Dinosaur mouths and dinosaur poop, psychedelic plants, feminist cookbooks, and taking a class in profanity.
Read moreAllusionist 217. Bread and Roses, and Coffee transcript
I was really interested in what were the stakes of calling your restaurant feminist? What were you holding yourself accountable to? What were you trying to signal to potential customers? What were you trying to say to staff and so forth?
HZ: What were the consequences? Because there were a lot of like upsides and downsides to having 'feminist' in the restaurant's name.
ALEX KETCHUM: Yeah, for sure. Some of the upsides were that you were signalling to other likeminded folks or curious folks that this could be a space for them to gather. There was an indication of the politics of the space. So it was an indication of what kind of events you might find, speakers you might find, artwork and music you might see and hear in the space.
There were also ways that people might feel more invested in the space, that they might contribute time or money or energy, or be just interested in visiting. Calling it a feminist space oftentimes was also one of the many code words, during the 1970s and 1980s, to also signal lesbian space or questioning space; or a term we might use today, but would be anachronistic at the time, as kind of like a queer women's space. So, this was a way of marking like, "Hey, you might be welcome here, your sexual orientation might be accepted, you might hear a poet you're interested in hearing," and so forth. So, there were a lot of kind of benefits in building community and interest in the space by indicating the term.
And then the downsides could also be, you know, there's bias against the word 'feminism'. Some people would feel uncomfortable with it or push back on it. There was also a concern from many of the people who founded these spaces that they might be targeted for violence. They might get rocks through the windows and so forth. Generally, that wasn't the case with a few exceptions, but there was also kind of a heightened level of fear in choosing to mark your space so explicitly.
Allusionist 214. Four Letter Words: Bane Bain Bath transcript
HZ: Wolfsbane, fleabane, bugbane, dogbane, leopard’s bane. All these plants are poisonous.
MARTIN AUSTWICK: Are these poisonous to those specific creatures?
HZ: It would be amazing to discover that a plant is poisonous only to leopards.
MARTIN AUSTWICK: “I fed it to my dog fine. Pet leopard, no.”
HZ: "I just need something to keep all these leopards out my flowerbeds, but I want the squirrels to be okay."
Allusionist 134 Lacuna transcript
CRYSTIAN CRUZ: Some of the content was censored at the very beginning, but some was censored at the very end of the process. So they were just about to print out the new edition and then they had to stop the machines and say, “No, that's content was not approved, so we have to replace it at the very last moment.” So that guy would have to come up with some recipes.
HZ: That’s a lot of pressure on a linotype printer - not just having to deal with very late changes to the paper, but mentally having to bake a cake too.
CRYSTIAN CRUZ: And then the thing is, they didn't work at all, because the guy had just made it up.
Read moreAllusionist 104. Words Into Food - transcript
KATE YOUNG: I can travel through what these characters are eating and what they're doing, and travel to places, to countries I've never been, but also to fantastical worlds that I've never been to and versions of this world that feel very different to my own or are 200 years older than this or one hundred years in the future or any of those things
Read moreAllusionist 103. Food Into Words - transcript
FELICITY CLOAKE: It's very nerveracking because people spend money on ingredients, they may be cooking it for a special occasion, they try to impress a date or whatever - there's a lot that can go wrong with food and it's quite a weighty responsibility to be responsible someone's dinner or their birthday cake or whatever; it is a big deal.
RACHEL GREENHAUS: If it's a cookbook for family use, you're going to write it differently than if it's a cookbook for expert bakers and figuring out how to get the recipe that's right for that.
MIMI AYE: It's very different from cooking in real life, I think. Which is weird because you're trying to tell people how to cook the dish.
RACHEL GREENHAUS: It would be really easy to show you, but it's hard to describe in language.
MIMI AYE: Yeah, it's a complete nightmare.
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