Episode 2
(Episode title: Our Town)
“Goodbye,” by The Crash Poets (2000)
Played at the start of episode 2, as Will bikes from town to Rawley, and during the walk along the train tracks to Carson near the end of episode 8.
This song seems to have first been published in the summer of 2000 as part of the soundtrack of Young Americans. The album on which it is widely cited as first having been released, Big Bang Theory, is diversely recorded as having been released in November 2000 or in early 2001. No mention of any earlier release as a single is known.
“The Crash Poets were formed by Roy Ashen in Los Angeles in 2000 … Along with Roy Ashen on vocals and guitar, the band included bassist Alberto Albis, keyboardist Tim MacDonald, guitarist Patrick Jay and drummer Tommy Perkins. The band became well known for their high-energy live concerts and a party-like atmosphere at Hollywood's high profile clubs including The Troubadour, Viper Room and the Roxy.” – Blurb for 2009 re-release of Big Bang Theory, the group’s only album.
I turned left - but you turned right
only one-way roads on this stretch of life
we can't back up or turn back time
out of sight - not out of mind
you made a choice
so wave goodbye
I'm not turning back.
I think about you every day (goodbye)
On ragged roads to better days (goodbye)
I see your picture in my head (goodbye)
I think I'll miss you
But you'll never see me again
Your letter said - You found your place
Somewhere else, with another face
Written words like razor blades
Slashing all my hope away
I'd bleed to death from Paper cuts
But the road is calling me
I think about you every day (goodbye)
On ragged roads to better days (goodbye)
I see your picture in my head (goodbye)
I think I'll miss you
But you'll never see me again
Now sorry is as sorry does
like tire tracks on hearts we crushed
like dried up flowers in the dust
Do you still miss me?
I'm a tragic highway burning soul
and driving like this takes it's toll
How could I have ever known?
Still my wheels, they keep turning on
I think about you every day (goodbye)
On ragged roads to better days (goodbye)
I see your picture in my head (goodbye)
I think I'll miss you
But you'll never see me again
Comment: Along with "Pink Moon" by Nick Drake and "Over the Rainbow" as sung by Israel Kamakawiwio'ole, this is one of three song that provide a musical frame for Young Americans. It first plays, at the start of episode 2, as Will leaves “New Rawley” to “go to Rawley”; his friends “in town” will “never see him again” because Rawley will change him. Its second playing, in episode 8, is the drama’s goodbye to viewers; Will’s not leaving Rawley, and Jake and Hamilton aren’t giving up on each other. But we’ll never see Young Americans again – it was an eight-episode summer fill-in for Dawson’s Creek that had perfect albeit deliberately ambiguous closure.
That doesn’t mean we can’t go back to Rawley – we can, as the drama’s last shot, the Dean’s note in Scout’s mirror, assures us. But to return to it, we must do our own dreaming – exceed expectations and dream dreams that are worthy of us, in the language of Krudski’s narrative comments. By doing that, we can say of Rawley, as Will does in episode 1: "I've been coming here forever."
UNKNOWN SONG, by unknown artist
Played in episode 2 during the scene showing Scout working his first shift at Friendly's diner, in which Bella refers to his "future Presidential campaign."
This song has a strong 3/4 tempo beat, ten syllables per line. The lyrics of the opening fragment of the song, played in YA, seem largely inaudible. However, the following tentative and incomplete original transcription of the lyrics of the first three lines is offered, with accented syllables in boldface type:
Na na na na na na na na na na
We like to (seven inaudible syllables as Scout clanks a customer's silverware)
Swell like an ocean and crash like a wave ...
If that transcription is correct, lyrics of this song appear not to be readily available online.
This song may be either of two pieces, both written for soundtrack use, that are mentioned by fansites as having been in the musical credits for episode 2 on Rawley Academy Online, the official website of Young Americans. Neither a recording nor the lyrics of either piece is known to be available online. Whichever of these two pieces is not the song played during the scene showing Scout's first shift at Friendly's diner may be used as an instrumental in the soundtrack of Young Americans. These two pieces are:
(1) "Cloudy," composed by Chris Dye, produced by Guy Erez and Paul E. Goldowitz, aka "Goldo" (Goldomusick and BMI).
Reportedly credited by YA's official website as "'Cloudy' by Goldo," this is BMI Work #5308659 in the BMI (Broadcast Music, Inc.) Repertoire. It is described as written/composed by Christopher Allen Dye, Guy Erez, and Paul E. Goldowitz, and and having been published by "Goldomusick" and BMI. No date is given. Neither lyrics nor a recording of this piece is known to be available online. This piece is not known ever to have been used in any soundtrack other than that of Young Americans.
Paul E. Goldowtiz aka "Goldo," listed as of May 2014 as writer or composer of 249 pieces of music in the BMI Repertoire, appears to be the producer and publisher rather than the main composer of "Cloudy." His autobiographical sketch on LinkedIn states that from January 2000 until 2011, he produced music through "goldomuzik," writing, mixing and recording pieces, and subsequently founded Gold Music Library, the website of which offers somebiographical information about him. A biographical sketch of Goldowitz is also available on the website of his agent, West Alan. As of May 2014, it states: "Paul 'Goldo' Goldowitz ... a Los Angeles native ... after studying electronic music production in college ... dived into the new world of Pro-Tools, quickly becoming an expert. ... With producer friend Guy Erez, and artist Bernard Bernard, Gold produced the song, 'Boom Da Boom' ... Goldo became the go-to guy for many TV shows and films."
