text:
Cultural impact of the Beatles
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Beatlemania: Fans and media swarm the Beatles at Schiphol Airport in Amsterdam, 1964
The Beatles were an English rock band, formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential act of the rock era.[1] In the early 1960s, their enormous popularity first emerged as "Beatlemania", but as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, they came to be perceived as an embodiment of the ideals shared by the counterculture of the 1960s.[not verified in body]
Their continued commercial and critical success assisted many cultural movements—including a shift from American artists' global dominance of rock and roll to British acts (British Invasion), the proliferation of young musicians in the 1960s who formed new bands, the album as the dominant form of record consumption over singles, the term "Beatlesque" used to describe similar-sounding artists, and several fashion trends. At the height of their popularity, Lennon controversially remarked that the group had become "more popular than Jesus". The Beatles were still challenged for record sales and artistic prestige, mainly by the Beach Boys, Bob Dylan, and the Rolling Stones. Many of the Beatles' music experiments were also not without precedent. However, no other acts provoked as many changes in the pop mainstream than the Beatles or Dylan, having opened new spaces for creative advancement and exploiting them to an exceeding degree. The Beatles' innovations notably contributed to the new psychedelic and progressive music, and some of the band's unusual production techniques later became part of normal recording practice.
As of 2009, the Beatles are the best-selling band in history, with estimated claimed sales of over 600 million records worldwide.[2][3] They have had more number-one albums on the British charts, fifteen,[4] and sold more singles in the UK, 21.9 million, than any other act.[5] They ranked number one on Billboard magazine's list of the all-time most successful Hot 100 artists, released in 2008 to celebrate the US singles chart's 50th anniversary.[6] As of 2016[update], they hold the record for most number-one hits on the Billboard Hot 100, with twenty.[7] They've also had myriad cover versions from a variety of artists, while "Yesterday" is one of the most covered songs in the history of recorded music.[8] In 1999, the Beatles were collectively included in Time magazine's compilation of the twentieth century's 100 most influential people.[9] In 2017, a study of AllMusic's catalog indicated the Beatles as the most frequently cited artist influence in its database.[10]
Contents
[hide]
1 Overview
2 Contemporary rivals
3 Influence on music
3.1 Production, songcraft, listening and discourse
3.2 Genres and stylistic trends
3.2.1 Growth of rock bands
3.2.2 Jangle pop and folk rock
3.2.3 British pop and power pop
3.2.4 Psychedelia and progressiveness
3.3 Live concerts
4 Influence on fashions
4.1 Haircut
4.2 Beatle boots
5 In popular culture
5.1 Cover versions
6 Awards and accolades
7 Notes
8 References
9 Bibliography
10 External links
Overview[edit]
See also: British Invasion and Beatlemania
Regarding the ever-changing landscapes of popular music, musicologist Allan Moore notes; "Sometimes, audiences gravitate towards a centre. The most prominent period when this happened was in the early to mid 1960s when it seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles."[11][nb 1] Writing for AllMusic, music critic Richie Unterberger recognises the Beatles as both "the greatest and most influential act of the rock era" and a group that "introduced more innovations into popular music than any other rock band of the 20th century".[12] In Rolling Stone magazine's Encyclopedia of Rock & Roll (2001), the editors define the band's influence as follows:
The impact of the Beatles – not only on rock & roll but on all of Western culture – is simply incalculable … [A]s personalities, they defined and incarnated '60s style: smart, idealistic, playful, irreverent, eclectic. Although many of their sales and attendance records have since been surpassed, no group has so radically transformed the sound and significance of rock & roll. ... [they] proved that rock & roll could embrace a limitless variety of harmonies, structures, and sounds; virtually every rock experiment has some precedent on Beatles record.[13]
With Ed Sullivan, February 1964
On 9 February 1964, the Beatles gave their first live US television performance on The Ed Sullivan Show, watched by approximately 73 million viewers in over 23 million households,[14] or 34 per cent of the American population. Biographer Jonathan Gould writes that, according to the Nielsen rating service, it was "the largest audience that had ever been recorded for an American television program".[15] They subsequently sparked the British Invasion of the US[16] and became a globally influential phenomenon.[17] During the previous four decades, the United States had dominated popular entertainment culture throughout much of the world, via Hollywood movies, jazz, the music of Broadway and Tin Pan Alley and, later, the rock and roll that first emerged in Memphis, Tennessee.[18] On 4 April 1964, the Beatles occupied the top five US chart positions, as well as 11 other positions in the Top 100.[19] As of 2013, they remain the only act to have done so, having also broken 11 other chart records in the Billboard Top 100 and Billboard 200.[20] Author Luis Sanchez surmises: "to grasp the mania that persists in our collective imagination is to follow the proselytizing drift of a question like 'Who is your favorite Beatle?'" ... [by] August 1965, the Beatles had transformed into an abstraction of their own success, a phenomenon to be devoured rather than heard. The pressure of that phenomenon led to one of the most mythologized of pop career reversals. ... quietly resigning from the drudge of touring to get serious about their art."[21]
The Beatles reinvented and expanded the terms of commercial and artistic achievement, treading new ground for their willingness to experiment and take risks.[21] One criticism of the group's work is that none of it was truly unprecedented. Author Bill Martin objects to this notion: "There has always been experimentation in rock music ... Rock music is synthesis and transmutation ... [but] what was original about the Beatles is that they synthesized and transmuted more or less everything, they did this in a way that reflected their time, they reflected their time in a way that spoke to a great part of humanity, and they did all of this really, really well."[22] Unterberger adds: "they were among the few artists of any discipline that were simultaneously the best at what they did and the most popular at what they did. Relentlessly imaginative and experimental, the Beatles grabbed hold of the international mass consciousness in 1964 and never let go for the next six years, always staying ahead of the pack in terms of creativity but never losing their ability to communicate their increasingly sophisticated ideas to a mass audience. Their supremacy as rock icons remains unchallenged to this day, decades after their breakup in 1970."[12]
Contemporary rivals[edit]
It is important to remember that artists like Frank Sinatra were still selling well throughout the decade, and that The Beatles were challenged for album chart supremacy by the pop-mariachi band Herb Alpert and the Tijuana Brass
—Nicholas Cooke and Anthony Pople, The Cambridge History of Twentieth-Century Music[23]
The Beatles maintained their most significant competition with Bob Dylan,[24] the Rolling Stones[25] and the Beach Boys.[26][nb 2] Dylan and the Stones were symbolic of the nascent youth revolt against institutional authority, something that was not immediately recognisable within the Beatles until after 1966.[29] The Beatles' initial clean-cut personas contrasted with the Rolling Stones' "bad boy" image, and so the music press forged a rivalry between the two,[30] but as author Barry Miles says, "[it was] to give themselves something to write about, [and] there was actually no contest between the two groups in anything other than chart positions."[31][nb 3] The Rock and Roll Hall of Fame states that, with regard to 1960s rock bands, the Beach Boys "place second only to the Beatles in terms of their overall impact on the [US] top 40" and were the Beatles' "most serious competitors on a creative level, too".[33] Following the widespread changes brought about by the Beatles' arrival in the United States, author Mitchell K. Hall writes, "for a time the Beach Boys provided the Beatles with their most consistent American artistic and commercial competition."[34] Another group, the Byrds, were widely celebrated as the American answer to the Beatles, and while their long-term influence has proven to be comparable to the Beatles and the Beach Boys, the Byrds' record sales failed to match those groups.[35]
Bob Dylan (left) with Allen Ginsberg in 1975.
Dylan is described by Ian MacDonald as "the only figure to have matched The Beatles' influence on popular culture since 1945"[36] and by Charles Kaiser as "their most important rival. ... For the next six years [after 1964], the contest between Dylan and the Beatles would be one of the most productive of all modern musical rivalries. The Beatles made it clear that they regarded Bob Dylan as the musical force to be reckoned with, and Dylan reciprocated these feelings."[37] In August 1964, the Beatles met Dylan in person,[38] and he proceeded to introduce them to cannabis.[39] Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style" contrasted with their fans, "veritable 'teenyboppers' – kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. They were seen as idolaters, not idealists."[40] Within a year, "the distinctions between the folk and rock audiences would have nearly evaporated [and the group's] audience ... [was] showing signs of growing up."[40] In this period, no other acts provoked as many changes in the pop mainstream than the Beatles or Dylan, having opened new spaces for creative advancement and exploiting them to an exceeding degree.[41][nb 4]
The Beach Boys performing "I Get Around" on The Ed Sullivan Show in 1964. Brian Wilson pictured in center.
According to Simon Philo, the Dylan–Beatles rivalry was "put on hold" after Dylan was left to convalesce from his July 1966 motorcycle accident. Consequently, the Beatles "publicly anointed a new favorite and rival in chief, the Beach Boys' Brian Wilson".[43] Previously in July 1964, the Beach Boys had achieved their first number one single with "I Get Around", which represented the start of an unofficial rivalry between the Beatles and Wilson, principally for McCartney.[33][nb 5] The Beatles and the Beach Boys inspired each other with their artistry and recording techniques, pushing them further out in the studio.[23][31] According to Sanchez, in 1965, "Dylan was rewriting the rules for pop success" with his music and image, and it was at this juncture that Wilson "led The Beach Boys into a transitional phase in an effort to win the pop terrain that had been thrown up for grabs."[47] Wilson then produced the 1966 works Pet Sounds and "Good Vibrations". For the annual best-band poll conducted by NME between 1963 and 1969, 1966 was the only year that the Beatles did not win, losing to the Beach Boys.[48] According to author Carys Wyn Jones, the interplay between these two groups during the Pet Sounds era remains one of the most noteworthy episodes in rock history.[49] In 2003, when Rolling Stone magazine created its list of the "500 Greatest Albums of All Time", the publication placed Pet Sounds second to honour its influence on the highest ranked album, Sgt. Pepper's Lonely Hearts Club Band (1967).[50]
Influence on music[edit]
Production, songcraft, listening and discourse[edit]
For more details on this topic, see Lennon–McCartney and The Beatles' recording technology.
See also: Automatic double tracking and Send tape echo echo delay
Paul McCartney and John Lennon, the principal songwriters of the Beatles
The Lennon–McCartney songwriting partnership, along with the partnership between Rolling Stones' Mick Jagger and Keith Richards, as well as other British Invasion songwriters, inspired changes to the music industry because they were bands that wrote and performed their own music. This trend threatened the professional songwriters that dominated the American music industry. Ellie Greenwich, a Brill Building songwriter, said, “When the Beatles and the entire British Invasion came in, we were all ready to say, ‘Look, it’s been nice, there’s no more room for us… It’s now the self-contained group- males, certain type of material. What do we do?"[51] Rolling Stone editors elaborated: "One of the first rock groups to write most of its own material, they inaugurated the era of self-contained bands and forever centralized pop ... Their music, from the not-so-simple love songs they started with to their later perfectionist studio extravaganzas, set new standards for both commercial and artistic success in pop."[13]
In response to the Beatles' 1964 breakthrough, music writers started including pop and rock music in serious discussion.[52][nb 6] The dominance of the single as the primary medium of music sales changed with the release of several iconic concept albums in the 1960s, such as Sgt. Pepper's, Pet Sounds, A Christmas Gift for You from Phil Spector (1963), and the Mothers of Invention's Freak Out! (1966).[54] In January 1966, Billboard magazine cited the initial US sales of the Beatles' 1965 album Rubber Soul (1.2 million copies over nine days) as evidence of teenage record-buyers increasingly moving towards the LP format.[55] According to author David N. Howard, the standard of the all-original compositions on Rubber Soul was also responsible for a shift in focus from singles to creating albums without the usual filler tracks.[56] Rolling Stone's Andy Greene credits Sgt. Pepper's with marking the beginning of the Album era.[57] The musicologist Oliver Julien credits Sgt. Pepper with contributing towards the evolution of long-playing albums from a "distribution format" to a "creation format".[58] In musicologist Allen Moore's view, the album assisted "the cultural legitimization of popular music" while providing an important musical representation of its generation.[59] It is regarded by journalists as having influenced the development of the counterculture of the 1960s.[60]
Genres and stylistic trends[edit]
Growth of rock bands[edit]
See also: Garage rock
Photographed in Sweden, 1963
