How ‘Goosebumps: The Vanishing’ Cleared Four Minutes of Taylor Swift’s “Down Bad” and Crafted a Cinematic, Dual-Generation Soundtrack

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For Manish Raval and Tom Wolfe, responsible for the music supervision of ‘Goosebumps: The Vanishing‘, dabbling in the musical landscape of the 90s serves as a way to tap into their nostalgic memories. “It’s our sentimental favorite,” Raval expresses to The Hollywood Reporter.

The affection and extensive knowledge of turn-of-the-century hits that music supervisors possess is especially beneficial in Disney+ and Sony Television Studios series, as these shows draw from the younger generations – Gen X, Millennials, and those on the cusp of Gen Z – who grew up during this era. This is achieved through the show’s use of multiple timelines.

Entering the world of ‘Goosebumps’, there wasn’t a set plan or clear vision initially. All we had was a well-loved book series to work with,” Raval explains. “However, we did have certain ideas in mind – namely, that we wanted to move between different time periods and that a significant part of the narrative would revolve around music. So whenever we traveled back to the ’90s, we’d use popular ’90s tunes. Whenever we were in the present day, we made sure the music reflected that.

Wolfe adds, even in shared spaces, their music choices prioritize the appropriate ‘mood’ or rhythm over lyrics’ sharpness. They aim for a selection that reflects the unique atmosphere and resonance of the particular public area.

The structure of leaping forward in time for the show was set up in the first season and continued into the second, creating what Raval refers to as a powerful sequence where the first episode and, in some instances such as the opening and closing credits of season one, the final episode, are concerned.

According to Raval, it was a given that we’d incorporate “Goosebumps” by Travis Scott, but what made it exciting was getting to place Skylar Grey’s version at the end. There was an intuitive sense that we would opt for Travis Scott’s track. However, when we stumbled upon Skylar’s cover, we thought, “Why don’t we wrap up the season with this?” The idea resonated strongly with the showrunners.

In its second season, titled “The Vanishing“, the soundtrack features tracks such as “Pass the Mic” by The Beastie Boys and “Million Dollar Baby” by Tommy Richman, serving to introduce the past and current storylines respectively for this New York-based mystery.

Raval mentioned that when choosing a song for our show’s premiere, we aimed for a classic ’90s New York hip-hop tune. We had some strong options in mind, but ultimately couldn’t use them due to explicit language as there were no clean versions available. As we were working on this episode, the Tommy Richmond song was gaining popularity, and we felt it perfectly captured the essence of our characters and their current storyline in today’s world.

The method was influenced by Season 1, which used R.E.M.’s “Drive” alongside Sam Smith and Kim Petras’ “Unholy” to create a mood for a teen horror-comedy set in the Pacific Northwest. This musical blend effectively established the era and guided viewers through time transitions, much like how the Beastie Boys’ music connected with the New York setting in The Vanishing. In essence, these songs subtly hinted at some of the musical influences and regional contributions from Season 1’s location.

According to Raval, they set a distinct sound for the remainder of the season – a grunge style that mirrors overcast weather and other 90s music. To emphasize that it’s current, the choice of Sam Smith’s song was made since there is a significant party scene recurring throughout the series, and they wanted to kickstart this moment with a powerful track that signifies the present.

Raval mentions that during the auditions for the first season, they considered various songs including a hip-hop track, a song by Sam Smith, and one by The Weeknd; he shares this information with THR.

Just like how we choose other songs for the show, our decision often stems from an instinctive feeling. When we hear a specific song, it’s usually a case of “let’s go with it,” and that’s what happened with the Sam Smith moment. It has a cinematic quality to it, perfect for sweeping shots of the small town, while also conveying the notion that this storyline is as current and relevant as today.

The series “The Vanishing,” led by David Schwimmer, can effortlessly be characterized as cinematic in its approach to music supervision, whether it’s the initial season or the present. According to Raval, this is partly due to the individuals guiding the show. He told THR that the cinematic nature of the episodes was evident from the beginning, and since Rob Letterman, who directed it, is a film director and one of the creators, it felt like they were working on a movie. For music supervision, this means we have ample room to dive in and experiment.

The method, evident throughout the show’s selection of memorable, rhythmic tunes from established and emerging musicians, serves as a smooth transition into the credits. As stated by Wolfe, this is not done randomly; instead, it provides listeners an opportunity to appreciate the final scenes.

Raval explains that the goal for the ending credit song is to make a lasting impression, as it’s the final thing viewers experience before they get up from their couch. The question is, how do we want to linger in their minds? This part is crucial when considering music choices, and it’s something Raval appreciates. Occasionally, they might even hide small surprises, like subtly adding 21 Savage in the background of an episode at first glance, but then reappearing significantly during the end credits to catch the viewers off guard.

