text:
I Melt with You
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For the film, see I Melt with You (film).
"I Melt with You"
Single by Modern English
from the album After the Snow
Released
May 4, 1982
Format
7" single
12"
Recorded
1982
Genre
New wave[1]
post-punk[2]
Length
3:50 (7" mix)
4:11 (album version)
Label
4AD
Sire
Songwriter(s)
Robbie Grey
Gary McDowell
Richard Brown
Michael Conroy
Stephen Walker[3]
Producer(s)
Hugh Jones
Modern English singles chronology
"Life in the Gladhouse"
(1982) "I Melt with You"
(1982) "Someone's Calling"
(1983)
"Life in the Gladhouse"
(1982) "I Melt with You"
(1982) "Someone's Calling"
(1983)
"I Melt with You" is a song by the British new wave band Modern English. The song, produced by Hugh Jones, was the second single from their 1982 album After the Snow. The song became the band's sole hit single, largely in the United States, where it was featured in the film Valley Girl and on MTV. It reached number seven on Billboard Mainstream Rock chart, and number 76 on its Hot 100 chart. The song has been covered by a variety of groups, including Jason Mraz and Nouvelle Vague, and has been featured in numerous commercials and films.
Contents
1 Background
2 Commercial performance
3 Reception
4 In popular culture and cover versions
5 Charts
6 Certifications
7 References
7.1 Footnotes
7.2 Sources
8 External links
Background[edit]
Modern English formed in 1979 in Colchester, Essex, England.[2] . He described England at the time of the song's writing to be a bleak place, due to the recession: "There was no money. There'd be no power—you'd be at home with candles."[4] These conditions and his fears of a nuclear war inspired "I Melt with You". The song depicts a couple making love while an atomic bomb is dropped.[5] ].[6] He described the song in an interview as a "love song", but more about the "good and bad in people [...] The last thing we wanted was to write a song where boy meets girl, they go to the cinema and make love, and that's the end of it."[7]
Musically, the song came together in the band's rehearsal space in London while recording their second album, After the Snow. Producer Hugh Jones encouraged Grey to softly sing the vocal track, as opposed to his natural inclination to shout. He subsequently employed a softer vocal technique on the rest of the album.[7]
Commercial performance[edit]
The song was released by 4AD in the United Kingdom. The song was mainly a success in the United States,[7] and was 4AD's first crossover hit.[8] It first began receiving radio airplay as an import single, and bounced from station to station, gaining momentum.[9] The song reached number 7 on the US Billboard Mainstream Rock chart and number 78 Billboard Hot 100 in 1983.[10][11] "I Melt with You" was particularly popular in dance clubs and on MTV.[6][12] It appeared on Billboard's Dance/Disco Top 80 at number 79.[13] The single's success drastically altered the band's experience, according to Grey: "Someone picked up an import from England and started playing it on mainstream radio in America, and it just went like wildfire. We used to play to 200 people in art college; the next thing we knew, we were in Daytona Beach playing to 5,000 people who knew all the words [to the song]."[7]
The song is among the top 500 songs ever played on U.S. radio.[8] The group received a lifetime achievement award at the BMI Awards in 2017, celebrating 3 million plays of the song.[14] It is ranked #39 on VH1's 100 Greatest Songs of the 80s.[15] As Modern English's only major hit song, they are generally considered one-hit wonders.[2][6] It was ranked #7 on VH1's 100 Greatest One Hit Wonders of the 80s.[16] Modern English re-recorded the song for their 1990 album Pillow Lips, and the song re-appeared on the Hot 100, peaking at number 76 in July.[17] It also re-appeared on the Dance charts, peaking at number 25.[18] The reformed original line up of the band re-recorded it again in 2010 in a completely reworked style for inclusion in the movie I Melt With You.
