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Farewell Baroness Battleaxe! A baroness who helped crack Hitler's code at Betchley Park before embarking on a colourful political career which saw her flick the V-sign in a parliamentary debate is to retire from the House of Lords. Baroness Trumpington, 94, mingled with royalty as a young woman and worked as a Land Girl the Second World War before entering the world of politics. Affectionately dubbed baroness Battleaxe, she was made a peer by Margaret Thatcher in 1980 and is well for her witty and no-nonsense character. Lady Trumpington - Britain's oldest female peer - has today announced to the Lords that she will retire from the Chamber next month, the day after her 95th birthday. During her 37 years in Parliament's upper chamber Lady Trumpington has become well known for her colourful behaviour and formidable She hit the headlines when in 2011 she gave the two-fingered salute to a fellow peer when he suggested that she was old during a Parliamentary debate. Flicking the V-Sign: Baroness Trumpington gave a two-fingered salute to her colleague in a debate in the Lords in 2011 after he mentioned her age.
Have I Got News For You: The Conservative peer appeared don the hos in 2012 and joked about enjoying a cigar after sex. Hotel dates: During a debate on equality, she sent peers into fits of laughter by revealing that booking into a hotel used to give a ‘certain frisson’ as her late husband had to use a different name. Lloyd George: She worked as a Land Girl on the former PM's estate during the Second World War and recalled how he would line her up and take her measurements. Asked if he ever tried it on with her, she said: ‘No. He wouldn’t have dared.'
Desert Island Discs: When she was a guest on Desert Island Discs, she chose the Crown jewels as her luxury item, in order to maximise her chances of being rescued. In an age where many complain that politicians are too bland and focused on PR, the Conservative peer has embraced her colourful reputation.
In 2012 the chain-smoking peer appeared on the BBC's flagship satirical show Have I Got News For You - becoming the show's oldest ever guest - and revealed that she enjoys a cigar after sex. And she has appeared on a string of other TV shows including the Great British Menu and a television documentary Fabulous Fashionistas, about older women and fashion. Born in 1922 to an Army major and an American heiress, she grew up in the glitzy London scene which included the then Prince of Wales and his lover Wallis Simpson. Her mother's fortune was lost in the 1929 Wall Street crash, but she still mingled in upper class circles. Lady Trumpington once said: 'We used to say my mother's idea of being poor was going to the Ritz on the bus.' During the Second World War she worked as a Land Girl on Lloyd George's estate, and has recalled how the former Prime Minister tried to take her measurements 'everywhere'.
She told the Daily Mail in an interview in 2013: ‘He used to like to measure me. He’d stand me up against the wall and would measure me, with a tape measure.’ She added: ‘It was never explained why, but he was my boss and the grandfather of all my buddies, so I’d never dare ask. Anyway it was a long time ago.’ A talented linguist fluent in French and German, she later joined the top secret team at Bletchley Park who cracked Hitler's code - helping to win the Second World War. She spent weekends partying with her society friends like the newspaper magnate and minister Lord Beaverbook, and dancing at the most fashionable West End clubs. After the war she moved to New York where she worked as a secretary at one of the famous Manhattan advertising agencies. In America she met her future husband Alan Barker and the pair got married and settled in Cambridge, where thus had their son Adam. Baroness Trumpington made Ian Hislop shrink back in embarrassment when she joked about enjoying a cigar after sex in an appearance of Have I Got News For You She became a councillor in the town in the 1960s becoming the city's mayor in 1971.
After years on local government she was made a peer by Baroness Thatcher in 1980 - with whom she maintained a close friendship. In the Lords she won a reputation for colourful anecdotes and a no-nonsense character. During a debate on equality, she sent peers into fits of laughter by revealing that booking into a hotel used to give a ‘certain frisson’ as her late husband had to use a different name. When she was a guest on Desert Island Discs, she chose the Crown jewels as her luxury item, in order to maximise her chances of being rescued.
She threw a party to celebrate her 90th birthday, but bought so much champagne she ended up going home with five cases of the stuff which had not been drunk by her guests. ‘But perhaps I should save them for my 100th' she told the Daily Mail.
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When they started making burly, progressive sludge almost 10 years ago, weren't teenagers: They were grown men with a refined, nuanced approach to heavy metal. Even in 2003, it wasn't your typical Southern sludge swamp. That said, I doubt anyone listening then could've predicted Yellow & Green. The quartet's new 18-song, 75-minute double album offers a broad, rich expanse of pretty, psychedelic, occasionally heavy, mostly straight-up rock that veers easily into pop, post-rock, and lulling ambient washes. There are a number of new elements to Baroness in 2012- frontman John Baizley is the father of a young daughter and lives in Philadelphia instead of Savannah; after the recording of Yellow & Green, Matt Maggioni came on board as the group's new bassist (which means longtime member Summer Welch is no more).
The sound itself is the biggest shift, though it shouldn't come as a total surprise. They've hinted at these new avenues, and even tentatively explored a few, on their first two LPs, and.
