Adds student publications to the catalog- like zines, club minutes, even notes for classes that haven’t much changed in years (Professor Binns, we’re all looking at you.)
Adds MUGGLE PUBLICATIONS to the collection
It all started with this one kid and a comic book. They may be Luna’s favorite student, ever.
Recording commentary for quidditch matches so that kids who miss them- due to detentions, studying, or just plain anxiety- can hear how it all happened
Recording oral accounts of the battle of Hogwarts.
And then on and back as far as she can get anything for. The war, times before that. Even mundane things.
She finally gets the stories of each of the ghosts hanging out. It eases a lot of muggleborns’ minds to know a little bit about these people who are past but not gone.
Making a book that works something like google- all text of everything in the library is recorded, and by speaking a few key words to the book, it will tell you what book(s) you need, what page, where to find them, etc. It will also say “Listen just ask Professor Longbottom about this, I don’t have anything for you” or “our library doesn’t have anything about why you want to kiss girls, Jane, but Miss Lovegood has actual experience with this, why don’t you ask her?”
This book, of course, will tell you that the book you want is in the restricted section. It will still tell you exactly what page you need, though, so there’s none of that “welllllllll, it must be in the restricted section, but I don’t know where……” nonsense. It puts a lot of teachers at ease and helps them sort out students who want to Learn and students who want to get in trouble
Changes the charms on books from beating students for doodling in them, to calmly explaining why it’s better that you Not doodle in the 500 year old book that is not Yours, Dear
Provides doodling supplies so students have an outlet that isn’t 500 years old
Spends holidays painting murals on every wall and the ends of the big shelves. She enlists different teachers for sections that apply to their subjects and hobbies for ideas on what to paint. The history section is legendary for depictions of the giant wars and various scenes from Merlin’s life.
(She also enlists students who don’t have anywhere to go over the winter break. The parties in the library are a secret well kept, but only because these kids who have so little deserve something special)
The herbology section is actually draped in various vines that, if you ask nicely, will reshelve books for you. Though everyone agrees that if you want the books back where they really belong, it’s best to water the vines.
The library becomes a place to escape, not just study and/or fear for your life
McGonagall has pretty much never been more proud of anyone she’s ever hired
Luna and Neville and McGonagall have tea every Thursday
And other days in between, but Thursday is a set date
One of the most powerful songs I ever have heard comes from “The Prince of Egypt”. It has brought me to tears on far more than one occasion (such as now, oops), and no matter how often I listen to it, the song maintains an incredible force that makes it, to my eyes as a working music composer myself, one of the greatest songs throughout animation.
The strength of this song comes from the combination of well-written lyrics plus the musical choices accompanying those lyrics. The composers (Stephen Schwartz and Hans Zimmer) very intentionally, very successfully aligned the deep emotions of the words with equally powerful music. By exploiting the effects of instrumentation, the shape of the melody line, musical key, and the lyrics, listeners are taken through a deep, emotion-wrought narrative of the Hebrews beginning the Exodus.
The start of “When You Believe” is very dark, moaning deep in the cellos and other low voices of the orchestra. For indeed, while Moses has just learned the Hebrews have been freed of their slavery from Egypt, it comes at an enormous price: the death of many Egyptians including his nephew, as well as a break in the bond between himself and his brother. There thus is a darkness to the music and the animation on the screen to match that dark event which is occurring in Moses’ life.
But even when Miriam begins to sing, the cityscape is still dark and the music retains its rich, dark ambiance. The instrumentation is mostly strings, especially the lower to mid-range. All is thick and solemn. On top of that, the melody is within the minor mode, a musical scale that is known for sounding more somber and sad than the major scale. This use of minor adds a weight and sadness to her words, continuing on that sense of darkness.
There’s a symbolic reason to cast that sense of aural shadow. Miriam’s words in the first verse sing of a darkness, too, within the Hebrews’ lives. “Many nights we prayed, with no proof anyone could hear,” she begins. There is a sense of hopelessness and darkness in her words, and the music likewise provides the sense that the lives of the slaves were cast in psychological powerlessness. The melody even drifts downward over the first line of the verse, the pitches descending with the line, metaphorically depicting downcast spirits.
