information.

Maynard Holt, CEO of Tudor, Pickering, Holt & Co. reflects on the 2021 India Energy Forum by CERAWeek and discusses the shared learnings and global perspectives on the energy and capital transitions from three days in Delhi.

Over 1,000 cases of monkey bites are reported in cities across India daily. Delhi reported over 950 cases of monkey attacks in 2018, and an estimated 20 daily in 2019.----more---- Read the full article here: https://theprint.in/environment/court-order-3-year-plan-rs-5-43-cr-fund-nothing-is-able-to-end-delhis-monkey-menace/764131/

More than 33,000 fire spots were observed in Punjab & Haryana in the first eight days of November, according to data from NASA's Fire Information for Resource Management System. ----more---- Read the full article here : https://theprint.in/health/why-november-has-brought-back-delhi-pollution-with-a-vengeance-after-cleaner-october/763972/

China and the US have agreed to boost climate co-operation over the next decade, in a surprise announcement at the COP26 climate summit in Glasgow. The two countries released a joint declaration promising action. We get reaction from Jess Shankleman, an energy and environment specialist at Bloomberg. Afghanistan's ex-finance minister has blamed the government's fall on corrupt officials who invented "ghost soldiers" and took payment from the Taliban. We have an in-depth interview with Khalid Payenda. Plus, electric carmaker Rivian Automotive started trading on the Nasdaq exchange today. Shares in the company soared, boosting the market value of the firm to $100bn. The BBC's North America business correspondent Michelle Fleury has been following the story. All this and more discussed with our two guests throughout the show: Tech journalist Takara Small in Toronto and Jyoti Malhotra, senior consulting editor at The Print, in Delhi. (Picture: US climate envoy John Kerry. Credit: Reuters.) (Picture: US climate envoy John Kerry. Credit: Reuters.)

❗⁠您的一杯咖啡錢 = 我們遠大的目標！捐款支持我們：https://pse.is/3jknpx

Pakistan NSA Moeed Yusuf won't attend the Regional Security Dialogue in Delhi. He's missing a major opportunity for peace. ----more---- Read the article here: https://theprint.in/opinion/nsa-meet-chance-for-delhi-to-show-taliban-victory-doesnt-mean-india-defeat/762661/

The Bharatvaarta Weekly is our reaction to the news headlines of the week that was. This week, we spoke about Deepavali celebrations this year generating Rs. 1.25 trillion to the economy, PM Modi unveiling the new Shankaracharya statue at Kedarnath, Delhi's air quality has becoming even worse after residents flouted the blanket ban on crackers, news of Mukesh Ambani relocating to London rubbished by Reliance and more. If you liked this episode, then don't forget to subscribe to our channel and share this content. You can stay updated with everything at Bharatvaarta by following us on social media: we're @bharatvaarta on Twitter, facebook.com/bharatvaarta.in on Facebook, and @bharatvaarta on Instagram).

India's leader Narendra Modi committed his country to net zero carbon emissions by 2070. We get reaction to the pledge, made at the UN climate summit in Glasgow, from Sunita Narain, director of the Centre for Science and Environment in Delhi. And we get a summary of all the other significant developments at COP26 from the BBC's Matt McGrath. One of those was a pact signed by more than a hundred world leaders to end and reverse deforestation by 2030. Elodie Toto reports on a possible alternative to deforestation in the Democratic Republic of Congo, where rainforest is often turned into charcoal for fuel. Also in the programme, a digital token inspired by the popular South Korean Netflix series Squid Game has lost almost all of its value as it was revealed to be an apparent scam. Matt Binder of Mashable explains the background. Plus, on Purple Tuesday, which aims to raise awareness of the value and needs of disabled customers, the event's founder Mike Adams discusses the problems people with varying disabilities have experienced online. Today's edition is presented by Rob Young, and produced by Nisha Patel and Gareth Barlow.

Join us for another whodunit episode where we dive into the mysterious Burari Deaths of Delhi. What we know is that a family of eleven was wiped out all at once - it's up to listeners to decide who, or what, was responsible in the end.

There is so much we don't know about our universe. But our curiosity about the unknown shouldn't blind us to the incredible progress we have made in cosmology over the last century. We know the universe is big, expanding, and accelerating. Modern cosmologists are using unprecedentedly precise datasets to uncover more details about the evolution and structure of galaxies and the distribution and nature of dark matter. Priya Natarajan is a cosmologist working at the interface of data, theory, and simulation. We talk about the state of modern cosmology, and how tools like gravitational lensing are providing us with detailed views of what's happening in the distant universe.Support Mindscape on Patreon.Priya Natarajan received her Ph.D. in astrophysics from the University of Cambridge. She is currently professor of astronomy at Yale University, the Sophie and Tycho Brahe Professor at the Niels Bohr Institute of the University of Copenhagen, and an honorary professor for life at the University of Delhi, India. She is an Affiliate at the Black Hole Initiative at Harvard University and an Associate Member of the Center for Computational Astrophysics at the Flatiron Institute in New York. She is a frequent contributor to the New York Review of Books and other publications. Among her awards are a Guggenheim Fellowship, the India Abroad Foundation's “Face of the Future” Award, and an India Empire NRI award for Achievement in the Sciences. She is the author of Mapping the Heavens: The Radical Scientific Ideas That Reveal the Cosmos.Web siteYale web pageGoogle Scholar publicationsArticles at the New York Review of BooksWikipediaTwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Vanessa Chishti joins Long Reads for Kashmir's past and present. Vanessa is professor of history at the O.P. Jindal Global University in Delhi, India. Long Reads is a Jacobin podcast looking in-depth at political topics and thinkers, both contemporary and historical, with the magazine's longform writers. Hosted by Features Editor Daniel Finn.Read Vanessa's essay "Kashmir: The Long Descent" in Catalyst here: https://catalyst-journal.com/2020/03/kashmir-the-long-descentProduced by Conor Gillies, music by Knxwledge.