Reception[edit]
A reviewer for Billboard commended the song as "classy", describing it as a "dreamy, acoustic-edged rocker."[12] The re-recorded edition of the song for the band's 1990 album Pillow Lips was received negatively by the Los Angeles Times's Chris Willman, who dubbed it "nearly identical yet markedly inferior."[19]
The song has remained popular over the years; Tom Demalon Allmusic called it "one of the most enduring songs of the new wave era."[1] Los Angeles Times contributor Sara Scriber wrote in 1997 that the song endured because it "struck a chord for its gothic, escapist undercurrent and danceable rhythm."[6] In 2017, Chrissie Dickinson of the Chicago Tribune wrote that "with its irresistible guitar melody, danceable beat and heartfelt call and response vocals, it was a piece of work that fit snugly into the era."[20]
In popular culture and cover versions[edit]
"I Melt with You" has been covered by a variety of artists, with several different versions being licensed for film and television worldwide. Modern English's original version was largely popularized by its appearance in the 1983 film Valley Girl, in which it features in both the ending titles and in a "falling in love" montage sequence.[20] It was later licensed for a myriad of TV commercials in the States, including adverts for Burger King,[21] M&M's, Ritz Crackers,[22] and Hershey's TV commercials.[9] A cover by American singer-songwriter Jason Mraz was included on the soundtrack to the 2004 film 50 First Dates.[23] French group Nouvelle Vague's rendition found placement in Mr. and Mrs. Smith (2005), as well as adverts for GMC, T-Mobile, and Vicks Sinex.[24] American rock band Bowling for Soup covered the song as part of the soundtrack to the 2005 Disney film Sky High.
Charts[edit]
Chart (1983)
Peak
position
US Billboard Hot 100[11]
78
US Dance/Disco Top 80 (Billboard)[13]
79
US Rock Albums & Top Tracks (Billboard)[10]
7
Chart (1990)
Peak
position
US Billboard Hot 100[17]
76
US Hot Dance Music – Club Play[18]
25
Certifications[edit]
Region
Certification
Certified units/Sales
Canada (Music Canada)[25]
Gold 40,000^
*sales figures based on certification alone
^shipments figures based on certification alone
References[edit]
Footnotes[edit]
^ Jump up to: a b Tom, Demalon (2002). All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul (3rd ed.). Backbeat Books. p. 749. ISBN 978-0879306533.
^ Jump up to: a b c Murphy, Tom (July 24, 2017). "Modern English Is Getting Even Wilder". Westword. Retrieved January 7, 2018.
Jump up ^ "BMI Repertoire Search". BMI. Archived from the original on September 21, 2015. Retrieved July 27, 2015.
Jump up ^ Bernstein & Majewski 2014, p. 206.
Jump up ^ Interview with vocalist Robbie Grey on Valley Girl 20th anniversary DVD special features, MGM Home Entertainment, 2003.
^ Jump up to: a b c d Scribner, Sara (November 13, 1997). "A One-Hit Legacy : Robbie Grey wants to take his reassembled Modern English group beyond its 'Melt' anthem". Los Angeles Times. Retrieved January 7, 2018.
^ Jump up to: a b c d Bernstein & Majewski 2014, p. 207.
^ Jump up to: a b King, Richard (2012). How Soon is Now?. Faber & Faber. p. 95. ISBN 978-0571243907.
^ Jump up to: a b Castillo, Arielle (September 26, 2012). "Modern English's Robbie Grey on "I Melt With You" Fame: "It Was Literally Thrust Upon Us"". Miami New Times. Retrieved January 7, 2018.
^ Jump up to: a b "Mainstream Rock Songs", Billboard, retrieved January 7, 2018
^ Jump up to: a b "Modern English Chart History (Hot 100)". Billboard. Retrieved January 7, 2018.
^ Jump up to: a b "Billboard's Top Album Picks". Billboard. 95 (10). Nielsen Business Media, Inc. March 12, 1983. p. 65. ISSN 0006-2510.
^ Jump up to: a b "Dance Club Songs - Billboard", Billboard, retrieved January 7, 2018
Jump up ^ "Jay Kay and Top Songwriters Honored at 2017 BMI London Awards". BMI. October 9, 2017. Retrieved January 7, 2018.
Jump up ^ "VH1's 100 Greatest Songs of the 80s". Retrieved October 21, 2017.
Jump up ^ "VH1's 100 Greatest One Hit Wonders of the 80s". VH1. Retrieved October 21, 2017.
^ Jump up to: a b "Music: Top 100 - Billboard Hot 100", Billboard, retrieved January 7, 2018
^ Jump up to: a b "Dance Club Songs - Billboard", Billboard, retrieved January 7, 2018
Jump up ^ Willman, Chris (August 9, 1990). "POP MUSIC REVIEW : Modern English Melts Down". Los Angeles Times. Retrieved January 7, 2018.
