Ok, we know, “Twilight,”the cheesy teen-goth novel isn’t for us. It’s for emo-tweens that cut themselves in their spare time, etc., but a tiny bit little insight into the taste/aesthetics and artistic choices soccer mom Stephanie Meyers and probably just another significant reason why we’ll never read the books or watch the movies? Her mid-west taste in music. For one, she wants that generic and bland radio-ready underwear-stain of a band Blue October to soundtrack most if not all of her “Twilight” film. Honestly, we try not to judge people on their musical taste, not everyone’s in the know and if we did this blog would be pointless we’d hate everything (cue peanut gallery), but this band is horrendous and not worth the paper they scribble their ridiculous lyrics onto.
Meyers apparently wrote her “Breaking Dawn,” ‘Twilight’ finale novel to Blue October’s music and when she went on a book tour, she decided to invite October’s Justin Furstenfeld, he himself already looking a little mall-goth. It would make sense if they’re involved in the soundtrack in some capacity, and Fustenfeld told MTV months ago he hopes to make that a reality.
“There’s a song called ‘Jump Rope’ that I’m really excited about,” he revealed of one tune. “I basically wrote it for my little girl, Blue.” [ed. whoever that is].
Now we want to know, “Twilight” fans are surely already aware of this connection. A quick Google search finds kids making their own Twilight soundtrack compilations and of course Blue October songs are included. Meyers has even made her own soundtrack that includes Dido, David Gray, Radiohead, The Cranberries and Collective Soul! (that’s a winning combination). But with fans going apeshit for this book and movie adaptation, will sales eventually effect Blue October? Or will it take the movie’s release, a soundtrack and or a trailer – ala “Pineapple Express” and M.I.A. – for a tangible unit-shifting phenomenon to occur? You wait with bated breath we’re sure.
To be completely fair to the “Twilight” producers and moviemakers – who may have already illustrated they have taste by hiring the Coen Brothers’ musical collaborator Carter Burwell to compose the score, the impressive Catherine Hardwicke (“Thirteen”) to direct and the excellent Kristen Stewart to star – maybe their is slight hope for the filmmakers to elevate the idea beyond purely teen pulp melodrama.