What's surprising here is how well it all works. There's almost always some filler on a record of this length- it's a casualty of double albums- but there's an impressive scarcity of it here. Even the songs that float by more humbly, or as background music, ultimately have a place in the overall dynamic by the first or second listen. And they are all songs. Take the 'themes' that open Yellow and Green, respectively, the warm, aqueous two minutes of 'Yellow Theme', the more drifting, airy, chilly (and post-rock anthemic) four-and-a-half minutes of 'Green Theme'.
These are beautiful instrumentals, compositions with actual force and not more incidentals. About the record. He detailed how the group's idea of heaviness shifted from their early days to the present. He explained that 'tricks' like '10 amplifiers on stage, a ton of volume, and notes on a guitar that were more appropriate for bass guitar' were a kind of 'artifice to mask youthful songwriting.' In the present, the group is more focused on subtlety: 'Now that songs have become more important to us, we're trying to find the more nuanced, more appropriate-for-us idea of heavy.' Yellow & Green showcases this new take in spades.
As Baizley put it, 'the Baroness-circa-2012 definition of heavy is not a tuning and it's not necessarily a volume; it's more of a feeling or an idea or some goal post that we're headed towards.' And, practically speaking, the cleaner singing is a kind of survival tactic: His and backup vocalist Pete Adams' vocal cords couldn't continue along the raw, shouting path they'd set for themselves earlier on. Baizley stressed that, although it's a double LP, Yellow & Green is not a concept record. That said, one theme certainly leaps out: that of aging, and the ways it changes our ideas surrounding music from one stage of adulthood to the next. Albums that force artists to go deep into themselves as people and as musicians tend to end up as accidental concept records, collections that document the time they pushed themselves to create, and the life they were otherwise living at that time.
Baroness Grayris
But this one feels very closely aligned to getting closer to 40, to feeling your bones creak a little more, your eyes getting a little weaker. It's in the lyrics with words that fixate on disappearances, fractures, sleep, bruises, bracing for death, failing hearts, and saying goodnight to your father.
Or there's the nostalgia of a line like, 'when we were kids we never felt so young, take me to a hazy Sunday morning.' Then again, we also get plenty of blood ('this apple makes me sick, says this pig upon the stick, it's my own blood') and water, as both baptism and drowning, or beginning and end.
(A track like 'March to the Sea' has water in its title, but there's something about its musicality that brings to mind early-1990s post-rock, too, and that post-, -style obsession with anchors and sails.) John Congleton, who also produced Blue, again gels perfectly with the band. Each song has levels and layers: It's an album for headphones as well as one for lighters in the middle of a smoky club. You get weird gurgles of noise, shimmering deep layers of sound, electronic swirls. 'Twinkler' is like a downcast campfire greek chorus; 'Cocainium' has that kind of ambiance, too, but picks up the drum beat- it's a variation on psychedelic pop that made me think of the Turtles until the muscular bass, distorted guitars, and grungy chorus. Baizley said the cover art, and the songs themselves, reflect the feeling of the moment before or after a disaster; of course, these are very different feelings, but I know what he means. It's not all waiting around and recovering.
There's pure climactic catharsis, as you'd expect from Baroness, but these tracks work in a way Baroness songs haven't previously. Instead of explosions, billows, and howls, we get a more meditative air, even on some of the bigger rockers like or the rollicking 'Board Up the House'. Each mountain is chased with something a littler gentler. It's thrilling hearing people this technically adept holding back a little, showing restraint, and cramming what they know into a pop nugget. It's what have done well in the past, especially on, but it's bigger, more spacious and stadium-sized here. (Like if Torche actually were the.) One of these climaxes is 'Eula', the heart-crushing finale to Yellow, seven minutes of crisp acoustics, atmospheric (and anthemic) vocals, and warped chiming sounds that accompany descriptions of bones breaking, a house becoming a cage- in other words, the end of something. But it's not: 'Eula' ushers in the more pastoral Green, which also stands on its own as a great record.
After the main 'Green' theme comes 'Board Up the House', a bit of shout-along rock'n'roll with a -like approach to percussive filters and shifts. Elsewhere on this half there's the thorny Fahey-pop of 'Stretchmarker' and a dose of chewy pop-metal via 'The Line Between', another possible single.
It ends with 'If I Forget Thee, Lowcountry', an outro like the Yellow opening: We get that slippery, aqueous sound again. Youtube er mp3 over 1 hour. I've always liked the elegance of the group's primary-color schemes- topical, clearly delineated ways to make each album feel like a whole. Here, more than anywhere else, the colors aren't needed: These songs stick together well without a framework. Tracks play off each other, make echoes, and then go on.
Each disc stands on its own as a powerful document; together, they genuinely earn the word 'epic.' During we did with the band, Baizley joked that you should go for a run, walk your dog, or otherwise take a break from Yellow & Green at the end of the first half, before venturing into the second. The halves do elegantly mirror each other- each with its nine songs, intro, and finale- and a pause could make sense. But I prefer listening to the entire thing from start to finish. This is an impressive effort, one that involved a lot of heavy lifting, and it's best experienced with that sort of commitment.
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