It is the annual Bonus episode - because the people who appear on this show always say so much good stuff, it doesn’t all fit into their original episodes, so at the end of each year we get to enjoy all the extra bounty. Coming up, we’ve got a mythical disappearing island, geese, human dictionaries, the dubious history of the Body Mass Index, a Eurovision thing that has puzzled me for years, Victorian death department stores, and much more.
Read moreAllusionist 186 Ravels transcript
MIRIAM FELTON: No; I think, as with most of these things, they're just named after people. The people themselves don't really have much association with it. Like the Earl of Cardigan didn't ever wear a cardigan as far as we know.
HZ: What? What?? I assumed that he was out there on the battlefields in a cardigan.
MIRIAM FELTON: Like a nice fair isle one with all the stranded colour work? That would have been awesome.
HZ: Just some kind of frontally divided knitted garment. But no?
MIRIAM FELTON: No.
HZ: What?!
MIRIAM FELTON: Not as far as we have any evidence.
Allusionist 161 Sentiment transcript
SANDHYA DIRKS: When we talk about empathy: the idea that you can get outside of yourself, that we can imagine someone else's experience is so audacious, because human beings are not that freaking imaginative. I mean, like a unicorn is just a horse with a horn! We did not go that far to get to our most magical creature. We just like grafted two things on top of each other.
Read moreAllusionist 154 Objectivity transcript
HZ: When in your journalism career did the problems of objectivity become evident to you?
LEWIS RAVEN WALLACE: Probably like the first day.
Allusionist 133 Cake Is Mightier Than The Sword transcript
JUAN PALACIOS: So as a funny, but actually as a political comment, a political statement, they start naming the pastries with these names. Who would they attack? The police; the army; the church: the structures of power that they were trying to take down. Hence the names. It's funny but it was more than that. It's a political statement.
MADI LANG: It really characterizes the people. Because I don't think they thought they were going to start a revolution. They were just being kind of disrespectful in a very open, normal way, like, what if instead of calling it pizza they called it "the fuck you"?
Allusionist 128 Bonus 2020 transcript
KATE LISTER: When you're looking back at old texts and they're talking about 'slut holes' that need clearing out, it makes us fall about laughing; but what they actually mean was like a hole that was just full of rubbish and crap in the street, that you'd put coal into and store there. And there's something that was called ‘slut wool’ as well. You know when you lift up the sofa or the bed and you call them dust bunnies now, all those balls of dust - that was ‘slut wool’ once upon a time.
Read moreAllusionist 123 Celebrity transcript
GREG JENNER: If we look back at classical sources, where do we get fame from? What does it mean? What's the origin point? The Greeks had a goddess called Pheme, and she is a winged, beautiful goddess, with a trumpet. She parps a trumpet. And that is your name being sung into the heavens through the trumpet. So it's a nice thing. It's good. You get fame and it means people going to hear about you. But when you get to the Romans, and we get one of the most famous Roman writers, Virgil, in his Aeneid, he talks about Fama, where we get our word 'fame' from. That derives from the verb 'fari', meaning to speak or gossip about someone. And Virgil's Fama is not a beautiful goddess with wings and a parping trumpet; she's basically Godzilla. She's a terrifying, massive monster who stalks the land and she's covered with eyes and ears and tongues, and she grows in scale the more people that are gossiping about you. So the more you're being chatted about or gossiped about, the larger this monster becomes until she's vanishing into the clouds and she never sleeps. And she hunts you down. And Virgil's version of fame is predatory. It's terrifying. It's this enormous force of nature that comes for you, and there's nothing you can do about it.
Read moreAllusionist 116: My Dad Excavated a Porno transcript
HZ: The Victorians really did a number on people. I feel like we're still unpicking Victorian attitudes.
KATE LISTER: Yes, we are. I mean, we're still very much the children of the Victorians, and they're a fascinating bunch, the Victorians. No generation, at no point in history, has sex been successfully repressed, ever. It just doesn't happen. But what you have is really strict social morality, conditioning and mores and constructs and power dynamics around sex that dictate what we are and what we're not supposed to be doing. And outward facing, they were so repressed and polite society and so offended by everything even remotely to do with sex, to the point of where they wouldn't say the word 'trousers' because they thought they were too rude. They were 'sit down upons'.