The Beatles' impact on the US was particularly strong, where a garage rock phenomenon had already begun, with hits such as "Louie Louie" by the Kingsmen. The movement received a major lift following the group's historic appearance on The Ed Sullivan Show watched by a record-breaking viewing audience of a nation mourning the recent death of President John F. Kennedy.[61][62][63] Bill Dean writes: "It's impossible to say just how many of America's young people began playing guitars and forming bands in the wake of The Beatles' appearance on the Sullivan show. But the anecdotal evidence suggests thousands – if not hundreds of thousands or even more – young musicians across the country formed bands and proceeded to play."[64]
Tom Petty, who played in two garage bands in Gainesville, Florida during the 1960s, is quoted mentioning the Beatles' appearance on The Ed Sullivan Show and how it influenced him to be in a band. According to him: "Within weeks of that, you could drive through literally any neighborhood in Gainesville and you would hear the strains of garage bands playing ... I mean everywhere. And I'd say by a year from that time, Gainesville probably had 50 bands."[64] For many, particularly young baby boomers, the Beatles' visit reignited the sense of excitement and possibility that had been momentarily taken by Kennedy's assassination.[61][64][65][66] Much of this new excitement would be expressed in music, sometimes much to the chagrin of parents and elders, as kids raced to start bands by thousands, and this proliferation of new groups was not limited to the United States.[61][64][65][67]
While the Beatles are often credited for sparking a musical revolution, research conducted by the Queen Mary University of London and Imperial College London suggests that the changes sparked by the band were already developing long before they entered the US. The study, which looks at shifts in chord progressions, beats, lyrics and vocals, shows that American music in the beginning of the 1960s was already moving away from mellow sounds like doo-wop and into more energetic rock styles. Professor Armand Lero argues that the Beatles' innovations have been overstated by music historians: "They didn’t make a revolution or spark a revolution, they joined one. The trend is already emerging and they rode that wave, which accounts for their incredible success."[68][nb 7] Beatles biographer Mark Lewisohn disagreed with the research by Queen Mary University, saying it "[doesn't] stack up ... Speak to anyone who was a young person in the US when The Beatles arrived and they will tell you how much of a revolution it was. They were there and they will tell you that the Beatles revolutionised everything."[68]
Jangle pop and folk rock[edit]
Main articles: Jangle pop and Folk rock
A Rickenbacker 360/12 identical to the 12-string guitar used by Harrison
George Harrison was the first person to own a Rickenbacker 360/12, a guitar with twelve strings, the low eight of which are tuned in pairs, one octave apart; the higher four being pairs tuned in unison. The Rickenbacker is unique among twelve-string guitars in having the lower octave string of each of the first four pairs placed above the higher tuned string. This, and the naturally rich harmonics produced by a twelve-string guitar provided the distinctive overtones found on many of the Beatles' recordings.[69]
His use of this guitar during the recording of A Hard Day's Night (1964) helped to popularise the model, and the jangly sound became so prominent that Melody Maker termed it the Beatles' "secret weapon".[70] Roger McGuinn liked the effect so much that it became his signature guitar sound with the Byrds.[71] While the Everly Brothers and the Searchers laid the foundations for jangle pop in the late 1950s to mid 1960s, the Beatles and the Byrds are commonly credited with launching the popularity of the "jangly" sound that defined the genre.[72] In addition to the Byrds and Dylan, the Beatles were a huge influence on the folk rock explosion that would follow in the next year.[12]
British pop and power pop[edit]
Main article: Power pop
With the rise of the Beatles in 1963, the terms Mersey sound and Merseybeat were applied to bands and singers from Liverpool, and this was the first time in British pop music that a sound and a location were linked together.[73] The origins of power pop date back to the early to mid 1960s with what AllMusic calls: "a cross between the crunching hard rock of the Who and the sweet melodicism of the Beatles and the Beach Boys, with the ringing guitars of the Byrds thrown in for good measure".[74]
Psychedelia and progressiveness[edit]
Main articles: Psychedelic rock and Progressive rock
See also: Baroque pop, Psychedelic pop, and Proto-prog
Pictured in 1967 for the "I Am the Walrus" sequence in their Magical Mystery Tour film
Progressive rock (or art rock) grew out of the classically-minded strains of British psychedelia.[75] In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles, the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock.[76] According to Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums Rubber Soul and Revolver "encouraged a legion of young bands that were to create progressive rock in the early 1970s".[77] Academics Paul Hegarty and Martin Halliwell identify the Beatles "not merely as precursors of prog but as essential developments of progressiveness in its early days".[78][nb 8] After the release of Rubber Soul, many "baroque-rock" works would soon appear, particularly due to its track "In My Life".[79][nb 9]
Citing a quantitative study of tempos in music from the era, musicologist Walter Everett identifies Rubber Soul as a work that was "made more to be thought about than danced to", and an album that "began a far-reaching trend" in its slowing-down of the tempos typically used in pop and rock music.[82] Although the Kinks, the Yardbirds and the Beatles themselves (with "Ticket To Ride") had incorporated droning guitars to mimic the qualities of the sitar, Rubber Soul's "Norwegian Wood (This Bird Has Flown)" is generally credited as sparking a musical craze for the sound of the instrument in the mid-1960s — a trend which would later be associated with the growth of raga rock, Indian rock, and the essence of psychedelic rock.[83][84][verification needed] In terms of bridging the relationship between music and hallucinogens, the Beatles and the Beach Boys were the most pivotal.[85] Revolver ensured that psychedelic pop emerged from its underground roots and into the mainstream.[86] By the end of 1966, the Beatles, along with the Beach Boys, were the only acts to have high-charting psychedelic rock songs.[87]
Author Carys Wyn Jones locates Sgt. Pepper's, along with Pet Sounds, to the beginning of art rock.[88] Both albums are largely viewed as beginnings in the progressive rock genre due to their lyrical unity, extended structure, complexity, eclecticism, experimentalism and influences derived from classical music forms.[89] For several years following Sgt. Pepper's release, straightforward rock and roll was supplanted by a growing interest in extended form.[90] Several of the English psychedelic bands who followed in the wake of the Beatles' Sgt. Pepper's developed characteristics of the Beatles' music (specifically their classical influence) further than either the Beatles or contemporaneous West Coast psychedelic bands.[91] AllMusic states that the first wave of art rock musicians were inspired by Sgt. Pepper's and believed that for rock music to grow artistically, they should incorporate elements of European and classical music to the genre.[75]
Live concerts[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2009) (Learn how and when to remove this template message)
The Beatles were the first entertainment act to stage a large stadium concert.[citation needed] At Shea Stadium in New York City on Sunday, 15 August 1965, the group opened their 1965 North American tour to a record audience of 55,600. The event sold out in 17 minutes.[92] It was the first concert to be held at a major outdoor stadium and set records for attendance and revenue generation, demonstrating that outdoor concerts on a large scale could be successful and profitable.[citation needed] The Beatles returned to Shea for a highly successful encore in August 1966.[citation needed]
Influence on fashions[edit]
Haircut[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2009) (Learn how and when to remove this template message)
The mop-topped Beatles in 1964.
The Beatle haircut, also known as the "mop-top" (or moptop), because of its resemblance to a mop, or "Arthur" among fans,[nb 10] is a mid-length hairstyle named after and popularised by the Beatles, and widely mocked by many adults.[93] It is a straight cut – collar-length at the back and over the ears at the sides, with a straight fringe (bangs).[citation needed][nb 11] Because of the immense popularity of the Beatles, the haircut was widely imitated worldwide between 1964 and 1966.[citation needed] Their hair-style led toy manufacturers to begin producing real-hair and plastic "Beatle Wigs". Lowell Toy Manufacturing Corp. of New York was licensed to make "the only AUTHENTIC Beatle Wig". There have been many attempts at counterfeiting, but in its original packaging this wig has become highly collectible.[citation needed]
Mikhail Safonov wrote in 2003 that in the Brezhnev-dominated Soviet Union, mimicking the Beatles' hairstyle was seen as highly rebellious. Young people were called "hairies" by their elders, and were arrested and forced to have their hair cut in police stations.[94]
Beatle boots[edit]
Main article: Beatle boot
A pair of Beatle boot replicas.
Beatle boots are tight-fitting, Cuban-heeled, ankle-length boots with a pointed toe. They originated in 1963 when Brian Epstein discovered Chelsea boots while browsing in the London footwear company Anello & Davide. He consequently commissioned four pairs (with the addition of Cuban heels) for the Beatles to complement their new suit image upon their return from Hamburg, who wore them under drainpipe trousers.[95]
In popular culture[edit]
Main article: The Beatles in popular culture
See also: Tributes to the Beatles
Cover versions[edit]
Main article: List of artists who have covered The Beatles
See also: Ferry Aid
In May 1966, John Lennon said of people covering their songs, "Lack of feeling in an emotional sense is responsible for the way some singers do our songs. They don't understand and are too old to grasp the feeling. Beatles are really the only people who can play Beatle music."[96]
Awards and accolades[edit]
Main article: List of awards and nominations received by the Beatles
Notes[edit]
Jump up ^ However, as he continues, "by 1970 this monolothic position had again broken down. Both the Edgar Broughton Band's 'Apache dropout' and Edison Lighthouse's 'Love grows' were released in 1970 with strong Midlands/London connections, and both were audible on the same radio stations, but were operating according to very different aesthetics."[11]
Jump up ^ The Beatles kept abreast of their sales rankings in comparison to other groups like the Beach Boys,[27] and often found new musical and lyrical avenues by listening to their contemporaries.[28]
Jump up ^ In 1971, Lennon responded to disparaging comments the Stones were making of the Beatles: "I resent the implication that the Rolling Stones are like revolutionaries and that the Beatles weren't. The Stones are not in the same class, music-wise or power-wise, never were."[32]
Jump up ^ Sanchez notes that during the second half of 1965, the Beatles, the Beach Boys, and Dylan all faced the option of "gambling with the audience who granted their music whatever life it had; or they could stay comfortable inside the success they’d already won".[42] After Dylan met the Beatles, he went "electric" in a move that subverted notions of folk authenticity.[40]
Jump up ^ By the time the Beatles arrived in the US, the Beach Boys (along with the Four Seasons) had already established themselves as major chart successes.[44] The Beach Boys and the Four Seasons were also the only two American groups to enjoy major chart success before, during, and after the British Invasion.[45] For Wilson, the Beatles ultimately "eclipsed a lot [of what] we’d worked for ... [they] eclipsed the whole music world."[46]
Jump up ^ During the mid 1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners. The word "progressive" was frequently used, and it was thought that every song and single was to be a "progression" from the last.[53]
Jump up ^ Before the Beatles reached America, bands like the Beach Boys and the Top Notes were already in record charts with "Surfin' U.S.A." (1963) and "Twist and Shout" (1961), respectively. McCartney is quoted before the Beatles left for the United States in 1964: "They've got their own groups. What are we going to give them that they don't already have?"[68]
Jump up ^ This is in addition to the Beach Boys, the Doors, the Pretty Things, the Zombies, the Byrds, the Grateful Dead and Pink Floyd.[78]
Jump up ^ Slate's Forrest Wickman credits Brian Wilson and the Beatles' producer, George Martin, as some of the men "most responsible" for the move into baroque pop.[80] The Beatles benefited from the classical music skills of Martin, who played a baroque harpsichord solo on "In My Life".[79] However, the instrument used was actually a piano recorded on tape at half speed.[81]
Jump up ^ At a press conference at the Plaza Hotel in New York, shortly after the Beatles' arrival in the United States, Harrison was asked by a reporter, "What do you call your hairstyle?" He replied "Arthur". The scene was recreated in the movie A Hard Day's Night with the reporter asking George Harrison, "What would you call that, uh, hairstyle you're wearing?"[original research?]
Jump up ^ As a schoolboy in the mid 1950s, Jürgen Vollmer had left his hair hanging down over his forehead one day after he had gone swimming, not bothering to style it. John Lennon is quoted in The Beatles Anthology as follows: "Jürgen had a flattened-down hairstyle with a fringe in the back, which we rather took to."[full citation needed] In late 1961, Vollmer moved to Paris. McCartney said in a 1979 radio interview: "We saw a guy in Hamburg whose hair we liked. John and I were hitchhiking to Paris. We asked him to cut our hair like he cut his." McCartney also wrote in a letter to Vollmer in 1989: "George explained in a 60s interview that it was John and I having our hair cut in Paris which prompted him to do the same. ... We were the first to take the plunge."[full citation needed]
References[edit]
Jump up ^ Unterberger, Richie. Cultural impact of the Beatles at AllMusic. Retrieved 5 July 2013.
Jump up ^ "Beatles' remastered box set, video game out". CNNMoney.com. 9 September 2009. Retrieved 1 December 2011.
Jump up ^ Hotten, Russell (4 October 2012). "The Beatles at 50: From Fab Four to fabulously wealthy". BBC News. Retrieved 28 January 2013.
Jump up ^ Glennie 2012.
Jump up ^ Official Chart Company 2012.
Jump up ^ Billboard 2008a.
Jump up ^ Trust, Gary (21 March 2016). "Rihanna Rules Hot 100 for Fifth Week, Ariana Grande Debuts at No. 10". Billboard. Retrieved 23 March 2016.