^ Jump up to: a b Dickinson, Chrissie (November 2, 2017). "Modern English has found its somewhat nostalgic happy place". Chicago Tribune. Retrieved January 7, 2018.
Jump up ^ Bernstein & Majewski 2014, p. 208.
Jump up ^ Brodeur, Nicole (September 10, 2010). "At The Triple Door, Modern English is back — and so is 'I Melt With You'". Seattle Times. Retrieved January 7, 2018.
Jump up ^ Leszczak, Bob. Who Did It First?: Great Rock and Roll Cover Songs and Their Original Artists. Rowman & Littlefield Publishers. p. 95. ISBN 978-1442233218.
Jump up ^ Rabinowitz, Josh (March 15, 2008). "Selling In". Billboard. 120 (11). Nielsen Business Media, Inc. p. 13. ISSN 0006-2510.
Jump up ^ "Canadian single certifications – Modern English – I Melt With You". Music Canada. Retrieved April 28, 2017.
Sources[edit]
Bernstein, Jonathan; Majewski, Lori (2014). Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s. Harry N. Abrams. ISBN 978-1419710971.
External links[edit]
Modern English's Official Website
Lyrics of this song at MetroLyrics
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Vanessa Abrams
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Vanessa Abrams
Gossip Girl character
Jessica Szohr as Vanessa Abrams
First appearance
Novel:
You Know You Love Me
Television:
"The Handmaiden's Tale"
(episode 1.06)
Last appearance
Novel:
I Will Always Love You
Television:
"New York, I Love You XOXO"
(episode 6.10)
Created by
Character
Cecily von Ziegesar
Developed for Television
Josh Schwartz
Stephanie Savage
Portrayed by
Jessica Szohr
Information
Full name
Vanessa Abrams
Aliases
V, Brooklyn, Documentary Girls
Occupation
Novels:
Filmmaker
High school student
(at Constance Billard; graduated)
College student
(at New York)
Television:
Filmmaker
Waitress (former)
CNN production intern
(formerly in Haiti)
Publicist
College student
(at New York; departed)
Family
Arlo and Gabriella Abrams
(parents)
Ruby Abrams
(sister)
Vanessa Abrams is a fictional character in the Gossip Girl (novel series). She is portrayed by Jessica Szohr in Gossip Girl. Vanessa was introduced on the first season as a recurring character, but became series regular after a successful run due to the popularity of their character, but left the series at the end of the fourth season.
Contents
[hide]
1 Novel series
2 Television series
2.1 Casting
2.2 Characterization
2.3 Season 1
2.4 Season 2
2.5 Season 3
2.6 Season 4
2.7 Season 6
3 Reception
4 References
Novel series[edit]
Described as sullen, with a shaved head and black clothing, Vanessa is a budding filmmaker and Constance student on scholarship. Her dream is to one day attend NYU and major in film. Her hippie artist parents live in Vermont but allowed her to move to Williamsburg, Brooklyn to live with her sister Ruby.
In the first books, she stays away from Blair Waldorf and Serena van der Woodsen's social scene, resenting the Upper East Side way of life and preferring the company of Dan Humphrey, her best friend, and her sister Ruby. She has had a huge crush on Dan ever since they met on a fire escape when they were both locked out of a party, but Dan had always been too in love with Serena van der Woodsen to realize it. Dan and Vanessa finally get together in the second book, but break up when Dan cheats on her with a writer named Mystery.
Vanessa is very fond of making dark films and spends most of her time filming people and objects. She later becomes friends with Blair Waldorf, and they become short-lived roommates. She takes much from her, becoming more open to the Upper East Side way of life and later semi-adapting to Blair's sense of fashion (though she once quipped that she would not be wearing snakeskin Manolos anytime soon) She begins a relationship with Aaron Rose, Blair's stepbrother, only to cheat on him with Dan come graduation.
Dan and Vanessa once again become a couple, but with Vanessa taking a job as an assistant for Ken Mogul (and later a babysitter) and Dan cheating on her yet again with a leggy blond named Bree, they break up. Dan has a period of crisis when he thinks that he is gay after kissing a guy at work, but Vanessa stands by him. She agrees to move in with Rufus Humphrey (having been kicked out of her apartment by her sister Ruby and her new fiance Piotr) during the fall when she goes to NYU. Dan turns out to be straight, and they spend the time they have together before college being a real couple. In I Will Aways Love You, it was revealed that Vanessa grew her hair out.
