Editing Pulp Fiction (section)

== Music ==
{{Main|Pulp Fiction (soundtrack){{!}}''Pulp Fiction'' (soundtrack)}}

No [[film score]] was composed for ''Pulp Fiction''; Quentin Tarantino instead used an eclectic assortment of [[surf music]], [[rock and roll]], [[soul music|soul]], and [[pop music|pop]] songs. [[Dick Dale]]'s rendition of "[[Misirlou]]" plays during the opening credits. Tarantino chose surf music as the basic musical style for the film, but not, he insists, because of its association with surfing culture: "To me it just sounds like rock and roll, even [[Ennio Morricone|Morricone]] music. It sounds like rock and roll [[spaghetti Western]] music."{{sfn|Dawson|1995a|p=162}} Tarantino planned to use a [[power pop]] song, "[[My Sharona]]" by [[The Knack]], during the film's rape scene, but ultimately discounted it.<ref name="RollingStoneNotorious" />

Some of the songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who were credited as music consultants. Lovelace also appeared in the film as Laura, a waitress; she reprises the role in ''Jackie Brown''.<ref>Enhanced Trivia Track, chs. 1, 2, ''Pulp Fiction'' DVD (Buena Vista Home Entertainment).</ref> The [[Pulp Fiction (soundtrack)|soundtrack album]] was released along with the film in 1994. The album peaked on the [[Billboard 200|''Billboard'' 200]] chart at number 21.<ref>{{cite web |url={{AllMusic|class=album|id=r204558|pure_url=yes}}|title=''Pulp Fiction'': Charts & Awards/''Billboard'' Albums|publisher= AllMusic.com|access-date=2006-12-26}}</ref> The single, [[Urge Overkill]]'s cover of the [[Neil Diamond]] song "[[Girl, You'll Be a Woman Soon]]", reached number 59.<ref>{{cite web |url={{AllMusic|class=album|id=r204558|pure_url=yes}}|title=''Pulp Fiction'': Charts & Awards/''Billboard'' Singles|publisher= AllMusic.com|access-date=2007-09-14}}</ref>

Estella Tincknell describes how the particular combination of well-known and obscure recordings helps establish the film as a "self-consciously 'cool' text. [The] use of the mono-tracked, beat-heavy style of early 1960s U.S. 'underground' pop mixed with 'classic' ballads such as [[Dusty Springfield]]'s '[[Son of a Preacher Man]]' is crucial to the film's postmodern knowingness." She contrasts the soundtrack with that of ''[[Forrest Gump]]'', the highest-grossing film of 1994, which also relies on period pop recordings: "[T]he version of 'the sixties' offered by ''Pulp Fiction''&nbsp;... is certainly not that of the publicly recognized counter-culture featured in ''Forrest Gump'', but is, rather, a more genuinely marginal form of sub-culture based around a lifestyle&nbsp;– surfing, 'hanging'&nbsp;– that is resolutely apolitical." The soundtrack is central, she says, to the film's engagement with the "younger, cinematically knowledgeable spectator" it solicits.{{sfn|Tincknell|2006|p=139}}