Jump up ^ "Most Recorded Song". Guinness World Records. 2009. Archived from the original on 10 September 2006. Retrieved 12 May 2009.
Jump up ^ Loder 1998.
Jump up ^ Kopf, Dan; Wong, Amy X. (October 7, 2017). "A definitive list of the musicians who influenced our lives most". Quartz.
^ Jump up to: a b Moore 2016, pp. 199–200.
^ Jump up to: a b c Unterberger, Richie. "The Beatles". AllMusic. Retrieved 19 March 2016.
^ Jump up to: a b George-Warren 2001, p. 56.
Jump up ^ Lewisohn 1992, p. 137.
Jump up ^ Gould 2007, p. 3.
Jump up ^ Everett 1999, p. 277.
Jump up ^ Gould 2007, p. 8.
Jump up ^ Gould 2007, p. 9.
Jump up ^ MacDonald 2007, p. 417.
Jump up ^ Caulfield, Keith; Trust, Gary; Letkemann, Jessica (7 February 2014). "The Beatles' American Chart Invasion: 12 Record-Breaking Hot 100 & Billboard 200 Feats". Billboard.
^ Jump up to: a b Sanchez 2014, p. 73.
Jump up ^ Martin 2015, pp. 3, 13–14.
^ Jump up to: a b Cook & Pople 2004, p. 441.
Jump up ^ Kaiser 1988, p. 199: "their most important rival" Robins 2016, p. 103: "the Beatles' main rival."
Jump up ^ Schinder & Schwartz 2008, p. 211: "the Beatles' only serious competitor, in terms of popularity, prestige, and musical influence"
Jump up ^ Schinder & Schwartz 2008, p. 102: "When the British Invasion took hold of the American teen consciousness in 1964, [the Beach Boys] posed the only serious threat to the Fab Four's chart supremacy" Hall 2014, p. 62: "for a time … their most consistent American artistic and commercial competition"
Jump up ^ Runco 2014, p. 154.
Jump up ^ Harry 2000, pp. 99, 217, 357, 1195.
Jump up ^ MacDonald 2007, p. 28.
Jump up ^ Fried, Titone & Weiner 1980, p. 185.
^ Jump up to: a b Miles 1998, p. 280.
Jump up ^ Lange 2008, p. 91.
^ Jump up to: a b Moskowitz 2015, pp. 42, 47.
Jump up ^ Hall 2014, p. 62.
Jump up ^ Schinder & Schwartz 2008, pp. 257–258.
Jump up ^ MacDonald 2007, p. 124.
Jump up ^ Kaiser 1988, p. 199.
Jump up ^ Gould 2007, p. 252.
Jump up ^ Miles 1998, p. 185.
^ Jump up to: a b c Gould 2007, pp. 252–253.
Jump up ^ Sanchez 2014, p. 68.
Jump up ^ Sanchez 2014, p. 69.
Jump up ^ Philo 2014, p. 105.
Jump up ^ Davis 1981, p. 75.
Jump up ^ Tuyl 2004, p. 163.
Jump up ^ Sanchez 2014, pp. 70.
Jump up ^ Sanchez 2014, p. 76.
Jump up ^ Rodriguez 2012, pp. 184–185, 1966 NME polls; Sanchez 2014, p. 4, "On the heels of Pet Sounds and 'Good Vibrations,' talk of the next big pop acquisition became like open secret. For a moment in the mid-60s, it seemed Brian would take his place next to the Beatles and Bob Dylan on the board of pop music luminaries."
Jump up ^ Jones 2008, p. 56.
Jump up ^ Jones 2008, p. 57.
Jump up ^ Inglis, Ian (2000). The Beatles, Popular Music and Society. New York: St. Martin's Press. p. 53. ISBN 0-312-22236-X.
Jump up ^ Jones 2002, p. 45.
Jump up ^ Hewitt & Hellier 2015, p. 162.
Jump up ^ Julien 2013, pp. 30, 160.
Jump up ^ Staff writer (15 January 1966). "Teen Market Is Album Market". Billboard. p. 36. Retrieved 18 March 2016.
Jump up ^ Howard 2004, p. 64.
Jump up ^ Kokenes, Chris (30 April 2010). "'A Day in the Life' lyrics to be auctioned". CNN. Retrieved 11 April 2014.
Jump up ^ Julien 2013, p. 159.
Jump up ^ Moore 1997, p. 62: "the cultural legitimization of popular music"; Moore 1997, pp. 68–69: a musical representation of its generation.
Jump up ^ "Sgt. Pepper at 40: The Beatles' masterpiece changed popular music". Pittsburgh Post-Gazette. 1 June 2007. Retrieved 7 November 2013.
^ Jump up to: a b c Lemlich 1992, pp. 2–3.
Jump up ^ Kauppila, Paul (October 2006). "The Sound of the Suburbs: A Case Study of Three Garage Bands in San Jose, California during the 1960s". San Jose State University SJSU Scholar Works. San Jose, California: San Jose State University Faculty Publications: 7–8, 10–11.
Jump up ^ Spitz 2013, pp. 5, 39, 42–49.
^ Jump up to: a b c d Dean, Bill (9 February 2014). "50 Years Ago Today, The Beatles Taught a Young America to Play". Scene. Gainesville.com. Retrieved 10 October 2015.
^ Jump up to: a b Gilmore, Mikal (23 August 1990). Wenner, Jann, ed. "Bob Dylan, the Beatles, and the Rock of the Sixties". Rolling Stone. No. 585. Retrieved 9 July 2015.
Jump up ^ Spitz 2013, pp. 5–6.
Jump up ^ Spitz 2013, pp. 55–59.
^ Jump up to: a b c Knapton, Sarah (5 May 2015). "The Beatles 'did not spark a musical revolution in America'". The Telegraph.
Jump up ^ Everett 2001, pp. 134–135.
Jump up ^ Babiuk 2002, p. 120: "secret weapon"; Leng 2006, p. 14: Harrison helped to popularize the model.
Jump up ^ Doggett & Hodgson 2004, p. 82.
Jump up ^ LaBate, Steve (December 18, 2009). "Jangle Bell Rock: A Chronological (Non-Holiday) Anthology… from The Beatles and Byrds to R.E.M. and Beyond". Paste. Retrieved July 24, 2016.
Jump up ^ Inglis 2010, p. 11.
Jump up ^ "Power Pop". AllMusic. Retrieved 26 November 2012.
^ Jump up to: a b "Prog-Rock". AllMusic.
Jump up ^ Holm-Hudson 2013, p. 85.
Jump up ^ Everett 1999, p. 95.
^ Jump up to: a b Hegarty & Halliwell 2011, p. 11.
^ Jump up to: a b Harrington 2002, p. 191.
Jump up ^ Wickman, Forrest (March 9, 2016). "George Martin, the Beatles Producer and "Fifth Beatle," Is Dead at 90". Slate.
Jump up ^ Myers, Marc (October 30, 2013). "Bach & Roll: How the Unsexy Harpsichord Got Hip". The Wall Street Journal.
Jump up ^ Everett 2001, pp. 311–12.
Jump up ^ Bellman 1998, p. 292.
Jump up ^ Howlett, Kevin (2009). Rubber Soul (CD booklet). The Beatles. Parlophone Records.
Jump up ^ Longman, Molly (May 20, 2016). "Had LSD Never Been Discovered Over 75 Years Ago, Music History Would Be Entirely Different". Music.mic.
Jump up ^ Anon. "Psychedelic Pop". AllMusic.
Jump up ^ Shephard & Leonard 2013, p. 182.
Jump up ^ Jones 2008, p. 49.
Jump up ^ Macan 1997, p. 15,20.
Jump up ^ Moore 1997, p. 72.
Jump up ^ Macan 1997, p. 21.
Jump up ^ The Beatles Off The Record. London:Omnibus Press p193. ISBN 0-7119-7985-5
Jump up ^ Gilliland 1969, show 27, track 4.
Jump up ^ The Guardian
Jump up ^ Sims, Josh (1999). Rock Fashions. Omnibus Press. pp. 151–152. ISBN 0-7119-7733-X.
Jump up ^ "Flip Magazine, May 1966". Archived from the original on 20 May 2005. Retrieved 25 October 2014.
Bibliography[edit]
Babiuk, Andy (2002). Bacon, Tony, ed. Beatles Gear: All the Fab Four's Instruments, from Stage to Studio (Revised ed.). Backbeat Books. ISBN 978-0-87930-731-8.
Bellman, Jonathan (1998). The Exotic in Western Music. Northeastern University Press. ISBN 1-55553-319-1.
Cook, Nicholas; Pople, Anthony (2004). The Cambridge History of Twentieth-Century Music. Cambridge University Press. ISBN 978-0-521-66256-7.
Davis, Allen Freeman, ed. (1981). For Better or Worse: the American Influence in the World. Greenwood Press. ISBN 978-0-313-22342-6.
Doggett, Peter; Hodgson, Sarah (2004). Christie's Rock and Pop Memorabilia. Pavilion. ISBN 978-0-8230-0649-6.
Everett, Walter (1999). The Beatles as Musicians: Revolver through the Anthology. Oxford and New York: Oxford University Press. ISBN 978-0-19-512941-0. Retrieved 31 March 2014.
Everett, Walter (2001). The Beatles as Musicians: The Quarry Men Through Rubber Soul. Oxford University Press. ISBN 978-0-19-514105-4.
Fried, Goldie; Titone, Robin; Weiner, Sue (1980). The Beatles A-Z. Methuen. ISBN 978-0-416-00781-7.
George-Warren, Holly (ed.) (2001). The Rolling Stone Encyclopedia of Rock & Roll. New York, NY: Fireside/Rolling Stone Press. ISBN 0-7432-0120-5. CS1 maint: Extra text: authors list (link)
Gould, Jonathan (2007). Can't Buy Me Love: The Beatles, Britain and America. New York: Three Rivers Press. ISBN 978-0-307-35338-2.
Hall, Mitchell K. (2014). The Emergence of Rock and Roll: Music and the Rise of American Youth Culture. Taylor & Francis. ISBN 978-1-135-05357-4.
Harry, Bill (2000). The Beatles Encyclopedia: Revised and Updated. London: Virgin. ISBN 978-0-7535-0481-9.
Hegarty, Paul; Halliwell, Martin (2011). Beyond and Before: Progressive Rock Since the 1960s. New York: The Continuum International Publishing Group. ISBN 978-0-8264-2332-0.
Hewitt, Paolo; Hellier, John (2015). Steve Marriott: All Too Beautiful. Dean Street Press. ISBN 978-1-910570-69-2.
Holm-Hudson, Kevin, ed. (2013). Progressive Rock Reconsidered. Routledge. ISBN 978-1-135-71022-4.
Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings. Hal Leonard Corporation. ISBN 978-0-634-05560-7.
Inglis, Ian (2010). "Historical approaches to Merseybeat". The Beat Goes on: Liverpool, Popular Music and the Changing City (editors Marion Leonard, Robert Strachan). Liverpool University Press. p. 11.
Jones, Carys Wyn (2008). The Rock Canon. Ashgate. ISBN 978-0-7546-6244-0.
Jones, Steve, ed. (2002). Pop Music and the Press. Temple University Press. ASIN B00EKYXY0K. ISBN 9781566399661.
Julien, Oliver (2013). Sgt. Pepper and the Beatles: It Was Forty Years Ago Today. Ashgate Publishing, Ltd., 2013. ISBN 9781409493822.
Kaiser, Charles (1988). 1968 in America: Music, Politics, Chaos, Counterculture, and the Shaping of a Generation. Grove Press. ISBN 978-0-8021-3530-8.
Lemlich, Jeffrey M. (1992). Savage Lost: Florida Garage Bands of the '60s and Beyond (First ed.). Plantation, FL: Distinctive Publishing Corporation. ISBN 0-942963-12-1.
Lange, Larry (2008). The Beatles Way: Fab Wisdom for Everyday Life. Simon and Schuster. ISBN 978-1-4391-1681-4.
Leng, Simon (2006) [2003]. While My Guitar Gently Weeps: The Music of George Harrison. SAF Publishing Ltd. ISBN 978-1-4234-0609-9.
Lewisohn, Mark (1992). The Complete Beatles Chronicle:The Definitive Day-By-Day Guide To the Beatles' Entire Career (2010 ed.). Chicago: Chicago Review Press. ISBN 978-1-56976-534-0.
Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press. ISBN 978-0-19-509887-7.
MacDonald, Ian (2007). Revolution in the Head: The Beatles' Records and the Sixties. Chicago Review Press. ISBN 978-1-55652-733-3.
Martin, Bill (2015). Avant Rock: Experimental Music from the Beatles to Bjork. Open Court Publishing Company. ISBN 978-0-8126-9939-5.
Miles, Barry (1998). Paul McCartney: Many Years From Now. Henry Holt and Company. ISBN 978-0-8050-5249-7.
Moore, Allan F. (1997). The Beatles: Sgt. Pepper's Lonely Hearts Club Band. Cambridge University Press. ISBN 978-0-521-57484-6.
Moore, Allan F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. Routledge. ISBN 978-1-317-05265-4.
Moskowitz, David V. (2015). The 100 Greatest Bands of All Time: A Guide to the Legends Who Rocked the World [2 volumes]: A Guide to the Legends Who Rocked the World. ABC-CLIO. ISBN 978-1-4408-0340-6.
Philo, Simon (2014). British Invasion: The Crosscurrents of Musical Influence. Rowman & Littlefield Publishers. ISBN 978-0-8108-8627-8.
Robins, Wayne (2016). A Brief History of Rock, Off the Record. Routledge. ISBN 978-1-135-92345-7.
Runco, Mark A. (2014). Creativity: Theories and Themes: Research, Development, and Practice. Elsevier Science. ISBN 978-0-12-410522-5.
Sanchez, Luis (2014). The Beach Boys' Smile. Bloomsbury Publishing. ISBN 978-1-62356-956-3.
Schinder, Scott; Schwartz, Andy (2008). Icons of Rock. Greenwood Press. ISBN 978-0-313-33846-5.
Shephard, Tim; Leonard, Anne, eds. (2013). The Routledge Companion to Music and Visual Culture. New York, NY: Routledge. ISBN 9781135956462.
Spitz, Bob (2005). The Beatles: The Biography. New York: Little, Brown. ISBN 978-0-316-80352-6.
Spitz, Bob (2013). Koepp, Stephen, ed. The Beatles Invasion (TIME Magazine special issue). New York: TIME Books.
Tuyl, Ian Van (2004). Popstrology: The Art and Science of Reading the Popstars. Bloomsbury USA. ISBN 978-1-58234-422-5.
External links[edit]
Gilliland, John (1969). "The British Are Coming! The British Are Coming!: The U.S.A. is invaded by a wave of long-haired English rockers" (audio). Pop Chronicles. University of North Texas Libraries.
[hide]
v
t
e
The Beatles
John Lennon
Paul McCartney
George Harrison
Ringo Starr
Stuart Sutcliffe
Pete Best
History
The Quarrymen
In Hamburg
At The Cavern Club
Decca audition
Beatlemania in the United Kingdom
North American releases
In the United States
More popular than Jesus
In India
Breakup
Murder of John Lennon
Anthology
Love (Cirque du Soleil)
The Beatles: Rock Band
Line-ups
Religious views
Timeline
Live performances
1960 Johnny Gentle Tour
Winter 1963 Helen Shapiro UK Tour
1963 Roy Orbison Tour
1964 world tour
1965 European tour
1965 US tour
1965 UK tour
1966 tour of Germany, Japan and the Philippines
1966 US tour
Rooftop concert
List of live performances
Associated places
34 Montagu Square, Marylebone
Abbey Road, London
Abbey Road Studios
The Bag O'Nails
Beatlemania Hamburg
Beatles-Platz
Blue Angel
The Casbah Coffee Club
Candlestick Park
The Cavern Club
Kaiserkeller
Kinfauns
3 Savile Row
The Scotch of St. James
Shea Stadium
Stanley Street
Star-Club
Strawberry Field
Tittenhurst Park
The Top Ten Club
Wigmore Street
Yellow Submarine sculpture
Associated companies
Apple Corps
Apple Records
Harrisongs
Lingasong Records
Northern Songs
Phillips' Sound Recording Services
Seltaeb
Startling Music
Influence
Artists who have covered the Beatles
Beatlemania
Beatlesque
British Invasion
Cultural impact
The Fest for Beatles Fans
The Rutles
Tributes
Lists
Awards and nominations
Bootlegs
Cover songs
Discography
Instruments
Performers
Post-breakup collaborations
Recording sessions
Songs
Sgt. Pepper cover
Related media
Around the Beatles
Beat Bugs
The Beatles (TV series)
The Beatles Anthology (book)
The Beatles Channel
The Beatles Illustrated Lyrics
The Beeb's Lost Beatles Tapes
The Beatles Tapes from the David Wigg Interviews
Everyday Chemistry
In My Life
Let It Be (musical)
Rain: A Tribute to the Beatles
Sgt. Pepper's Lonely Hearts Club Band (film)
The Twelfth Album
Up Against It
Other topics
Apple Corps v Apple Computer
Apple scruffs
Beatle boots
Beatles Day
Fifth Beatle
Lennon–McCartney
Jeff Lynne and the Beatles
Paul is dead
Recording technology
Book
Category
Portal
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cultural_impact_of_the_Beatles&oldid=805956411"
Categories:
The Beatles
Cultural depictions of The Beatles
1960s in music
1970s in music
Cultural impact
Cultural depictions of musicians
Hidden categories:
All articles that may contain original research
Articles that may contain original research from October 2015
Articles needing more detailed references
Use dmy dates from December 2014
Use British English from November 2010
All articles with unsourced statements
Articles with unsourced statements from December 2016
Articles containing potentially dated statements from 2016
All articles containing potentially dated statements
Articles containing non-English-language text
All pages needing factual verification
Wikipedia articles needing factual verification from April 2016
Articles needing additional references from August 2009
All articles needing additional references
Articles with unsourced statements from October 2015
CS1 maint: Extra text: authors list
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Català
Deutsch
한국어
Italiano
日本語
Tiếng Việt
Edit links
This page was last edited on 18 October 2017, at 18:30.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

