harry is so wonderful

mendesxnarry  asked:

Hi G, how are you? I've not long reread all of your writing but I'm still in desperate need of a Harry fix so I was wondering who are some other writers that you would recommend? Thanks 💛

Oh, yes I sure do! Here are some of my absolute favorites! They are also the sweetest of souls. :) 

@permanentcross @stylesunchained @trulymadlysydney @canistay-haz @cuddlemusclestyles @iloveyouhaz @jawllines @secret-rendezvous1d @aqua-harry @oh-styles @chrissy22787 @wdmsusie @sorrynotharry and probably about a million others that I’m forgetting! But those lovely humans should get you going. :) xx.

anonymous asked:

I literally love Harry Potter so much. A crossover would be so wonderful >\\\< Could I please request a scenario (headcannons would also work!) of Ravenclaw Iida asking his female Hufflepuff crush to the Yule Ball?

Iida Tenya:

  • He’s still conflicted on whether he wants to attend the Yule Ball, as most of his housemates agree it’s just a waste of time. When he sees another student ask you to the Ball (though they’re rejected) it spurs him into action.
  • He has no choice but to attend after his mother and brother catch wind of the Yule Ball event, and he’s sent a nice pair of dark blue dress robes. Much to his embarrassment, his brother had also sent him a letter with very clear instructions on how to properly ask a person to a dance.
  • While writing back a thank you letter to his older sibling and mother, he realizes he can’t just ask you out just like that. He had to do something special, something memorable that would point him out as being a good partner to the dance.
  • He enforces the creative help of Momo, who’s quiet talented with both transfiguration and enchantments. She suggests that he enchant some flowers to rotate through your favorite colors (or even just your house colors) to show he put effort into asking you.
  • He’s sweating bullets when he approaches you, and politely asks to speak to you alone; your friends catch a peak of the ever-changing flowers behind his back and send you a thumbs up, but he doesn’t notice as he’s too busy watching your face.
  • When he asks you and presents the flowers, he swears you’re going to say no to him. He doesn’t know what he’d do to mend his broken heart if you denied him, perhaps bury himself in the homework he knew he had to be done, but when you nod your head and look at his flowers in fascination, his heart wants to leap for joy.

anonymous asked:

Hi! Recently I've seen a lot of art for the Harry Potter au! and I'm really loving it, so I was wondering if you or your followers could recommend some fics for that AU.

I have a list on my master page! The link is in my bio! I’ll update it soon though 👍

Listed by Ao3 hit count, here are the

FIFTY MOST READ LOUIS & HARRY FICS OF 2015

  1. Escapade by dolce_piccante
  2. Relief Next To Me by dolce_piccante
  3. And Then A Bit by infinitelymint
  4. Four’s Company by vampire_angel_z
  5. Wild And Unruly by 100percentsassy, gloria_andrews
  6. Unbelievers by isthatyoularry
  7. As You Are by zarah5
  8. Gods & Monsters by Velvetoscar
  9. Let’s Fall In Love In A Place You Want To Stay by embro
  10. Want You More Than A by TheCellarDoor
  11. The Dead Of July by whimsicule
  12. Butterfly Gun by eravain
  13. Always Come Back To You by whoknows
  14. I Only Ever Want You by itsmiz
  15. You’re An Asshole (But I Love You) by theboyfriendstagram
  16. Led By Your Beating Heart by missandrogyny
  17. Let Me Make A Thing Of Cream And Stars by missandrogyny
  18. Loving You Is Free by littlelouishiccups
  19. One Direction One Shot Collection (Volume II) by purpleeyestellies
  20. In Dreams bu dolce_piccante
  21. Louis Love by OhSlashy
  22. Bring Your Body Baby (I Could Bring You Fame) by theboyfriendstagram
  23. Leave It To The Breeze by hattalove
  24. Nobody Shines The Way You Do by wildestdreams
  25. Just A Feeling by whoknows
  26. Marking Up The Atmosphere by acidveins
  27. You Drive Me Round The Bend by TheCellarDoor
  28. Hand Over by crybaby
  29. Bite Me by happilylarry
  30. Every Arrow That I Aim Is True by estrella30
  31. May We Stay Lost On Our Way Home by LoadedGunn
  32. After Hours by Velvetoscar
  33. You Take Me Over, You’re The Magic In My Veins by supernope
  34. Both Showing Hearts by kiwikero
  35. Don’t Tell The Gods (We Left A Mess) by bottomlinsons
  36. (Your Heartbeat) Rang True Inside My Bones by flimsy
  37. In Vogue by otpwhatever
  38. Walk My Days On A Wire by sunshiner
  39. Back To The Beginning by LHStylinson
  40. Indestructible by whoknows
  41. Dreaming Of You by Velvetoscar
  42. Untangle Me by suicxne
  43. Burn To Ash by bethaboo
  44. Outwit, Outplay, Outlast by dancesongsoul, lookatyourchoices
  45. Take My Hand (And My Heart And Soul) by bananasandboots
  46. Give You My Fever by beautlouis
  47. So Grab Your Passport And My Hand by infinitelymint 
  48. Sweet, Where You Lay by infinitelymint
  49. We Can Take The Long Way Home by eleadore
  50. A Little Trouble Never Hurt Nobody by sweaterpawstyles

Post 4/? of the Louis & Harry Fic History series

🎇 Happy New Year from Draco & Harry 🎇 

Molly Weasley and the year her brothers died.

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.

One of the most satisfying things about witnessing Harry’s success is knowing that he’s a genuinely good person. Like we’ve seen time and time again how lovely and kind and humble he is, and how no matter how huge he gets he appreciates every positive thing that comes his way. For as long as he’s been in the public eye, he seems to have always understood the transcience of fame and commercial success and so has never taken any of the overwhelming support for him for granted. Even a few days ago when he was doing one of his radio interviews, he kept thanking the host for playing his song and having him on the show, and the interviewer let out a chuckle like ‘are you kidding me???’ and said “No, thank YOU.” Because he’s Harry’s Styles so of course being interviewed and praised should be something that he’s pretty used to by now. But after all these years, Harry still makes sure to stay kind and grateful and thoughtful about how he interacts with people around him and what he puts back into the world. Like there is something so wonderful about knowing that Harry is both tremendously talented and fiercely good-natured and that he’s someone you can just root for wholeheartedly. In case it isn’t clear, I’m so proud of him and I’m so proud to support him in any way I can because he is loving and deserving and so much the kind of person I aspire to be someday.

Waiting

Draco was tired of waiting.

He came to the conclusion that waiting was the biggest waste one could do with his life.

And he had wasted a lot of his life already. Waiting.

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.

If only he had stopped waiting sooner.

The Music of "When You Believe"

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.

In Darkness

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.

Increasing Brightness

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.

אָשִׁירָה לַה’ כִּי-גָאֹה גָּאָה 
מִי כָמֹכָה בָּאֵלִם ה’ מִי כָּמֹכָה נֶאְדָּר בַּקֹּדֶשׁ 
נָחִיתָ בְחַסְדְּךָ עַם-זוּ גָּאָלְתָּ 

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.”