#joeyoung

 sorry if this is bad. this is my first one!

trey parker x fem! reader

y/n had been friends with trey for as long as she could remember. one night when they were in high school y/n had been invited to a party that one of her other friends were hosting so she decided to take trey with her. what harm could it do? trey deserved to have some time out to relax. "come on trey. let's go. you'll have so much fun." y/n pleaded with the boy trying to get him to go. trey had agreed to go but he had currently changed his mind and was sitting in his room not budging. "fine i'll go but i'm not drinking." he sighed getting off his bed looking back at y/n. "i didn't say you had to. you can just party. i just want to dance and have a fun time being out of the house." y/n replied shaking her head going to the party with trey in tow. 

   a little while later, y/n was dancing with trey. well, it was more y/n dancing and trey just standing there. "let's go sit down for a bit maybe somewhere with less people." trey suggested before taking y/n to somewhere where there were less people. they found somewhere to sit to take a little break but also talk. after a few minutes had passed, trey looked over at y/n and spoke. "hey y/n when were thirty would you maybe want to get married? i mean i don't really think there is anyone out there for me. plus, you make me really happy and i enjoy being around you." 

  "yeah why not. i mean when you put it like that it sounds like a good idea." she shrugged. there had to be someone out there for the both of them, but she couldn't deny it, they really did get along great and just being around trey always made y/n so happy.

  during those thirteen years, they had maintained a close friendship with each other. y/n had gone through a few failed relationships. whether it was due to cheating or y/n simply not being happy with her significant other. trey had also gone through a divorce with boogie which y/n had been there for him the entire time giving him a shoulder to cry on or if he just needed someone to talk to. she was there for him, and he was there for her. they were two peas in a pod. during that time y/n had started to develop romantic feelings for trey, she knew she shouldn't have but he was so sweet and really was a great guy she knew that she couldn't help it. trey had been so lucky to have y/n in his life she really did mean the world to him.

  the night before your birthday trey invited you out to dinner to celebrate your birthday. he had planned to take you to your favorite restaurant and make it a night for the both of you to remember. trey picked you up from your place and drove you two to the restaurant.

once you had gotten your food and had eaten some, trey spoke up looking over at y/n. "y/n you know how when we were in high school, and we made that silly pact that if we were both single by thirty we would get married... well would you still want to marry me?" trey looked at y/n with hopeful eyes. he really hoped she would accept his proposal.

If you love digging into the backstories of jazz tunes as much as I do, here’s a fun one!

I’ve been reading The Jazz Standards: A Guide to the Repertoire by Ted Gioia, and his take on “Dinah” is too good not to share.

“Dinah” was written by Harry Akst, with lyrics by Sam M. Lewis and Joe Young. It almost didn’t make it into the Broadway show Kid Boots. Akst was working for Irving Berlin and was trying to pitch one of Berlin’s songs to the show’s star, Eddie Cantor. When Cantor wasn’t interested, Akst casually sat at the piano and improvised his own melody. Cantor loved it — and basically said, “I’ll take the plugger’s tune instead!”

The lyrics? Completely corny and totally unforgettable. “No one is finer in Carolina than Dinah…” and on and on with the rhymes. It was perfect for Cantor’s comedic style — but hardly something you’d predict would become a jazz standard.

Enter Ethel Waters. In 1925, she recorded “Dinah” and transformed it. She toned down the comedy and brought real feeling — even a touch of sensuality — to the song. According to Gioia, she’s the one who truly turned this novelty number into a flexible jazz vehicle. Her version was also an early showcase of new electronic recording technology, which makes it historically important too.

After that, “Dinah” took off in jazz circles. Fletcher Henderson recorded it (with a young Coleman Hawkins featured on bass sax), and it became one of his most popular sides. During the Depression, the song stayed hot — Bing Crosby recorded it with The Mills Brothers in 1932, and it was a huge hit.

The mid-’30s brought even more great takes: The Boswell Sisters, and especially Fats Waller, who squeezed every ounce of humor out of those delightfully absurd lyrics. Not surprisingly, the tune fit entertainers like Louis Armstrong and Cab Calloway perfectly — artists who could balance musicianship with showmanship.

Then there’s Django Reinhardt, who recorded “Dinah” at the very first session of the Quintette du Hot Club de France in 1934. That performance helped prove that an all-strings jazz band could really swing. He even revisited it later in a wild violin “duel” between Stéphane Grappelli and Eddie South.

What’s amazing is how wide the range of interpretations is. Yet today, “Dinah” mostly lives on as a jaunty, old-school favorite — the kind of tune you might assume floated up from New Orleans or a Mississippi riverboat. Even Thelonious Monk couldn’t quite pull it into the modernist camp when he recorded it decades later.

According to Gioia, “Dinah” survives because it’s irresistible to jazz entertainers — especially in Dixieland and stride circles. It may have started as a Broadway novelty, but jazz musicians claimed it and never let go.

If you want to explore it yourself, check out these classic versions:

Ethel Waters (1925)

Fletcher Henderson with Coleman Hawkins (1926)

Louis Armstrong (1930)

Cab Calloway (1932)

Django Reinhardt (1934)

Fats Waller (1935)

Pee Wee Russell (1938)

Thelonious Monk – Solo Monk (1964)

Amazing how a “throwaway” Broadway tune turned into a jazz evergreen. That’s the magic of this music.