value: mw-page-base noprint

value: mw-head-base noprint

value: firstHeading firstHeading en

value: siteSub noprint

value: jump-to-nav mw-jump

attr: alt src width height srcset data-file-width data-file-height

value: This claim needs references to reliable sources in the body of the article. (December 2016)

value:
plainlinks noprint asof-tag update
display:none;

value: List of artists who have covered The Beatles

value: Time 100: The Most Important People of the Century

value:
/wiki/Herb_Alpert_and_the_Tijuana_Brass
mw-redirect
Herb Alpert and the Tijuana Brass

value: float: right; clear: right; margin: 0.5em 0 0.8em 1.4em; width:25%; padding: 10px; border: 1px solid #aaa; font-size: 88%; background-color: #F9F9F9;

value: Dylan, wearing a hat and leather coat, plays guitar and sings, seated. Crouched next to him is a bearded man, listening to him with head bent.

value:
/wiki/500_Greatest_Albums_of_All_Time
mw-redirect
500 Greatest Albums of All Time

value: Edit section: Production, songcraft, listening and discourse

value: A Christmas Gift for You from Phil Spector

value: Edit section: Genres and stylistic trends

value:
/wiki/President_John_F._Kennedy
mw-redirect
President John F. Kennedy

value: Edit section: Psychedelia and progressiveness

value:
/wiki/Cultivated_music
mw-redirect
Cultivated music

value:
/wiki/Baroque_rock
mw-redirect
Baroque rock

value:
/wiki/Ticket_To_Ride
mw-redirect
Ticket To Ride

value: The material near this tag needs to be fact-checked with the cited source(s). (April 2016)

value:
/wiki/European_music
mw-redirect
European music

value: Help:Introduction to referencing with Wiki Markup/1

value: plainlinks metadata ambox ambox-content ambox-Refimprove

value: This claim needs references to reliable sources. (October 2015)

value:
noprint Inline-Template Template-Fact
white-space:nowrap;

value:
/wiki/The_Beatles%27_1965_USA_Tour
mw-redirect
The Beatles' 1965 USA Tour

value:
/wiki/Mod_haircut
mw-redirect
Mod haircut

value:
/wiki/The_Edgar_Broughton_Band
mw-redirect
The Edgar Broughton Band

value:
/wiki/The_Pretty_Things
mw-redirect
The Pretty Things

value:
/wiki/The_Grateful_Dead
mw-redirect
The Grateful Dead

value:
/wiki/Slate_magazine
mw-redirect
Slate magazine

value: The material near this tag possibly contains original research. (October 2015)

value: A more detailed citation is required. (October 2015)

value: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

value:
/wiki/Parlophone_Records
mw-redirect
Parlophone Records

value: -moz-column-width: 25em; -webkit-column-width: 25em; column-width: 25em; list-style-type: decimal;

value:
/wiki/Northeastern_University_Press
mw-redirect
Northeastern University Press

value: Category:CS1 maint: Extra text: authors list

value:
nofollow
external text
//www.amazon.com/dp/B00EKYXY0K

value:
The_Beatles
fn org
font-size:114%;margin:0 4em

value:
navbox-abovebelow
2
background: #EEEEEE;

value:
row
navbox-group
width:1%;background: #EEEEEE;

value: List of members of bands featuring members of the Beatles

value: The Beatles Winter 1963 Helen Shapiro Tour

value: The Beatles' 1966 tour of Germany, Japan and the Philippines

value: List of people who performed on Beatles recordings

value: List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band

value: Sgt. Pepper's Lonely Hearts Club Band (film)

value: nowraplinks vcard hlist collapsible autocollapse navbox-inner

value: Category:Cultural depictions of The Beatles

value: Category:Cultural depictions of musicians

value: Category:All articles that may contain original research

value: Category:Articles that may contain original research from October 2015

value: Category:Articles needing more detailed references

value: Category:Use dmy dates from December 2014

value: Category:Use British English from November 2010

value: Category:All articles with unsourced statements

value: Category:Articles with unsourced statements from December 2016

value: Category:Articles containing potentially dated statements from 2016

value: Category:All articles containing potentially dated statements

value: Category:Articles containing non-English-language text

value: Category:All pages needing factual verification

value: Category:Wikipedia articles needing factual verification from April 2016

value: Category:Articles needing additional references from August 2009

value: Category:All articles needing additional references

value: Category:Articles with unsourced statements from October 2015

value: Discussion about edits from this IP address [ctrl-alt-n]

value: A list of edits made from this IP address [ctrl-alt-y]

value: You are encouraged to create an account and log in; however, it is not mandatory

value: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

value:
/wiki/Cultural_impact_of_the_Beatles
View the content page [ctrl-alt-c]
c

value: portal navigation p-navigation p-navigation-label

value: Guidance on how to use and edit Wikipedia

value: About the project, what you can do, where to find things

value: A list of recent changes in the wiki [ctrl-alt-r]

value: portal navigation p-interaction p-interaction-label

value: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

value: Recent changes in pages linked from this page [ctrl-alt-k]

value:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

value: A list of all special pages [ctrl-alt-q]

value: Permanent link to this revision of the page

value: Link to connected data repository item [ctrl-alt-g]

value: Printable version of this page [ctrl-alt-p]

value:
uls-settings-trigger
Language settings
0
button
true

value:
https://ca.wikipedia.org/wiki/Mop_Top
Mop Top – Catalan
ca
ca
interlanguage-link-target

value:
https://de.wikipedia.org/wiki/Pilzkopf
Pilzkopf – German
de
de
interlanguage-link-target

value: 비틀즈의 문화적 영향 – Korean

value: I Beatles nella cultura di massa – Italian

value: マッシュルームカット – Japanese

value: The Beatles trong văn hóa đại chúng – Vietnamese

value: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Cultural_impact_of_the_Beatles rootpage-Cultural_impact_of_the_Beatles vector-experimental-print-styles vector-nav-directionality skin-vector action-view


