I had a feeling the Summoning wasn’t really meant to be cast alone: as if truthdidn’t mean anything without someone to share it with; you could shout truth into the air forever, and spend your life doing it, if someone didn’t come and listen.
1130. Percy and Oliver were best friends during their years at Hogwarts. Both of them were very attractive, but neither of them seemed to understand that that was the reason that girls seemed to follow them around.
FlintWood Stop being so lame For the drabbles u ship them right?
“Stop being so lame,” Marcus complained, reaching for the glass that Oliver had just swiped from him.
“I’m being ‘lame’ because you told me to stop you after six drinks, Marcus,” his boyfriend replied, holding the firewhisky that Marcus very much wanted just out of reach.
“Sober me is stupid,” Marcus said, lunging a bit towards the tumbler in Oliver hand, failing, and collapsing onto Oliver’s lap instead. “You shouldn’t listen to him,” Marcus muttered, rubbing his cheek against Oliver’s jeans.
“Sober you says the same thing about drunk you.”
“So I’m always stupid. Big deal.” Marcus grinned up at Oliver. “You still like me anyway.”
Oliver rolled his eyes.
“Merlin knows why,” he said, but the exasperation in his voice was undercut by the affectionate smile on his lips as he took a sip of Marcus’ drink.
“No fair,” Marcus pouted, looking up at the drink with longing, but his arms were too heavy to try to grab at it again.
“Since when do you know a goddamn thing about being fair, Flint?” Oliver laughed.
“You’re just mad I’m better at Quidditch than you.”
“I might be if that was even remotely true.”
“I hate you.”
“I know.” Marcus closed his eyes, a smile on his face and Oliver’s hand stroking his hair.
be sung to sleep [x] a playlist of songs to lull a young child to sleep.
be like the bluebird (anything goes) // bill (show boat) // how ‘bout a dance (bonnie & clyde) // stars i trust (fly by night) // edelweiss (the sound of music) // i am here for you (the book of mormon) // i dreamed a dance (next to normal) // falling slowly (once) // maybe (annie) // castle on a cloud (les miserables) // solla sollew (seussical) // on the willows (godspell) // no one is alone (into the woods) // then comes you (now. here. this.) // favorite places (ordinary days) // hold on (the secret garden) // somewhere (west side story) // over the rainbow (the wizard of oz) // they live in you (the lion king) // lullaby (fugitive songs)
Baritones, like their female counterpart, the mezzos, come in all shapes and sizes. They are common for leading men, villains and character parts. There are even a few ingenues or at least roles for young men in the baritone range. Because it is a range shared by many singers, there are many subtypes of baritone roles. Villains and leading men in heavier pieces are frequently dramatic baritones, whereas character types are comic baritones and younger characters or characters in lighter shows are lyric baritones. Because it is the most common male vocal register, the voice can also have an “everyman” implication and such roles are frequently baritones.