If the music had been brighter and more upbeat, it would have emphasized the fact the Hebrews prayed vigilantly; however, with the deep strings and minor descending melody, audiences understand the oppressive hopelessness that crushed the peoples’ existence.
There are only slight hints of hope in the within the first verse, especially at the start. The first twinkle of hope within the darkness comes in the second line, “In our hearts a hopeful song we barely understood."
Notice that the music rises before sinking downward again. The words peak on the word "hopeful,” in fact, with a dramatic leap up to the final syllable. There’s a sound of a song in that peaking interval (a fourth) which is associated with many types of folk musics from around the world, and that jump upward is a notable spark of hope to the ears. The song might still be cast in a dark minor melody, and that “hopeful song” might fall again to lower musical pitches in the rest of the musical line, but that little spark nonetheless is very aurally noticeable and depicts that little spark the Hebrews clung to themselves.
There is an increasing brightness as the verse continues. It aligns with the growing hope in the lyrics as well as the brightening colors animated on the screen. The third line of the melody is the same as the first, but it’s orchestrated differently. The clarinet and the flute enter, warming up the texture of the music in the accompaniment, corresponding to the much more optimistic lyric, “Now we are not afraid.” This time, when the pitches fall at the end of the line, “even though there’s much to fear,” it gives a sense of determination rather than hopelessness.
And then the fourth and final line of the verse pulls forward an even greater transformation.
We have another symbolic rise - through a technique called “text painting” - in which the word “mountains” is musically described through the upward jump of pitches. The word “mountains” is a peak in the musical line, just as a mountain is a peak in the landscape. Corresponding visually, the viewers see pyramids and other grand Egyptian structures. These might not be mountains, but the enormity of those monuments is indeed something incredible to move. Suddenly, then, the Hebrews’ lives of slavery are not just torment and despair, but a demonstration of the strength of the people.
And look above at that final note in the verse. It moves upward, leading to the chorus, and showing an enormous growth of hope.
There Can be Miracles
Suddenly, there is sunrise. And Miriam is smiling. And people are coming together. And hope blossoms. And the music in the chorus sings it all: “There can be miracles when you believe. Though hope is frail, it’s hard to kill. Who knows what miracles you can achieve? When you believe, somehow you will. You will when you believe.”
The song changes keys to equate that shift in mood. The verse is in e minor, a very dark key orchestrationally that makes the music sound incredibly weighty and somber and allows composers to frequently use some of the lowest pitches the instruments can play. But then this song shifts to G major in the chorus. This is one of the brightest keys an orchestra can play (There are lots of “open strings” in this key, meaning that the strings in the violins, violas, cellos, and basses reverberate a lot more and sound very bright and rich). G major and e minor all use the same pitches, but to very different effects. In the same way, there is a shift from the content of the verse to the chorus, even though the material Miriam discusses is similar. It is a shift from unactualized hope to the experience of a miracle. And thus a shift from darkness to lightness occurs both within her words, within the sunrise of the animation, and within the change of mood in the music.
The melody itself is very hopeful. Every single line of the melody, beginning with, “There can be miracles,” moves upward. The pitches always rise from start to end, showing enormous optimism.
Text painting also happens again; that is, the music shapes itself in ways to symbolically correlate to the meaning of the lyrics. The word “miracles” has an enormous rise in it, just like the words “hopeful” and “mountains."
The word "believe” similarly receives a climactic high pitch, showing its greatness and importance.
The word “frail,” by contrast, is sung with an enormous drop downward in pitch, aurally creating a sense of weakness.
Even when the syllables occur in the music is very well placed and gives a sense of optimism and determination.
There is a sense of pulse in music. Some pulses are a lot heavier than others, and these are called “downbeats.” If you look at the pictures of musical notation I have, the “downbeats” happen with the first and third black notes of every measure (a measure is a chunk of music that is separated by those vertical lines). Every time you hit a downbeat, then, there is a sense of more power. And notice what words hit the downbeats in this music. Words like “can” and “hope”. In the line, “it’s hard to kill,” both “hard” and “kill” receive the musical metrical emphasis. What does this do? It emphasizes the greatest of what happened, shows that miracles can and in fact just have happened. It brings confidence to the lyrics.
The dotted rhythms create even more confidence within the melody line.
Altogether, then, the entirety of the chorus screams hope.