text:
Real Chance of Love (season 2)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Real Chance of Love 2: Back in the Saddle
The Cast of Real Chance of Love 2: Back in the Saddle
Created by
Cris Abrego
Mark Cronin
Starring
Kamal Givens
Ahmad Givens
Composer(s)
The Stallionaires
Country of origin
United States
No. of episodes
12
Production
Executive producer(s)
Cris Abrego[1]
Mark Cronin[1]
Ben Samek[1]
Jeff Olde (VH1)[1]
Jill Holmes (VH1)[1]
Kristen Kelly (VH1)[1]
Running time
60 minutes (including commercials)
Production company(s)
51 Minds Entertainment[1]
Release
Original network
VH1
Original release
August 3 (2009-08-03) – October 26, 2009 (2009-10-26)
Chronology
Preceded by
Real Chance of Love
Followed by
I Love Money 4
External links
Website
Real Chance of Love 2: Back in the Saddle is the second season of the VH1 reality television dating series Real Chance of Love. Ahmad Givens (Real) and Kamal Givens (Chance), former contestants on I Love New York are the central figures. The show premiered August 3, 2009.[2] The show features twenty female contestants taking part in various challenges. Real and Chance appeared on Chelsea Lately on May 25, 2009 to talk about the second season of Real Chance of Love, which was in production at the time. Ultimately, Ahmad (Real) selected Doll, while Kamal (Chance) selected Hot Wings.
Contents
[hide]
1 Contestants
2 Elimination Order
3 Episodes
3.1 Back in the Saddle Bros
3.2 Love is in the Stallionaire
3.3 Girls Gone Viral
3.4 Yeti Set Go
3.5 Take A Chance Or Get Real
3.6 Pushin Product
3.7 Animals Are Awesome
3.8 Stallionaire Court
3.9 Whine's and Cheese
3.10 Poca Face
3.11 Clip Show
3.12 Welcome in Miami, Beeotch
4 Aftermath
5 References
6 External links
Contestants[edit]
Nickname[3]
Real name
Age
Eliminated
Doll Jackie DaFonseca 23 Winner (Real's choice)
Hot Wings Kamille Leai 21 Winner (Chance's choice)
Mamacita Michelle Cervantes 27 Episode 12
Sassy Gabrielle Carey[4] 22 Episode 12
Pocahontas Nancy Rodriguez 29 Episode 12
Baker Tamara Moore 24 Episode 10
Flirty Amparo Rosa 23 Episode 9
Classy Kaylana Reese 24 Episode 9
Blonde Baller Kip Force[5] 23[5] Episode 8
Spanish Fly Shirley Alvarez 23 Episode 7
PS Tricia Higgins 27 Episode 6 (Quit)
Junk Myrline Richards 25 Episode 5
Lady Dolly Gray 21 Episode 5
Apple Diana Hughes 23 Episode 4
Aloha Raschelle Rawlins 23 Episode 3
Wiggly Kayla Baker 21 Episode 2
Freckles Jennifer Antoinette 25 Episode 1
Ribbon Olympia Norris 21 Episode 1
Vegas Tina Ulman 27 Episode 1
Show Me Amber Mountjoy[6] 22 Episode 1
Elimination Order[edit]
Real & Chance's Call-out Order
#
Contestants
Episodes
1
2
3
4
5
6
7
8
9
10
12
1
Aloha Hot Wings Sassy1 Baker2 PS1 PS Blonde Baller2 Hot Wings2 Sassy1 Pocahontas1 Mamacita Mamacita Doll
2
Apple Aloha Spanish Fly2 Doll Baker2 Hot Wings Mamacita Doll1 Hot Wings Mamacita2 Hot Wings Hot Wings Hot Wings
3
Baker Spanish Fly Doll Hot Wings Doll1 Sassy1 Baker2 Mamacita Doll Doll Doll Sassy Mamacita
4
Blonde Baller Classy Blonde Baller2 Lady Hot Wings Blonde Baller Classy Classy1 Baker Hot Wings Pocahontas Doll Sassy
5
Classy Flirty Baker Spanish Fly Classy Doll Doll Baker Pocahontas Sassy Sassy Pocahontas
6
Doll Sassy Hot Wings Pocahontas Flirty Baker Flirty2 Pocahontas Mamacita Baker Baker
7
Flirty Blonde Baller Pocahontas1 Flirty2 Lady Pocahontas1 Hot Wings2 Flirty2 Classy1 Flirty2
8
Freckles Pocahontas PS PS1 Spanish Fly Flirty2 Pocahontas Sassy Flirty Classy1
9
Hot Wings Doll Aloha Mamacita2 Pocahontas Classy Sassy Blonde Baller2 Blonde Baller2
10
Junk PS Junk2 Classy Mamacita Spanish Fly Spanish Fly2 Spanish Fly
11
Lady Mamacita Classy Junk Sassy Mamacita2 PS
12
Mamacita Lady Flirty Sassy Blonde Baller2 Junk
13
Pocahontas Junk Apple Blonde Baller Junk2 Lady
14
PS Apple Lady Apple Apple
15
Ribbon Baker Mamacita Aloha1
16
Sassy Wiggly Wiggly
17
Show Me Freckles
18
Spanish Fly Ribbon
19
Vegas Vegas
20
Wiggly Show Me
The contestant won the competition as Real's selection.
The contestant won the competition as Chance's selection.
The contestant got a "R" chain from Real.
The contestant got a "C" chain from Chance.
The contestant got a Stallionaire "R/C" chain from Real & Chance.
The contestant did not receive a chain, but was allowed to stay.
The contestant was eliminated.
The contestant quit the competition.
The contestant was eliminated due to physical violence.
The contestant was eliminated before the elimination ceremony.
1 The contestant won a date with Real.
2 The contestant won a date with Chance.
In Episode Four, Chance was going to decide to eliminate Blonde Baller or Junk, but he decided to let them stay for another night.
In Episode Six, PS said she wanted to quit so the boys did not give out anymore chains, therefore the names are in alphabetical order after Blonde Baller and Mamacita, both of whom were given Chance chains at the ceremony.
Also in Episode 6, there was a challenge between Real's Girls and Chance's Girls, having Tony Little select the winners.
In Episode Ten, Real was going to decide to eliminate Pocahontas or Sassy, but he decided to let them stay for the season finale.
Episodes[edit]
Back in the Saddle Bros[edit]
First aired on August 3, 2009
Chance and Real have returned for a second season, after both failed to making a lasting connection in season one; Chance selected no one, and Real's romantic relationship with Corn Fed ended soon after the show. In season two, the Stallionaires have twenty new women looking for love, and it will be up to Real and Chance to find their "Stallionettes". The season features new twists such as no "Real girls" or "Chance girls" yet, leading to "double the competition for their men." This twist leads to "calculated game-play" for some of the women. After eliminations, only sixteen women will remain in the competition.[7]
Bottom 3: Freckles, Ribbon, Wiggly
Disqualified: Show Me
Eliminated: Freckles, Ribbon, Vegas
Reasons for Elimination
Show Me: For physically assaulting Vegas after Vegas insulted the other girls.
Vegas: For provoking Show Me to hit her and instigating.
Freckles: Neither Real or Chance felt much of a connection.
Ribbon: She came off too hard to both Real and Chance and behaved childish when she wasn't chosen.
Episode Notes
Ribbon wanted to get Chance's attention, but she moved on to get Real's attention after Chance thought that she looked like a man.
Real and Chance originally wanted to name Freckles Sasquatch or Yeti because she looked like one. Later, Chance became irritated by her advances towards him that he moved somewhere in the backyard.
Love is in the Stallionaire[edit]
First aired August 10, 2009
Real and Chance ask the sixteen remaining women to give a "door-to-door sales pitch" outlining their qualities. The contestant with the best pitch will win a date.[8] Blonde Baller, Junk, Pocahontas, Sassy, and Spanish Fly (which Hot Wings thought was unfair) were chosen as winners. All the girls get to go to prom, but the winners were given nice dresses while the rest were given sloppy ones. The winners also went with Real and Chance to a place where a real prom was held, while the others were stuck in the house. Later, before Real and Chance were ready to go to bed, Wiggly came into the room to impress Real, but she "came off a little too strong". The next day, Lady talk to Real and confessed that she used to date women, but it's all in the past. Both Real and Chance had a conservation with Mamacita, questioning if she is there for the boys or for TV. She jokingly said "all the above". During elimination, Mamacita and Wiggly were in the bottom 2. Mamacita confirmed she was there for the boys, not for TV, eliminating Wiggly.
Challenge: Ding Dong Challenge
Challenge Winners: Blonde Baller, Junk, Pocahontas, Sassy, Spanish Fly
Bottom 3: Lady, Mamacita, Wiggly
Eliminated: Wiggly
Reasons for Elimination
Wiggly: Real had no connection with her and felt like she was coming off too strong, and yet was too shy.
Girls Gone Viral[edit]
First aired August 17, 2009
The fifteen remaining girls have their booty shaking skills put to the test when they audition for the Stallionaire's viral music video. Gloria Velez made a guest appearance, getting them into "booty camp". Then Pocahontas, Baker, and Lady were chosen as team captains and they chose teams. Apple was not confident doing the challenge, while Lady's team had many ideas that they cannot come to the conclusion of. Real and Chance came to judge all the teams' performances, and Real and Chance made the decision that Baker's team wins the challenge. Both of the boys took Aloha, Baker, Flirty, Mamacita, and PS to the Hollywood Park Race Track. PS, who was undecided about who she like, decides she likes Real better than Chance. Meanwhile at the house, Junk eavesdropped on Blonde Baller talking to her "best friend", which Junk believes it is her boyfriend. The next day, PS called out Blonde Baller for having a boyfriend and Chance doesn't know what to believe. Aloha had become emotional; even more crazy after Real told her to "domesticate" herself, after Real was disgusted that Aloha was eating raw fish. At elimination, Real and Chance gave out Real chains and Chance chains. It came down to Aloha and Apple. Aloha was cracking up and Chance confirmed that Aloha is indeed crazy, leading Real to eliminate her.
Special Guest: Gloria Velez
Challenge: Stallionaire's Viral Music Video Challenge
Pool Video Performers: Apple, Junk, Pocahontas, Sassy, Spanish Fly
Bar Video Performers: Blonde Baller, Hot Wings, Lady, Classy, Doll
Mansion Video Performers: Aloha, Baker, Flirty, Mamacita, PS
Challenge Winners: Aloha, Baker, Flirty, Mamacita, PS
Note: Real and Chance decided to give out R Chains and C Chains due to the fact that they have an idea which girl is here for one of them.
Chance's Girls: Baker, Hot Wings, Spanish Fly, Flirty, Mamacita, Junk, Blonde Baller
Real's Girls: Doll, Lady, Pocahontas, PS, Classy, Sassy, Apple
Bottom 3: Aloha, Apple, Blonde Baller
Eliminated: Aloha
Reasons for Elimination
Aloha: Real felt she was too unstable and too crazy.
Yeti Set Go[edit]
First aired August 24, 2009
After elimination, Blonde Baller gets a call from one of her friend that her best friend died in Michigan, which Junk found very suspicious. The girls' next challenge is to find Big Foot and bring him back, with the winners getting a date with the boys. But little do the girls know that Big Foot is actually the boys' brother Micah. The Pink Team won the challenge with Blonde Baller tackling the Yeti. Baker and Doll had a date up in Real and Chance's bedroom, having a foot psychic reading. Both girls were able to open up to the boys about their insecurities. The next morning, Apple made Real breakfast, but he still has some concern about Apple fitting into his lifestyle. That day, Real and Chance took PS, Blonde Baller, and Junk to the zoo. Both Junk and Blonde Baller got into an argument. When Real asked if Sassy is a good fit for him as a question to Junk's peeping, PS mocks her. Blonde Baller tells Sassy, but starts another argument with Junk right after. During elimination, it was down to Apple and Sassy for Real and Junk and Blonde Baller for Chance. Real eliminated Apple, but Chance doesn't eliminate either girl.
Challenge: Search for Bigfoot
Special Guest: Micah Givens as The Yeti
Purple Team: Pocahontas, Sassy, Apple, Flirty, Mamacita
Blue Team: Hot Wings, Lady, Spanish Fly, Classy
Pink Team: PS, Blonde Baller, Doll, Junk, Baker
Challenge Winner's: Pink Team
Real Girls: P.S., Doll, Classy, Pocahontas, Sassy
Chance Girls: Baker, Hot Wings, Lady, Spanish Fly, Mamacita
Bottom 4: Apple, Blonde Baller, Junk, Sassy
Eliminated: Apple
Reasons for Elimination
Apple: Real felt no connection with Apple and she was too quiet and reserved; he felt that she wouldn't fit into his lifestyle.
Take A Chance Or Get Real[edit]
First aired August 31, 2009
