He's just a nice friend.' Are Harry Styles and Ariana Grande friends? However, despite many thinking the pair would make one of the fittest couples in showbiz, Ari was quick to admit they were just friends.Īfter many thought Harry's song was written about Ariana and not for her, the singer told an Australian radio show: 'He is a very, very, very nice boy but I'm not like. Rumours were rife back in 2014 that 1D heart-throb Harry Styles and pop princess Ariana Grande were 'dating'. Have Harry Styles and Ariana Grande ever dated?

The song isn't about drugs as such but about the person who you know is no good for you, but you can't help but go back. This scene quickly became iconic and would set the standard for the genius of Tarantino’s future needle drops.In June, Ariana teamed up with Doja Cat for the second time and featured on the song 'I Don't Do Drugs' from Doja Cat's third studio album 'Planet Her'.

Blonde’s performance, lively song, and sadism all work together to distract the viewer from the shocking twist. Blonde pulls the tape off Officer Nash’s face and he starts screaming, begging for his life, and yells at him to stop ironically at the exact moment the song ends. The shot’s tightness makes you really feel “stuck in the middle” with them. The band performed the song on the BBC's Top of the Pops in May 1973, and the song charted at No. When the peppy music picks back up again, Blonde dances and pours gasoline on the officer. ' Stuck in the Middle with You ' (sometimes known as ' Stuck in the Middle ') is a song written by Scottish musicians Gerry Rafferty and Joe Egan and performed by their band Stealers Wheel. Blonde returns, the song’s slowed-down pace adds a sense of impending doom and the cowbell sounds like a cruel countdown to Officer Nash’s death. Tarantino timed the scene exactly so that the song would be playing on the correct part in the amount of time it took Mr. The song was used in Tarantinos film during an infamous torture. The juxtaposition between the tranquil exterior sounds and the garish savagery taking place inside is both jarring and disturbing.īlonde enters the warehouse with a can of gasoline and the sunny song still rings out. McKeefrey is said to have tried to sever Michaels ear with a broken vodka bottle while the boys sang Stuck In The Middle With You. The music fades into the distant sounds of children laughing and birds singing when he walks farther away. Blonde outside the warehouse and back inside in one continuous shot. He holds the officer’s severed ear and jokingly speaks into it, “Can you hear that?” The bopping rhythms of the song makes this act of brutality even more unsettling. When Madsen enters the frame, we see his grisly handiwork. Tarantino holds on the warehouse walls while we hear the officer’s screams off-screen. Blonde slashes the Officer’s face then grabs him as the camera pans left. Blonde’s preening, unmercifully delaying officer’s torture. He wonders what he can do to get out of this situation. He truly has “the feeling that something ain’t right.” The officer is stuck between the clowns and jokers, or criminals, he has to defend himself from every day. His chilling groan sounds horrifying against the toe-tapping rhythm of the 70s hit.

The walls spin behind him like the panicked thoughts running in his head, hinted in the song’s lyrics about being scared. Kirk Baltz projects Officer Nash’s profound terror through only his bulging eyes. About You Got Me You Got Me is a song by the hip hop band The Roots, featuring vocals by Erykah Badu (who sings the chorus) and Eve, then known as Eve of. Blonde does a little shuffle to the steady opening bass line, prolonging his victim’s fears. After taking a razor out of his shoes he asks, “Do you ever listen to K-Billy’s Super Sounds of the 70s? It’s my personal favourite.” He tells Officer Nash that it is fruitless for him to pray for a quick death. Blonde (played by the suave Michael Madsen) relishes in torturing his latest victim. Stealers Wheel’s bouncy “Stuck in the Middle with You” lends impish humour to what is otherwise a terrifying scene. The use of pleasant, upbeat music countering a scene of violence is nothing new (seen in American Psycho with “Hip to Be Square” or “Orinoco Flow” in The Girl With the Dragon Tattoo) but none have executed it as well as Tarantino. There are countless soundtrack scenes in Quentin Tarantino’s canon, but let’s look at how his debut Reservoir Dogs demonstrated his initial flair for musical moments.

Who sang stuck in the middle with you