The reason why Letterman’s show frequently played popular tunes can be attributed, in part, to the shared music preferences among the music supervisors, co-showrunners Hillary, Rob, Tom, and himself. “We all have a similar taste in music,” he explains. “They appreciate music too, and we share the same musical tastes, making our job less complicated. We can effortlessly discuss Digable Planets and Liz Phair.” This means they are aware of who these artists are and their popular songs.

In reality, the cinematic ambiance of the Goosebumps soundtrack usually presents a hurdle in this project. As Wolfe shared with THR, we had a rather expansive budget for music licensing. There were no restrictions imposed upon us whatsoever.

According to Raval, “having the backing of the studio means I don’t have to suppress my ideas as much. The generous budget we have gives us the freedom to aim high and strive for excellence.

In instances where budget limitations prevent the Goosebumps music supervisors from exploring a wider variety of options, they tend to connect with their reliable record labels and publishers, asking them for unique, cool suggestions that suit our budget constraints.

Alternatively, for a four-minute stretch when playing Taylor Swift’s “Down Bad” from the album titled “Tortured Poets Department”, you might just hit play and hope for the best.

For the first time in season two, episode two, I accidentally slid a four-minute Taylor Swift track into our gameplay. I simply instructed, ‘Let’s drop it here,’ and let the music flow through various scenes, capturing a range of emotions between characters. Afterward, Tom and I were struck with a wave of anxiety, thinking, ‘Oh no, this might not be approved! If it isn’t, we’re in trouble!’ I remember Rob questioning, ‘Are you certain we can use this?’ Not knowing what the outcome would be, I took a leap of faith, replied affirmatively, and hoped for the best. Luckily, Taylor agreed to our request.

The anthology series functions as both a historical artifact and a snapshot of its times due to its capacity to deliver powerful impacts and its appeal across generations, like “Goosebumps”. It musically encapsulates two distinct eras and the popular tunes that characterized them.

1. At one time, genres such as grunge, alternative rock, and hip-hop were extremely popular (alongside another wave of Stephen King book adaptations), and currently, there’s a different era that showcases a fusion of various genres like niche indie, pop subgenres, and blended styles such as afrobeats, K-pop, reggaeton, and a wider influence from Latin artists.

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2. In the past, grunge, alternative rock, and hip-hop were at their peak in popularity (alongside another wave of Stephen King book adaptations), while now we’re experiencing a different phase that emphasizes mixed genres including niche indie, pop subgenres, and emerging styles like afrobeats, K-pop, reggaeton, and the broader influence of Latin artists.

Both versions are easy to read and maintain the original meaning while sounding more natural in English.

The extensive focus on creating an atmospheric backdrop for this streaming series has led to a diverse range of artists being featured in its soundtrack. Some of the popular acts that made it to season one’s playlist include Nine Inch Nails, Soundgarden, Billie Eilish, SZA, The Smashing Pumpkins, Radiohead, En Vogue, Khalid, Phoenix, and Ezra Koenig, as well as Alice in Chains. With the latest release of The Vanishing, which came out on Jan. 9, the series has added even more famous artists and their chart-topping hits to its soundtrack, such as Doja Cat, System of a Down, and St. Vincent.

According to Raval, this season’s show features artists like Travis Scott, 21 Savage, Taylor Swift, Charli XCX, and Sabrina Carpenter, who represent the music preferred by today’s youth. Unlike in the ’90s when there were distinct categories such as rock kids, metal kids, or grunge kids, today’s music listeners tend to appreciate a mix of genres. For instance, someone who enjoys Taylor Swift and Charli XCX might also listen to Tommy Richmond. Raval suggests that the boundaries between music genres have become less defined.

Strict genre boundaries in music selection might appear advantageous for the supervision process, but Raval explains that the duo, who cherish their ’90s association, have discovered that working on the show’s modern reinterpretation of Stines’ characters offers a more liberating creative experience.

According to Raval, we stick closely to the guidelines of the musical genres from the ’90s because that was reflective of the era. However, when it comes to selecting music for today’s audience or music that symbolizes current tunes, we find it incredibly freeing not to be constrained by genre boundaries. In other words, songs by Childish Gambino and Taylor Swift can coexist in the same playlist – they are listened to by the same generation of listeners – and this is a realistic representation of today’s music landscape.

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Goosebumps: The Vanishing is now streaming all episodes on Disney+.

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2025-01-18 19:25