After elimination, Blonde Baller tells Chance that she is real and she doesn't have a boyfriend at home. The next day, Real and Chance are reviving a tradition of wrestling as a challenge. Whichever team puts on a great show wins dates with the boys. The first match was produced by the black team, with Hot Wings (as Handspring) & Doll (as Dollface) vs. PS (as Port Mortem) & Baker (as Backbreaker). The second match was produced by the pink team, with Blonde Baller (as Blonde Mauler) & Classy (as Classy Daze) vs. Spanish Fly (as Flapper) & Lady and Junk (as Lady Cyborg and Junk). The third match was produced by the purple team, with Pocahontas (as Poca the Warrior) and Flirty (as Dirty Flirty) vs. Mamacita (as Senorita Mamacita) and Sassy (as Sassy Sphynx). Because of collective chemistry, it ended up that the purple team won the challenge, leaving Hot Wings upset without another date. Sassy and Mamacita get to go on romantic dates that night. On the way there, Chance drank too much tequila, causing him to act obnoxious towards Mamacita during their date. Chance passed out that night while Real bring both Mamacita and Sassy back to the house. Meanwhile, Hot Wings was so frustrated about not getting a date that she decided to pack and leave, but Sassy encouraged her to stay. The next day, Real and Chance took Flirty and Pocahontas to the studio where the TV show Chelsea Lately was filmed, where the girls get to see the boys on TV. Mamacita was jealous that Flirty had a better date than her, causing her to break down to tears. So Real comforted her and tells her she doesn't have to be there for Chance. Junk had one-on-one with Chance and Lady had one-on-one with Real. Junk talks more about Blonde Baller and Lady doesn't know what to tell Real. During elimination, it was down to Mamacita, Lady, and Junk. Both Real and Chance wanted to give their chains to Mamacita. She was confused who to pick, but in the end, she chose Real because she wanted to teach Chance a lesson. Lady was eliminated, and shortly after, Junk, who thought she would survive another elimination, was also eliminated.
Challenge: Stallionaire Slam Association Wrestling II (SSAW II)
Purple Team (first place): Pocahontas, Sassy, Flirty, Mamacita; (Trainer: Christie Ricci)
Black Team (second place): PS, Baker, Hot Wings, Doll; (Trainer: Assassin Hollywood)
Pink Team (third place): Spanish Fly, Junk, Blonde Baller, Lady, Classy; (Trainer: The Great Onyx)
Challenge Winner's: Purple Team "Culture Clash 09"
Real Girls: Classy, Doll, Mamacita, Pocahontas, PS, Sassy
Chance Girls: Baker, Blonde Baller, Flirty, Hot Wings, Spanish Fly
Bottom 3: Junk, Lady, Mamacita
Eliminated: Junk, Lady
Reason for elimination
Lady: Real felt that he has no chemistry with her.
Junk: Chance felt that Junk was letting him know more about Blonde Baller rather than letting Chance getting to know her.
Episode notes
Both Lady and Junk explained that the reason why both of them were eliminated is that Real and Chance prefer light-skinned girls.
A bonus clip shows Hot Wings finally getting her date with Chance after elimination.
PS stated that she had to go to hospital because Hot Wings hit her really hard during their wrestling performance.
Pushin Product[edit]
First aired September 14, 2009
After elimination, Mamacita felt strange being a Real girl, but Real told her to give him a shot to getting to know her. Meanwhile, Sassy saw PS flirting with Chance and tells her if he likes Chance, she should stay by Chance instead. Angry, PS went outside and demanded Sassy what was that about. Sassy yelled at her that she shouldn't switch from brother to brother. The challenge the next day was to present an infomercial based on Real and Chance's products, having the Real and Chance girls competing against each other. It ended that Chance's girls won because of their outstanding energy in their presentation. Shortly after, PS called them "ghetto", surprising Real, Chance, and the girls. Real, Chance, and the winning girls went to a club that night. Meanwhile, Mamacita is still having feelings for Chance, but might be afraid that she might get eliminated by both of them. The next day, Chance invited his tattoo parlor to the house and he and some of the girls are getting tattoos. Real was upset that Mamacita is flirting with Chance. Hot Wings also felt upset about Mamacita flirting with Chance, trying hard to get his attention, but ended up yelling at him when she took his sense of humor seriously. Meanwhile, Blonde Baller told Classy about the joke Chance made at her, which Baker believe Blonde Baller to be shady and a manipulator. During elimination, PS went up to Real and said she doesn't want to be in the house anymore. Real said she was going to go home anyway because of her offensive "ghetto" comments towards him, Chance, and the girls, including Sassy. Real called down Mamacita and said that she should accept his brother's chain because she was feeling Chance more. The brothers decided to not to give out the chains to the rest of the girls that night.
Special Guest: Tony Little
Challenge: Infomercial Presentation
Real Girls – Classy, Doll, Mamacita, Pocahontas, PS, Sassy; (Product: Real Silk Hair Care)
Chance Girls – Baker, Blonde Baller, Flirty, Hot Wings, Spanish Fly; (Product: Pure Chance Moisturizer)
Challenge Winner's: Baker, Blonde Baller, Flirty, Hot Wings, Spanish Fly
Quit: PS
Real Girls: Classy, Doll, Pocahontas, Sassy
Chance Girls: Blonde Baller, Baker, Flirty, Hot Wings, Mamacita, Spanish Fly
Reason for Withdrew
PS: PS quit because she thought that Sassy was going to tell Real that she came here for Chance but wanted to date him. Real told her that he was going to eliminate her anyway because of her offensive comments towards Real, Chance, and the girls.
Episode Notes
In a bonus clip, Chance said to the girls the reason why he didn't choose a girl during Season 1 is because Risky is too much of a friend and Cali "smashed the homies", in reference to For the Love of Ray J.
Animals Are Awesome[edit]
First aired September 21, 2009
Flirty wanted more connection from Chance, but Blonde Baller wants her to switch to Real for less competition. The next day, their challenge is to write and perform a song called "Animals are Awesome", with each girl writing and singing a verse about an endangered animal and all girls from each team to sing the chorus. It ended that Team 2 named EES (Exotic Endangered Species) won. That night, Real and Chance took Classy and Hot Wings went to a fancy restaurant for their double date. The next day, Real and Chance took Blonde Baller, Flirty, and Doll to a local tennis court to play tennis. On the way there, Flirty opened up to Chance about her troubled past. The group played tennis with Blonde Baller disgusted about Chance giving Flirty more attention than her. During one-on-one, Blonde Baller gave Chance the scoop about the rest of Chance's girls, including Flirty. Flirty denied what Blonde Baller said about her on her one-on-one with Chance. After the date, Flirty told the rest of the girls about Blonde Baller, which causes most of the girls to turned on Blonde Baller. Chance had one-on-ones with Spanish Fly and Mamacita (finding Spanish Fly boring, but Mamacita fun and interesting), while Real had a one-on-one with Pocahontas, which she opens up about her past. At elimination, it was down to Blonde Baller and Spanish Fly. In the end, Chance chose Blonde Baller to stay another night, shocking the Chance's girls.
Special Guest: Micah Givens
Challenge: Write and perform the song, "Animals Are Awesome"
Team 1: Baker, Mamacita, Pocahontas, Sassy, Spanish Fly
Team 2: Blonde Baller, Classy, Doll, Flirty, Hot Wings
Winner: Team 2
Real Girls: Classy, Doll, Pocahontas, Sassy
Chance Girls: Baker, Blonde Baller, Flirty, Hot Wings, Mamacita
Bottom 2: Blonde Baller, Spanish Fly
Eliminated: Spanish Fly
Reason for Elimination
Spanish Fly: Chance felt that the strong connection that they had in the beginning of the competition had faded away after not spending much time together, and stated that Spanish Fly was now floating under the radar.
Stallionaire Court[edit]
First aired September 28, 2009
After elimination, Blonde Baller realize that she needs more romantic towards Chance so she went up to his room to chill. The next day, the next challenge is to present a case against another girl of an opposing team in Stallionaire Court, because Real and Chance are tired of the drama in the house. The Contemptresses (Baker, Hot Wings, Pocashontas) automatically targets Blonde Baller for being a liar and a snitch. The Pleading Hearts (Doll, Flirty, Mamacita) decided to go for Hot Wings for threatening to leave the house. The Impeaches (Blonde Baller, Classy, Sassy) went for Flirty because of her legal issues, which Blonde Baller is the only girl on the team that has knowledge. It was time for go to court and the Pleading Hearts were first to go up. Hot Wings told Real and Chance that she wanted to leave because she was frustrated that she didn't get a date with Chance. Mamacita suddenly said that Hot Wings is indeed there for Chance, causing the judges to find Hot Wings innocent and the Pleading Hearts to lose their case. The Impeaches presented that charges about Flirty not being the true definition of a Stallionette. Even though Flirty was honest about her legal issues, the evidence the Impeaches presented was overwhelming that she was found guilty. The Contemptresses opened their case with Pocahontas asking if BB's father knows where she is, with Blonde Baller saying that she didn't tell her father where she is, but she told him that she's on a TV show, exposing herself as a liar. Baker asked Classy to come to the stand as a witness, asking her what Blonde Baller said to her the other day about Chance. Classy relayed what Blonde Baller said to her, exposing her as a snitch. Ultimately, Blonde Baller was found guilty. The Impeaches won the challenge, winning dates. Chance also announced that there will be elimination that night. Back at the house, Blonde Baller overheard Flirty threatening to beat her up. Her solo date with Chance went well until Blonde Baller told him about Flirty, disappointing Chance. Meanwhile, Flirty was breaking down because Blonde Baller had blown her legal trouble out of proportion and Chance started to worry about that. During elimination, it was down to Flirty and Blonde Baller. Blonde Baller repeatedly said she was here for Chance, but Chance felt betrayed that he has been lied to the whole time, giving his chain to Flirty, eliminating Blonde Baller.
Special Guest: Micah Givens as The Bailiff
Challenge: Present the best case against one girl from another team in Stallonaire Court
The Contemptresses: Baker, Hot Wings, Pocahontas (vs. Blonde Baller)
The Impeaches: Classy, Blonde Baller, Sassy (vs. Flirty)
The Pleading Hearts: Doll, Flirty, Mamacita (vs. Hot Wings)
Challenge Winners: Blonde Baller, Classy, Sassy
Real Girls: Classy, Doll, Pocahontas, Sassy
Chance Girls: Baker, Flirty, Hot Wings, Mamacita
Bottom 2: Blonde Baller, Flirty
Eliminated: Blonde Baller
Reason for Elimination
Blonde Baller: Chance has lost all trust in her after she was exposed as a liar and a snitch in Stallionaire Court. She also gave the scoop on Flirty on their solo date even when Chance warns her not to mention any of the other girls.
Episode Notes
The boys' brother Micah made his third appearance on the show in this episode.
According to Blonde Baller, she said in the exit interview that Chance invited her over to his room after elimination and Chance demanded her to tell her about Flirty on their solo date.
Whine's and Cheese[edit]
First aired October 5, 2009
After elimination, the girls celebrated the departure of Blonde Baller. The next day, the girls were invited by the boys to the Robert Hall winery at Paso Robles, CA. Real and Chance wanted take wine-tasting, but also announced that each of them will take two girls out on a date. Chance had a one-on-one with Flirty, who told him that all her troubles are all in the past and it will not affect their relationship. Real had a one-on-one with Pocahontas, wanting more time with her. On the way the hotel, Sassy was so drunk that the limo had to pull over for her to puke. After they arrive at the Madonna Inn and Sassy sobering up, it was announced that Flirty, Mamacita, Classy, and Pocashontas get to go on dates with Real and Chance. As soon as the girls sat down, Chance had to use the bathroom, having Flirty and Mamacita wait for him. Classy attempted to crack some jokes to Real, but it made Real uncomfortable. Pocahontas then gave him an embarrassing dance that made Real laugh. Once Chance came back, Flirty open up more about her life, which Chance found strange and perceived her as a liar. Real chose Pocahontas and Chance chose Mamacita for night caps. The next day, the girls got back to the house and that night was elimination. Chance spend some one-on-one with Hot Wings. After that, he went to the kitchen and found a cake made from Baker, which was supposed to be a surprise and made Baker upset after Chance autographed it with cream. Real also spend some one-on-one with Doll, but then Sassy surprised Real, draped in lingerie. Then she told him she's unsure if she's the right woman for him, which concerns him. During elimination, it was down to Classy and Sassy for Real and Baker and Flirty for Chance. Classy and Flirty were eliminated