Read moreAllusionist 101. Two or More - transcript
MARK WILKINSON: If you talk about something a certain way for enough time over a sustained period of time then it will likely affect the way people perceive that issue, right? So if something is framed in a certain way over a sustained period of time, you always hear the same words for something, then eventually it frames the way you think about it.
HZ: In this case, he’s been studying the use and framing of the word ‘bisexual’.
MARK WILKINSON: I think bisexual - the word bisexual, and the people as well - the word has had a really rough go of it.
Read moreAllusionist 91. Bonus 2018 - transcript
Today’s episode is the annual bonus Allusionist, featuring outtakes from some of this year’s guests saying things that were not necessarily related to the topic of the original episode, or even related to language at all, but I thought, “Hmm! Interesting!” and filed them away until THIS MOMENT.
This is not a typical episode of the Allusionist, so if this is your first time here, welcome! And do try a few different episodes of the show to get a picture. This year there have been episodes about your names, and superhero names; about how swearing can be good for your health, and so can novels; about tattoos, and typing champions; about how the drive to survive sent the Welsh language across an ocean, and the Scots language to hide at home; and many more. Thanks so much for spending time with me over 2018.
Read moreAllusionist 79. Queer - transcript
AMY SUEYOSHI: I see 'queer' as an umbrella term, as a political call for revolution as well as unity across different groups of people.
JONATHAN VAN NESS: I think of it definitely with positive and loving energy around it, I don’t think of it as an insult at all; growing up, I would have thought of it more as an insult. I think it was in 2015 when we got marriage equality, and the media, especially the LGBTQ+ media, began to use it as an umbrella term, something we could all be part of. So I think I got the cue from media to know that it was a gorgeous amazing word, one where we’re taking the love back and it wasn’t one to be offended by any more.
KATIE MINGLE: I haven’t always loved the term for myself, because it feels like an umbrella term that you can use if you’re gay and in a relationship with someone of the same sex, or you can use if you’re a basically straight couple who occasionally has a threesome with someone. That’s what ‘queer’ has come to mean: anyone who’s not inside the norm.
AMY SUEYOSHI: I think it's rejecting things like patriarchy and heteronormativity, mandates of morality. So not just to be able to keep things gray or to be postmodern, post category, but instead rather to call for a true revolution of the way we see the world, the way we categorize the world. So it's not just about LGBT rights per se but it's about creating a world that's more respectful of equity and thinks about diversity as a plus and values different ideas as a side of radical change rather than fear.
KATIE HERZOG: I sort of hate it. It’s too broad.
TOBIN LOW: It's so useful. I mean especially as there is this proliferation of identities that people can call themselves and identify with and really claim, it's a great way of just sort of acknowledging that it's all in the umbrella and that it's all valid; it's just like a way of acknowledging the validity of all the things, which I think is great.
ERIC MARCUS: This word has tortured me.
Read moreAllusionist 69. How the Dickens stole Christmas - transcript
GREG JENNER: ‘Dickensian’ is quite a tricky word, actually. I think we don’t always necessarily know what we mean when we say it. As a word it conjures up poverty, perhaps; a sense of squalor; a sense of people trapped in this brutal society where there is no safety net, no fall-back plan; where children and women can suddenly be cast into a life of poverty or crime or violence. But 'Dickensian' also should summon up some of the beautiful things as well, some of the wonderful things he harnesses. When we look at A Christmas Carol, the way he depicts the street scenes, singing to each other, the sense of community, the shop windows filled to the brim with delicious goods and treats to eat on Christmas day and toys, this is also a bountiful visual iconography. Dickens conjured up both quite alarming and also quite enrapturing, entrancing visions of what a city and a community could be. So 'Dickensian' tends to be quite negative, but it should apply to all the different worlds that Dickens created, and some of those were rather pleasant and lovely, and some of those were rather cruel and dark.
KATIE MINGLE: What's the deal with Christmas?
AVERY TRUFELMAN: Dickens?
KATIE MINGLE: Yeah.
HZ: Yeah! A lot of authors have written about Christmas, but don’t have festive fairs devoted to them. Why is Dickens the one who gets to be the adjective? Why is he given credit for Christmas?
GREG JENNER: Charles Dickens's Christmases are not brand new in 1843. You know one of the things people often say is Dickens invented Christmas, which is absolute nonsense, of course he didn't.
Read more