There aren't many multilingual, multinational television shows that have been running for nearly seven decades. But what makes the Eurovision Song Contest so special to me is not the music, or the dancing, or the costumes that range from spangletastic to tear-off: no, it's the people butting heads about language. Historian Dean Vuletic, author of Postwar Europe and the Eurovision Song Contest, recounts the many changes in Eurovision's language rules, and its language hopes and dreams.

This is the first of a two-part Eurovisionallusionist. In the next instalment: dictators. Protests. Boom Bang-A-Bang Ding-a-Dong Diggi-Loo Diggi-Ley. Find out more about this episode at theallusionist.org/eurovision1, where there's also a transcript.

The Allusionist's online home is theallusionist.org. Stay in touch at facebook.com/allusionistshow,instagram.com/allusionistshow, youtube.com/allusionistshow and twitter.com/allusionistshow.

Support the show at theallusionist.org/donate and as well as keeping this independent podcast going, you also get glimpses into how the podsausage is made, regular livestreams, AND membership of the delightful Allusioverse Discord community with whom I will be watching the Eurovision final next month.

The Allusionist is produced by me, Helen Zaltzman. Martin Austwick provides the original music. Hear Martin’s own songs via PaleBirdMusic.com.

There aren't many multilingual, multinational television shows that have been running for nearly seven decades. But what makes the Eurovision Song Contest so special to me is not the music, or the dancing, or the costumes that range from spangletastic to tear-off: no, it's the people butting heads about language. Historian <a href="deanvuletic.com">Dean Vuletic</a>, author of Postwar Europe and the Eurovision Song Contest, recounts the many changes in Eurovision's language rules, and its language hopes and dreams.
This is the first of a two-part Eurovisionallusionist. In the next instalment: dictators. Protests. Boom Bang-A-Bang Ding-a-Dong Diggi-Loo Diggi-Ley. Find out more about this episode at <a href="theallusionist.org/eurovision1">theallusionist.org/eurovision1</a>, where there's also a transcript.
The Allusionist's online home is <a href="http://theallusionist.org/">theallusionist.org</a>. Stay in touch at <a href="http://facebook.com/allusionistshow">facebook.com/allusionistshow,</a><a href="http://instagram.com/allusionistshow">instagram.com/allusionistshow</a>, <a>youtube.com/allusionistshow</a> and <a href="http://twitter.com/allusionistshow">twitter.com/allusionistshow</a>.
Support the show at <a>theallusionist.org/donate</a> and as well as keeping this independent podcast going, you also get glimpses into how the podsausage is made, regular livestreams, AND membership of the delightful Allusioverse Discord community with whom I will be watching the Eurovision final next month.
The Allusionist is produced by me, Helen Zaltzman. Martin Austwick provides the original music. Hear Martin’s own songs via <a href="http://palebirdmusic.com/">PaleBirdMusic.com</a>.

Adventures in language with Helen Zaltzman. TheAllusionist.org

Adventures in language with Helen Zaltzman

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