Challenge: Who can grab attention from Real and Chance
Challenge Winners: Classy, Flirty, Mamacita, Pocahontas
Real Girls: Doll, Pocahontas, Sassy
Chance Girls: Baker, Hot Wings, Mamacita
Bottom 4: (C) Baker & Flirty, (R)Classy & Sassy
Eliminated: Classy, Flirty
Reason for Elimination
Classy: Real felt that Classy is only telling how she can be funny, instead of showing it.
Flirty: Chance still felt that Flirty has a lot going on in her life.
Episode Notes
Even though Classy didn't grab Real's attention at the winery, Real picked her because he wants to know if Classy give him her funny side.
Poca Face[edit]
First aired October 12, 2009
Sassy is wondering how Pocahontas to be "a perfect person", but she is unable get any dirt out of her. It was announced that Real and Chance's parents Claudia and Robert are coming to visit. All the girls get to meet the parents during the barbecue. Real announced that he and his girls will have a date that night with the parents while Chance and his girls will have a date tomorrow with the parents. Real took Doll, Pocahontas, and Sassy to the baseball park for their date that night for three of the girls to meet their parents. Each girl have one-on-one time with the parents. When asked if Sassy would be a good fit for Real, Pocahontas stressed that she doesn't have a spark with Real and she needs to be humble. Sassy said to their parents that Pocahontas might be "a perfect person", but she might also be hiding something. The next day, Chance took Hot Wings, Mamacita, and Baker to a cooking class to meet the parents. Again, each girl has one-on-one with them. Hot Wings said that Baker "is too much alike." Baker stated that Hot Wings is immature. When all of them sat down for lunch with Chance and the parents, Baker and Hot Wings started arguing about their feelings, leading Chance having to end their date. Real and Chance had a conversation with their parents about the girls. He had some one-on-one with Sassy, letting her know that she needs to be more loose, having her take out her contact lenses. Chance had some one-on-one with Baker and Hot Wings because of the argument during lunch. During elimination, Real and Chance announced that they would be going to Miami, but they have room for four girls. Chance begins by giving Mamacita his first chain, leaving Baker and Hot Wings for his bottom two. Chance is concerned about Baker's attitude and Hot Wings's immaturity. But Hot Wings pleaded that age doesn't matter when you're in love with somebody, moving Chance and eliminating Baker. Real gave his first chain to Doll, leaving Pocahontas and Sassy at the bottom two. He has developed feelings for both of them, but also has some questions about both of them, Pocahontas not being completely honest and Sassy still being high maintenance. It was decided that Real will take both girls along with Doll to Miami.
Real Girls: Doll, Pocahontas, Sassy
Chance Girls: Mamacita, Hot Wings
Bottom 4: (C) Baker and Hot Wings (R) Pocahontas and Sassy
Eliminated: Baker
Reason for Elimination
Baker: Chance felt like she wasn't showing enough love and affection like the other two girls.
Episode Notes
Real was supposed to eliminate either Pocahontas or Sassy, but ended up keeping them both.
In a bonus clip, Real's dad said to Sassy and Pocahontas how Real got his long hair, inferring that he inherited that from relatives from India.
Clip Show[edit]
First aired October 19, 2009
Real and Chance shared some of the best and worst moments of the show.
Includes:
Spanish Fly and her boobs
Junk and her large butt
Lady eating toilet paper
Aloha being insane
Blonde Baller being the enemy in the house
Doll not being able to play baseball and tennis, but can wrestle
Hot Wings whining
Pocahontas being a maid and a spiritual person
Mamacita as a wild person
Sassy referring herself in the third person
Welcome in Miami, Beeotch[edit]
First aired October 26, 2009
After elimination, Pocahontas and Sassy still despise each other. The next day, Real, Chance, and the girls depart to Miami and settle into a hotel. That night, Real had dinner with his three girls and said that one girl will be eliminated that next day. Real then took out applications and the audition tapes of each girl to see what they were like before coming to the show. He first saw Sassy's tape and found she was the same person who came to the show. Then he checked Doll's tape and found she was attracted to bad boys like Chance. The next day, Pocahontas felt nervous about what happen last night. Later, both Real and Chance met the girls on the dock. Chance tells Mamacita that she would go on a yacht with him, while Hot Wings will have her date later, going back to the limo. Real then became his early elimination, choosing Sassy to stay and have her date later with Real, leaving Doll and Pocahontas as his bottom two. He ultimately eliminated Pocahontas. This shocks her dearly, letting Doll on the yacht and waterskiing with Mamacita and Chance. That night, Real and Chance had dates with Doll and Mamacita, shortly after bring them back to their rooms for their night caps. The next day, Real and Chance took Sassy and Hot Wings to Gator Park to see some crocodiles and alligators. Hot Wings decides to step in the water to prove to Chance that she is adventurous also. That night, Sassy and Hot Wings have dates with Real and Chance. During Real's date, Sassy pulls out a notebook full of questions to ask Real, which surprised him but felt that she is interested in him. Hot Wings accidentally said that she loved him. Real and Chance took the girls back to their rooms for their night caps. The next day would be the day Real and Chance would their girls each to be with. During their final elimination, Real picked Doll to be with. Chance had a difficult decision, but Hot Wings said she felt in love in with him and Chance decides to take Hot Wing over Mamacita.
Final 3 Real's Girls : Pocahontas, Doll, Sassy
Eliminated: Pocahontas
Final 2 Real's Girls : Doll, Sassy
Doll's Date: A ride on a yacht and waterskiing, a romantic date, and an overnight stay in Real's room.
Sassy's Date: A Gator Park boat ride, a romantic date, an overnight stay in Real's room.
Hot Wings' Date: A Gator Park boat ride, a romantic date, an overnight stay in Chance's room.
Mamacita's Date: A ride on a yacht and waterskiing, a romantic date, and an overnight stay in Chance's room.
Real Girl: Doll
Chance Girl: Hot Wings
Reason for Elimination
Pocahontas: Real found out that Pocahontas lied to him.
Sassy: Real felt that Sassy can be a jealous and possessive person.
Mamacita: Chance still felt he's not ready for a relationship with her.
Episode Notes
On his date with his final three girls, Real stated the reason why he and Corn Fed broke up because he found out that she broke up her engagement to another man a month before coming to the first season of the show.
Aftermath[edit]
In another interview published the same day, Doll also said that she had not heard from Real, that they had no "relationship established" and that she was "moving on", although she was giving him the "benefit of the doubt" because the show's contract may have prohibited him from contacting her until after the reunion episode.[9] While Hot Wings said she felt that "really, we didn't win" and "it's almost like we got eliminated too, because we never hear from them,"[10] Doll stated that, for her, winning was "like a trophy" and "because Real was a real nice guy" she feels "really great about winning somebody over like that."[9] There was no reunion show for Real Chance of Love 2.
Hot Wings (Kamille), Mamacita (Michelle), Sassy (Gabrielle), and Blonde Baller (Kip Force) appeared on the fourth season of I Love Money.
Ahmed Givens (Real) died on February 20, 2015 after a long battle of colon cancer. He was 33.[11]
References[edit]
^ Jump up to: a b c d e f g "Stallionaires "Real" and "Chance" Return for Another Try at Finding Love in the Second Season of "Real Chance of Love"" (Press release). VH1. 30 June 2010. Retrieved 13 October 2010.
Jump up ^ http://blog.vh1.com/2009-05-27/real-and-chance-talk-real-chance-2/
Jump up ^ http://blog.vh1.com/2009-06-25/real-chance-of-love-2-back-in-the-saddle-peep-the-cast
Jump up ^ Black, Janaya. "One-On-One: Real Chance's Sassy". The Michigan Frontpage.
^ Jump up to: a b Snew, Kymberly (9 September 2009). "Grad tells all about her time on VH1 reality show". Daily Titan. Retrieved 20 September 2010.
Jump up ^ "Show Me".
Jump up ^ "Real Chance of Love 2: Episode Summaries". VH1.
Jump up ^ "Real Chance of Love 2: Episode Summaries". VH1.
^ Jump up to: a b The Celebreality Interview - Doll, VH1 Blog (October 26, 2009).
Jump up ^ The Celebreality Interview - Hot Wings, VH1 Blog (October 26, 2009).
Jump up ^ http://www.hollywoodreporter.com/news/ahmad-givens-star-vh1s-real-775899
External links[edit]
Official website
[hide]
v
t
e
VH1 original programming
Former
2000s debuts
America's Most Smartest Model (2007)
Breaking Bonaduce (2005–06)
Brooke Knows Best (2008–09)
But Can They Sing? (2005)
Celebracadabra (2008)
Celebrity Fit Club (2005–2010)
Celebrity Paranormal Project (2006–07)
Celebrity Rehab with Dr. Drew (2008–2012)
Charm School (2007–09)
The Cho Show (2008)
Confessions of a Teen Idol (2009)
Daisy of Love (2009)
Dice: Undisputed (2007)
Eddie Griffin: Going For Broke (2009)
Flavor of Love (2006–08)
For the Love of Ray J (2009–2010)
Free Radio (2008–09)
Glam God with Vivica A. Fox (2008)
Hogan Knows Best (2005–07)
I Know My Kid's a Star (2008)
I Love Money (2008–2010)
I Love New York (2007–08)
I Want to Work for Diddy (2008–2010)
Kept (2005)
Megan Wants a Millionaire (2009)
Ego Trip's Miss Rap Supreme (2008)
My Antonio (2009)
My Fair Brady (2005–08)
New York Goes to Hollywood (2008)
New York Goes to Work (2009)
The Pick-up Artist (2007–08)
Real Chance of Love (2008–09)
Rock of Love with Bret Michaels (2007–09)
The Salt-N-Pepa Show (2007–08)
Scott Baio Is 45...and Single (2007)
Scott Baio Is 46...and Pregnant (2008)
Scream Queens (2008–2010)
Sex Rehab with Dr. Drew (2009)
So Notorious (2006)
Celebrity Rehab Presents Sober House (2009–2010)
Strange Love (2005)
The Surreal Life (2004–06)
The Surreal Life: Fame Games (2007)
The T.O. Show (2009–2011)
Tool Academy (2009–2010)
Tough Love (2009–2013)
¡Viva Hollywood! (2008)
Ego Trip's The (White) Rapper Show (2007)
2010s debuts
The Amber Rose Show (2016)
Atlanta Exes (2014)
Barely Famous (2015–16)
Basketball Wives LA (2011–16)
Brandy & Ray J: A Family Business (2010–11)
The Breaks (2017)
Bret Michaels: Life as I Know It (2010)
Candidly Nicole (2014–15)
Chrissy & Mr. Jones (2012–13)
Couples Therapy (2012–15)
Dad Camp (2010)
Daytime Divas (2017)
Fantasia for Real (2010)
Frank the Entertainer in a Basement Affair (2010)
The Gossip Game (2013)
Hit the Floor (2013–16)
Hollywood Exes (2012–14)
K. Michelle: My Life (2014–17)
Mario Lopez: Saved by the Baby (2010–11)
Miami Monkey (2013)
My Big Friggin' Wedding (2010)
Mob Wives (2011–16)
Mob Wives Chicago (2012)
Money Hungry (2010)
Ochocinco: The Ultimate Catch (2010)
The OCD Project (2010)
Real and Chance: The Legend Hunters (2010)
Stevie J & Joseline: Go Hollywood (2016)
This Is Hot 97 (2014)
T.I. & Tiny: The Family Hustle (2011–17)
Ton of Cash (2011)
What Chilli Wants (2010–11)
The X-Life (2011)
You're Cut Off! (2010–11)
Current
America's Next Top Model (since 2016)
Baller Wives (since 2017)
Basketball Wives (since 2010–13; 2017)
Black Ink Crew (since 2013)
Black Ink Crew: Chicago (since 2015)
Family Therapy with Dr. Jenn (since 2016)
Hip Hop Squares (since 2017)
Love & Hip Hop: Atlanta (since 2012)
Love & Hip Hop: Hollywood (since 2014)
Love & Hip Hop: Miami (since 2018)
Love & Hip Hop: New York (since 2011)
Leave It To Stevie (since 2016)
Martha & Snoop's Potluck Dinner Party (since 2016)
Ricky Martin: Behind the Vegas Residency (since 2017)
RuPaul's Drag Race (since 2016)
Scared Famous (since 2017)
Signed (since 2017)
VH1 Live! (since 2016)
Upcoming
Teyana & Iman (2018)
Wild Safaree (2018)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Real_Chance_of_Love_(season_2)&oldid=815272723"
Categories:
2009 American television seasons
VH1
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Add links
This page was last edited on 13 December 2017, at 21:21.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

