![]() ![]() Where pop music intersects with the queen is an odd place. That the queen’s reign predated such a national institution is mind-boggling, and helps to explain the current sense of hollowness in the country - almost no one can remember a time when the queen wasn’t the queen. Not only was she our monarch before the singles chart existed, she went on to outlive its usefulness. Back then, there was no record chart at all - the first hit parade wouldn’t be printed until that November, and it quickly became a peculiarly British obsession, like trainspotting, or following the lives of the royal family in microscopic detail. The Top 10 didn’t even exist when Elizabeth, who died Thursday at 96, succeeded her father in February 1952. It took Trinidad-born pianist Winifred Atwell to liven up the celebrations with the much more ebullient “ Coronation Rag.” Unlike the “Queen’s Suite,” British popular music’s reaction to her coronation in 1953 was largely obsequious and dull - two versions of the dreary “In A Golden Coach” sat in the New Musical Express’ Top 10, one by band leader and BBC radio presenter Billy Cotton, the other by pre-rock heartthrob Dickie Valentine. Yet she uses her husband as an advantage to become queen and pressures him into the action, she still provides him with guidance and comfort, in the end, proving that she does have a light and understanding side, but doesn’t show any sign of affection towards Macbeth, apart from his conveniences in becoming a king.Ellington, being American, was able to deal with meeting the queen on a normal, human level that anyone British would have found almost impossible. This shows us, that Lady Macbeth owns an empowering feature of dominance, and use this to get whatever she wants. Finally, Macbeth takes Lady Macbeth’s boldness as a commendable trait and steps up to take the risk himself and murder king Duncan (II. When Lady Macbeth notices this, she starts to soften up and even gives him a bit of counseling and support, by building up his courage and strength again. This technique worked, and Macbeth gives her a glimpse of admiration. By using the example that Macbeth will always regret his decision of not implementing their plan when he had the chance to, she pressurizes him and makes him even weaker. ![]() She explains how hurtful she feels, for him breaking his promise and calls him a coward. She then starts to criticize his faithful decision and starts to taunt at him, overbearing his ability to speak and stand up for himself. But when she hears about Macbeth’s faithful decision of not murdering King Duncan, she gets furious and won’t let him get away so easily. This passage shows that Lady Macbeth is a dominant and fierce woman, hence she will do anything in order to fulfill her dream of them becoming king and queen. She uses guidance and manipulation at the same time, to persuade her husband into killing King Duncan. She wants her husband to succeed and become king, for she can become queen. Lady Macbeth on the other hand shares the same objectives as Macbeth but is slightly different when it comes to her intentions and her character. ![]() This gives us the final closure and impression of Macbeth being a solicitous person, but easily convinced into doing things, when he amasses enough bravery. Lady Macbeth then begins to comfort him and assures him to be unconcerned, which finally makes his fret vanish, and he accumulates strength and courage in order to implement their plan (II. ![]() This resulted in Macbeth starting to obtain admiration for her confidence and imperiousness. ![]()
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