Imagine there being a grand piano in the Slytherin common room. Most of the young witches and wizards had private teachers or knew how to play so there would always be music playing. There was this unspoken rivalry between all the musicians to see who was the best. So without really ever talking to each other they pushed each other to play harder and harder pieces. One day someone who could not play the piano decided to learn and started surpassing most of the kids who could already play. This was the spark of an all out war of Chopin, Beethoven, Bach, etc. The students would start playing the same pieces as each other but remastered putting their own distinct styles into a score. Pretty soon they start composing their own works and melodies. They develop their own sound and that’s how others could identify the musician. There would be that one blonde third year who furiously tapped on the keys creating a dastardly echo of music. Or the portly “meathead” with a buzz cut who danced his finger tips across the piano like rocks skipping on water. Some even started to veer away from the classic era and experimented with Jazz, Ragtime, and the Blues. Slytherin was now the house of music.
Scatman John had a brutal speech impediment that ruined his day-to-day interactions and destroyed his self-confidence so badly that he turned to the piano as the only way he could express himself. While others around him knew that he was an accomplished singer and a student of the “scat” style of singing, Scatman John was content to linger in the background of more accomplished singers for the rest of his life… until he was forced to sing when his frontman caught a cold.
Scatman John was terrified that, since he was unable to speak coherently, he would be unable to sing coherently. But, 30 years after he began performing wordlessly in public, he found himself to be a natural and smooth singer. A music producer took note of the Scatman and offered him a deal, but only if he was willing to play along with the modern trends of the time. A strictly classical jazz pianist, Scatman John reluctantly accepted.
He was a natural. Scatman John never believed that he could connect to a generation so much younger than his own, but found himself speechless when he realized that he was standing in front of a crowd of thousands of European teenagers. Even though he only had two hits in Europe and the Americas, he had managed to bridge the gap between his era and the ‘90s and, all the while, preached messages of encouragement to anyone struggling with a disability.
After his star faded, Scatman happily continued his career in Japan. Even when he was diagnosed with terminal lung cancer, the Scatman refused to slow down. He knew that, against seemingly impossible odds, he had overcome with flying colors and had seen true beauty.
Although Scatman John was a fad in most of the world, he had managed to incorporate his love of jazz with the newfangled world of techno and, in doing so, gain an appreciation of how the ‘90s youth thought and what music they liked to listen to. He overcame his speech impediment through the power of music after literal decades of obscurity and spread his message of positivity as loud and clear as he could possibly muster, across languages, until his peaceful death.
summary: Phil’s an aspiring actor with more than a few years of living in LA with no avail. Dan’s a jazz pianist stuck in daydreams and a pile of bills. They see right through each other from the beginning but can they make their dreams come true together? aka the La La Land fic no one asked for
warnings: swearing and eventual smut
authors notes: this is the product of my interest in la la land and dan and phil. my friend caitlyn likes it. i will try to update on mondays. hope you like it. this first chapter is sort of short but you get the idea.
i will not be continuing this fic but i hope you liked it for what it is <3
Thelonious Monk: Les liaisons dangereuses will be released as a 2-LP deluxe boxed set on April 22.
Thelonious Monk’s soundtrack to Les liaisons dangereuses, the provocative French film directed by Roger Vadim, will be released as a double album this spring. Arriving in a year of centennial tribute to Monk, the genius pianist and jazz modernist, it registers as a fresh discovery: while this music was recorded in 1959, it has never been available outside the context of the film, which is out of print.