tag: div

attr: id class

value: mw-page-base noprint

key: html

type: local

value: mw-head-base noprint

tag: a

tag: i

attr: id class lang

value: firstHeading firstHeading en

value: siteSub noprint

value: jump-to-nav mw-jump

tag: th

attr: colspan class style

value: text-align:center;font-size:125%;font-weight:bold;font-style: italic; background: #CCCCFF; padding: 0.25em 1em; line-height: 1.5em;

tag: tr

tag: img

attr: href class

tag: td

attr: colspan style

attr: href title

tag: br

value:
/wiki/Ahmad_Givens
mw-redirect
Ahmad Givens

value: text-align:center;background: #CCCCFF; padding: 0.25em 1em; line-height: 1.5em;

value:
headerSort
0
columnheader button
Sort ascending

value: background-color:green; color:white; border:1px solid darkgray; text-align:center;

value: background-color:limegreen; color:black; border:1px solid darkgray; text-align:center;

value: background-color:sandybrown; color:black; border:1px solid darkgray; text-align:center;

value: background-color:khaki; color:black; border:1px solid darkgray; text-align:center;

value: background-color:white; color:black; border:1px solid darkgray; text-align:center;

value: background-color:wheat; color:black; border:1px solid darkgray; text-align:center;

value: background-color:tomato; color:black; border:1px solid darkgray; text-align:center;

value: background-color:purple; color:white; border:1px solid darkgray; text-align:center;

value: background-color:red; color:black; border:1px solid darkgray; text-align:center;

value: background-color:darkred; color:white; border:1px solid darkgray; text-align:center;

value: Edit section: Love is in the Stallionaire

value: background-color:indigo; color:white; border:1px solid darkgray; text-align:center;

value: background-color:blue; color:white; border:1px solid darkgray; text-align:center;

value: background-color:Fuchsia; color:black; border:1px solid darkgray; text-align:center;

value: background-color:black; color:white; border:1px solid darkgray; text-align:center;

value: The Michigan Frontpage (page does not exist)

value: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

value:
/wiki/Leave_It_To_Stevie
mw-redirect
Leave It To Stevie

value: nowraplinks hlist collapsible autocollapse navbox-inner

value: Category:2009 American television seasons

value:
catlinks mw-normal-catlinks
catlinks mw-normal-catlinks
interface

value: Discussion about edits from this IP address [ctrl-alt-n]

value: A list of edits made from this IP address [ctrl-alt-y]

value: You are encouraged to create an account and log in; however, it is not mandatory

value: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

value:
/wiki/Real_Chance_of_Love_(season_2)
View the content page [ctrl-alt-c]
c

value: Discussion about the content page [ctrl-alt-t]

value: p-namespaces navigation vectorTabs p-namespaces-label

value:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

value: Past revisions of this page [ctrl-alt-h]

value: p-views navigation vectorTabs p-views-label

value:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

value:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

value:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

value: Featured content – the best of Wikipedia

value: Find background information on current events

value:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

value: portal navigation p-navigation p-navigation-label

value: Guidance on how to use and edit Wikipedia

value: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

value: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

value:
suggestions
display: none; font-size: 13px;

value: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Real_Chance_of_Love_season_2 rootpage-Real_Chance_of_Love_season_2 skin-vector action-view