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 175 Eurovision part 2 transcript
DEAN VULETIC: There are lots of economic, cultural and political factors that can decide which language will be most represented in a country's entries, even when it has various national languages.
HZ: Azerbaijan: the only country never to have entered in its national language.
DEAN VULETIC: Correct.
HZ: Could be this year.
DEAN VULETIC: Errrr, I doubt it, because the Azerbaijani government has been very ambitious in Azerbaijan’s Eurovision entries, in using them as a tool of soft power and cultural diplomacy. It has spent a lot of money in getting well-known songwriters and composers from across Europe to produce pop hits that could really win Eurovision. And of course, this means hits in English. And once Azerbaijan did win Eurovision in 2011 and went on to host the most expensive Eurovision ever in Baku. So Eurovision is also popular among dictators as a tool of cultural diplomacy - or as a tool for whitewashing their human rights and democratic records.
Allusionist 164 Emergency transcript
SIM CHI YIN: In Britain basically it's more or less one of those faraway forgotten wars. It was an out and out war that was merely called an emergency.
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