The principal artistic creator of "Cloudy" seems likely to have been Chris Dye, the main songwriter and vocalist for an L.A.-based band, Dashboard Prophets, that released only one album, Burning Out the Insides (No Name Recordings, 1996). Dye also did vocals on Goldo's album, Goldo (Sony Music, 1998).
(2) "187" by Eudgen Batson (aka G-Sleep) and Jean Yves Ducornet (aka Jeeve) (G-Sleep Publishers and BMI, 1999).
Reportedly credited by YA's official website as "187 by G-Sleep," this is BMI Work #5171759 in the BMI Repertoire. On his “Crystal Ship Music” website, as accessed in May 2014, Jean Yves DuCornet records that he placed “187” with Young Americans.
The same song reportedly was used in the soundtrack of the movie, Bar Hopping (2000, directed by Steven Cohen). The IMDB credits read: “187 / Written by G-Sleep and Jeeve / Performed by G-Sleep / (c) 1999 G-Sleep Publishing (BMI) / Where's My Cut Publishing (ASCAP) / Courtesy of G-Sleep and Where's My Cut Prods. / By Arrangement with PEN Music Group, Inc.” However, repeated auditing of Bar Hopping has failed to identify in its soundtrack any music recognizable as any piece played in the soundtrack of Young Americans; two non-overlapping fragments may have been used in the two soundtracks.
“Things Behind the Sun,” by Nick Drake (1972)
Played during the scene in which Scout watches Bella from his new job at Friendly's diner. In addition, instrumental sequences of "Things Behind the Sun" play: (1) during all three “aerial tour of New Rawley” scenes, included in the longer version of Young Americans aired in France and some other countries other than the United States but omitted or truncated in the version aired in the USA on The WB in 2000; (2) during the sidewalk cafe scene in which Finn calls Will "Mercury" and "Atlas;" (3) at the start of the scene in which Bella treats Scout's cut lip in his dorm room after the fight; and (4) at the end of the scene in which Sean's team wins the baseball game.
Please beware of them that stare
They’ll only smile to see you while
Your time away
And once you’ve seen what they have been
To win the earth just won’t seem worth
Your night or your day
Who’ll hear what I say?
Look around you find the ground
Is not so far from where you are
But don’t be too wise
For down below they never grow
They’re always tired and charms are hired
From out of their eyes
Never surprise
Take your time and you’ll be fine
And say a prayer for people there
Who live on the floor
And if you see what’s meant to be
Don’t name the day or try to say
It happened before
Don’t be shy you learn to fly
And see the sun when day is done
If only you see
Just what you are beneath a star
That came to stay one rainy day
In autumn for free
Yes, be what you’ll be
Please beware of them that stare
They’ll only smile to see you while
Your time away
And once you’ve seen what they have been
To win the earth just won’t seem worth
Your night or your day
Who’ll hear what I say
Open up the broken cup
Let goodly sin and sunshine in
Yes that’s today
And open wide the hymns you hide
You’ll find renown while people frown
At things that you say
But say what you’ll say
About the farmers and the fun
And the things behind the sun
And the people round your head
Who say everything’s been said
And the movement in your brain
Sends you out into the rain
Comment: The lyrics echo the theme of the episode, given in the narrator’s opening and closing comments: “time – the big picture,” and our ability to defy it.
“Coming Around Again,” by Dragmatic (1999?)
Played during Sean’s party during the scene when Will and Scout arrive.
The original publication date and venue of this song are uncertain. It may first have been published in the soundtrack of Young Americans.
Dragmatic, an indie group based in Raleigh, North Carolina, had played in Dawson’s Creek (DC 3/07) during the autumn of 1999, before Krudski’s spring 2000 appearance in DC 3/19-21 to promote Young Americans. DC and YA were produced by the same company (Columbia TriStar) and aired on the same network (The WB), on which YA was aired as a summer fill-in for DC.
Pushing away the things that snatch your time away
Now that you're able
Stashing away the things that push you far behind
It's out on the table
You can never take it with you
You can never bring it home
You should never pay
It's the same old feeling coming around again
Same old feeling I know
It's the same old feeling coming around again
Same feeling I know
Getting around to all the things I plan today
Starting tomorrow
Breaking it down to all the sins and miracles
Free and econo
You can never take it with you
You can never bring it home
But you never fade
Chorus:
I'll come around
You'll come around
You can never take it with you
You should never pay
Comment: Once again, the lyrics echo the theme of the episode, given in the narrator’s opening and closing comments: “time – the big picture,” and our ability to defy it.
"Happy Time," composed by Gerard McMahon (aka Gerard McMann and G TOM MAC), on the album, G TOM MAC (Edge Artists, 2000).