Continuation of Narrative
The second verse returns to the dark minor key that audiences heard in the first verse. Zipporah is speaking of the Hebrews’ experience of slavery in the lyrical narrative, thus requiring a thicker atmosphere to the music. We hear a little bit of song again in the rise of pitch with the words “summer bird,” as well as that fall of hope when subsequently she sings “too swiftly flown away.”
Paralleling the first verse, a similar growth from dark to light again occurs with the lyrics and the music in the second verse. And thus we move from despair to cheer as she sings: “In this time of fear, when prayer so often proves in vain hope seems like the summer birds, too swiftly flown away. Yet now I’m standing here, my heart so full I can’t explain, seeking faith and speaking words I’d never thought I’d say.” When Miriam adds a duet, a further sense of hope grows, for the people are coming together to begin the Exodus, traveling to freedom.
The second chorus is even musically bigger than the first, the visuals brighter, the hope more powerful. We see the Exodus happening now. There are people leaving. The miracle is here, it is happening, and the growth of music augments that.
The Children’s Song
Children begin singing, showing such a sense of hope as can be equaled by nothing else. The Bible indeed speaks of a child’s faith being great - not to mention the association with children is very positive and bright. The music is still in happy G major, though it also uses some pitches like C natural that never have been used before, making the music sound even brighter. The melody dances, and so do the people.
It is even more powerful when you know what the kids are saying.
It is part of a poem actually in the Bible seen in Exodus 15: 1, 11, and 13. Not only are these Hebrew lyrics actually in the Bible, but they are recorded as the song that Miriam and Aaron themselves sang when they were leaving Egypt. This is the song, guys! The legitimate words they sang in this event.
Ashira laadonay ki gao gaa Ashira laadonay ki gao gaa Mi chamocha baelim adonay Mi kamocha needar bakodesh Nakhita vekhasdecha am zu gaalta Nakhita vekhasdecha am zu gaalta Ashira ashira ashira
So that’s all well and good to see the text in another language, but what does it mean in English?
Check it out:
I will sing unto the Lord, for He is highly exalted Who is like unto Thee, O Lord, among the mighty? who is like unto Thee, glorious in holiness Thou in Thy love hast led the people that Thou hast redeemed
In another translation that sounds a bit less archaic:
I will sing to the Lord, for he is highly exalted. Who among the gods is like you, O Lord? Who is like you - majestic in holiness? In your unfailing love you will lead the people you have redeemed.
This song is one of being saved by God and thanking him for the miracle. And the music expands and everyone begins singing and an almost giddy happiness results when the song spins faster and faster.
The Power of Belief
The final chorus explodes in full choir. It is the voice now of the entire Hebrew people belting out faith and awe at what has happened. Not only that, but the music rises in pitch, bursting to A major. The music reaches an all-time dramatic high in terms of sheer force of musicians playing in singing, in terms of the highest pitches sung, and in terms of volume.
The music climaxes in power - to the full power of belief. To the full glory of this miracle. What has happened has just changed millions of lives. Millions of lives are free and singing praise.
It is hard to believe now that the song began in such a dark corner, sounding so futile and depressed and hopeless. But through the incredible narration of sound and lyrics, everyone by the end of the song understand - understands full well - “There can be miracles when you believe.”
Molly Weasley and the year that Bill left to be a curse breaker in Egypt.
Molly Weasley and the year Charlie went off to Romania to work with dragons.
Molly Weasley and the year Ron sacrificed himself to a giant chess game and tried to fight Voldemort with only his other eleven-year-old friends for help.
Molly Weasley and the year Ginny spent being possessed by Voldemort and almost died.
Molly Weasley and the year that traitor Sirius Black broke out of Azkaban and was standing over Ron’s bed.
Molly Weasley and the year Death Eaters showed themselves at the Quidditch Cup. The year Harry was entered into a dangerous tournament and watch his classmate die. The year they knew he was truly back.
Molly Weasley and the year her husband nearly died. The year that Percy disowned them. The year Fred and George set out on their own. The year that Ron and Ginny set out to fight Death Eaters. The year Harry lost his godfather.
Molly Weasley and the year Ron was poisoned. The year Harry watched Dumbledore died. The year Bill was attacked by Greyback. The year she became proud to welcome Fleur to the family.
Molly Weasley and the year Bill got married. The year her husband, four sons, and her daughter-in-law to be all went on a risky rescue mission. The year Ron left school to hunt Voldemort. The year that Ginny led a resistance at Hogwarts until having to go into hiding. The year Fred and George hosted an underground radio show. The year Percy came back. The year Harry was nearly lost. The year that Fred was gone forever. The year that that bitch tried to hurt her daughter.
Molly Weasley and the year she found herself constantly counting heads, making sure they actually were home and safe.
He came to the conclusion that waiting was the biggest waste one could do with their life.
And he had wasted a lot of his life already.
He had waited for his father to acknowledge him, to show him he was proud of his son.
He had waited for his mother to stand up to his father, whenever he had talked her down, whenever he had treated her like less than his wife.
He had waited for his friends to come to his rescue when he had needed them most, to save him from himself.
And he had waited for the stupid prat to notice him. Really notice him. To look beyond the petty insults and his sneering.
For years Draco had been waiting.
He had waited in vain. But not anymore.
Draco was sick of waiting.
What had he even waited for? For him to come to the right conclusion, when Draco hid his true intentions so well? For him to realise what was really going on?
He probably would have to wait forever.
No. He would have to take matters into his own hands. And whyever should he not?
Yes, it was time to act.
Draco focused on the mop of black hair across the Great Hall.
He was sick of waiting.
He got up, marched over to the Gryffindor table and grabbed Potter by his robes. Without waiting for his reaction, Draco started dragging him out of his seat.
There was a yelp and shouts of protest, but Draco didn’t care.
He was so sick of waiting.
“Malfoy, what are you doing?” Potter shouted, shoving at Draco’s hands.
Draco ignored him and dragged him out of the Great Hall.
He could hear Weasley and Granger shout something at him. He heard footsteps behind him, indicating that several people were following him. Potter was still trying to get out of his grip.
Draco had wanted to find a more secluded place to do what he wanted to do next, but when the shouts behind him only got louder, he turned around and glared at them.
“You want to watch? FINE! I don’t even care anymore!”
He tightened his grip on Potter’s robes as he pulled him towards him forcefully.
Because he was so tired of waiting.
His mouth crashed with Potter’s and suddenly everything went silent.
Draco had thought it would be rougher, that Potter would try to fight him more. Apparently he was just shocked. He stiffened as Draco moved his lips against the other boy’s. He buried his hands in his hair like he had dreamed of so many times.
He had waited for this so long. This was it.
Or was it?
Draco suddenly noticed Potter moving and braced himself to be pushed away at any second. Instead, tentative fingers curled around his hips to pull him closer.
Draco was sure there were gasps and murmuring, but he didn’t hear any of it.
His whole mind, his whole body was so consumed by Potter. Potter, who was kissing him back.
Yes. This was what he had been waiting for all this time.
BBC Music today announce Harry Styles At The BBC - a world-exclusive hour-long entertainment show hosted by Radio 1 DJ Nick Grimshaw - to be broadcast on BBC One this autumn.
Harry, who earlier this year began his career as a solo artist when he premiered his debut single Sign Of The Times on The Radio 1 Breakfast Show with Nick Grimshaw, will perform tracks from his self-titled number one debut album - as well as talking to friend Nick about his career and life to date, being a solo artist and the start of his acting career.
The one-off 60-minute special from BBC Studios, filmed in front of a live studio audience in Manchester, will be broadcast on BBC One in November and will include songs Harry has never previously performed for a TV audience.
The recording will take place in Manchester on 30 August. Registration to apply for tickets to be in the audience is open from 10am on 21 August until 11.55pm on 22 August – please see the Shows & Tours website for further details.
Nick Grimshaw says: “Harry is a great performer and full of so many wonderful stories about his extraordinary career, which he’ll be sharing with us, I can’t wait for this show!”
Bob Shennan, Director of BBC Radio and Music says: “BBC Music is committed to supporting a range of new and established acts, and I’m very happy that we’re able to bring Harry to BBC One this autumn for such a unique show.”
Guy Freeman, Editor, Special Events and Formats, BBC Studios says: “These shows are all about creating a world in which superstars like Harry feel incredibly comfortable and alongside their brilliant, live performances, can simply have fun and enjoy revealing more of themselves to viewers than is ever normally possible.”