Played at Sean’s party during the fight scene. Recordings of this song, although not known to be costlessly accessible online, can (as of May 2014) be purchased online for less than one U.S. dollar from vendors including iTunes. An incomplete tentative original transcription of the lyrics is offered below. It may contain errors. Neither a recording nor the lyrics of this song is known to be accessible elsewhere online.
Gonna catch me a wave, gonna make the sun shine
Gonna quit my day job (four syllables inaudible) let the good times begin
Become a funky DJ, I'll make the people all sway
And if I never quiet down (four syllables inaudible) that's alright with me
Some need a Dalai Lama, I need some karaoke
Throw in some bleach in my hair, make my own happy time my way
No quotes I hear, just doin' my own happy sound my way
Yes I will, here's how we do it, here's how we do it
Go with a hand gun, it will not sign
Be a little more loud, the paranormal, and have my pep (two syllables inaudible)
Become a funky DJ and make the people all sway
And if I never quiet down (four syllables inaudible) that's alright with me
I'll be your Dalai Lama, you sing some karaoke
Throw in some bleach in my hair, make my own happy sound my way
No quotes I hear, just doin' my own happy sound my way
Yes I will, here's how we do it, here's how we do it
Hot fun in the summer time, hot fun in the summertime
Hot fun, hot fun in the summer time, hot fun in the summertime
Hot fun in the summertime, hot fun in the summertime
Hot fun (four syllables inaudible)
Happy time my way
Comment: To play a song called "Happy Time" during a fight scene is, of course, ironic. However, this mindlessly brash song clashes - almost "fights" - with most of the music in YA's soundtrack, which is mostly gentle, slow, and pensive, and mostly soft rock. Its celebration of irresponsibility also clashes with the seriousness of Young Americans, just as this scene's unusual violence clashes with most of the drama. Sean's violence is as "out of place" in YA as this song is in YA's soundtrack. Its use underscores Will's need to leave the town for Rawley, to outgrow the past that Sean personifies. The conflict between Sean and Scout is that between Will's past and his potential - which are ultimately reconciled by Will's realization of his potential, with Sean, as the dialogue in the last scene of episode 2 foreshadows, growing and "becoming somebody" with Will as Will "goes to Rawley."
“Northern Sky,” by Nick Drake (1970)
Played in the “you’d better run” scene (filmed in Georgia in 1999) of episode 1, as Bella and Scout talk on the boathouse dock, and in episode 2 as Will lingers outside his parent’s home after Sean’s party, watching his mother work while his father drinks. This latter scene, included in the more complete version of Young Americans broadcast in some countries, such as France, was omitted from the version originally broadcast in the USA on The WB in 2000.
The lyrics of "Northern Sky" are given on the "Episode 1" page of the "Songs" subsection of the "Music of YA" section of Rawley Revisited.
Comment: As this song plays in episode 2, Will wordlessly faces the reality that he can’t go home again, because he can’t live with his dad. This song’s use in episode 1 in a love scene is consistent with its pleading but hopeful love-song lyrics. However, its use in episode 2 in a “you can’t go home again” scene is consistent with the deep sadness of its music.
“I’ve heard everything now,” by Jeff Hemelgarn, performed by Cal Hollow. (On Cal Hollow’s album, Two Bulb Twilight, Jericho Records, 1999.)
Played in episode 2 during Finn and Will’s bike ride to the house in New Rawley where Finn grew up.
A 4.8 MB MP3-format file of this song is accessible at the bottom of this page. A tentative original transcription of the lyrics is offered below. It may contain errors. Neither a recording nor the lyrics of this song is known to be accessible elsewhere online.
We just have to let you know
We will have to let you go
We hear you're too much on your own
We fear not what you've hid but shown
'Cause I heard everything you said to me
And I know everything you didn't say
But you wanted to
We let the conversation lull
Seems to me there's no place left to go
Please, it's not where you come from
We believe you're right where you belong
Come on, come on, come on
(sung twice:)
'Cause I heard everything you said to me
And I know everything you didn't say
But you wanted to
And after all that's said I couldn't sleep
Just us sitting here in your smile
Listening to me
Yeh, to me
Yeh, to me
Yeh, to me
And I've heard everything now.
Comment: The lyrics of this song seem to be about the power of non-verbal communication to belie words. Its use in Young Americans seems to underscore the "My love she speaks like silence" theme of YA.
Ironically, only the first four lines - verbal communication later contradicted by non-verbal communication - are played in YA. The false spoken message, "we just have to let you go," is played; the contradictory unspoken but true message, "It's not where you come from, we believe you're right where you belong," is left unplayed. Yet it is clearly the unplayed lines that apply truly to Will's going to Rawley, and to Finn's perception of his being there.
In YA, played fragments of songs repeatedly merely hint at a message that is found in unplayed lyrics. Soundtrack use, like so much else in the Young Americans, is ironic, and appreciating it requires one to "look closer," as Antin suggested viewers do, to "dig deeper," as Will tells Caroline to do in episode 7.
Ichabod Grubb
Created: April 2014
Last updated: May 2014