Television series[edit]
Casting[edit]
After a recurring role in the short-lived series What About Brian, Yahoo! stated her "capitalizing on that minor success" and eventually earned the role of "the stunning and unpredictable aspiring filmmaker ensconced in the highly dramatic lives of privileged teenagers on Manhattan's Upper East Side world".[1][2] Szohr began her stint on Gossip Girl in a recurring role until her promotion to regular status in the show's fourteenth episode. Szohr said in Nylon magazine: Producers originally didn’t want to cast her on Gossip Girl because her straight, shiny hair was too preppy. “I told my agent, you send every picture of my hair short, curly, black, blonde, I don’t care.” In Teen Vogue she said the story of how she snagged her breakthrough role on Gossip Girl: "Two of my friends in L.A. invited me to this Labor Day barbecue, but I really just wanted to stay on the couch with my French bulldog," she says. They kept calling, though, so off she went. "I remember hanging out by the pool in an old T-shirt and jean shorts, just talking to people. Three days later, my manager calls to tell me that I'd been with the show's executive producer and one of the creators and they want me to audition." Less than a week after that, Jessica was on her way to New York. "Nuts," she says.
Characterization[edit]
Szohr's character enters the wealthy world of Manhattan and occasional love interest of her longtime best friend, Dan Humphrey.[3] People magazine cites her television portrayal of her character especially Ziegesar saying that Vanessa on the show "has more of a bohemian hipster look".[4] During an interview for Ocean Drive magazine Szohr commented on her character's noted honesty, stating that "Vanessa doesn't change for other people. She says what she thinks, and that's a hard thing to do in high school[...] she’s just a badass girl from Brooklyn". Szohr finds her character as the most relatable series since Vanessa doesn't have the same lifestyle as most of the other wealthy characters on the show do.[5] During an interview for Vanity Fair, Eric Daman described Vanessa's style as "a breath of fresh air. She’s the Lower East Side, Raising Victor Vargas home-girl." and cited two-time Grammy award-winning artist M.I.A. as an influence.[6]
Season 1[edit]
Vanessa is officially introduced in the sixth episode of the season, entitled "The Handmaiden's Tale." While talking on the phone with Dan, she appears on his fire escape and the two gladly reunite. She announces that she's decided to move back to the city and live with her sister, Ruby. She also mentions that she missed Dan while she was away and has repeatedly thought about the last words he said to her before she moved to Vermont. Vanessa helps Dan's younger sister, Jenny Humphrey, sneak into a masquerade ball, and she decides to sneak in herself, where she spots Dan and attempts to reconcile their relationship. It is then revealed that Dan's last words to Vanessa were "I love you," but despite this fact, Dan says that he's moved on and is dating Serena. Vanessa gets teary-eyed and abandons the party, however the two friends make up later in Dan's bedroom. They share a snack while Dan fills her in on everything that's changed in his life.
In " Victor/Victrola," Vanessa acts as a mentor for Jenny, giving the young blond some advice about parental issues. She seems to express some jealousy when she stumbles in on Dan and Serena about to have sex. However, in the next episode, she and Serena bond over Guitar Hero after Dan explains that Vanessa is his best friend and that the two will always share a special bond from their childhood. Later, Serena and Vanessa engage in conversation and get to know each other better. On Christmas Day, Serena feels a bit jealous when Vanessa gets Dan the perfect present (by publishing his short story in The New Yorker). Vanessa makes a rival out of Blair Waldorf when Blair suspects her of liking Dan as 'more than a friend.' Despite her suspicions, Vanessa helps Serena create the only thing Dan wanted for Christmas – snow.
In "School Lies," Vanessa accompanies Dan to a pool party on school property. Someone nearly dies at the party, however, and when Vanessa catches a confidential conversation between Chuck and Blair on camera, it becomes the most sought-after item on the Upper East Side. Chuck tries to bribe Vanessa into giving her the tape, but she tricks him and takes his money anyway. When Blair asks for the tape, Vanessa concedes without any conditions attached. Despite this, Blair pays Vanessa's rent for a year to thank her for giving up the tape, which would have ruined Blair's reputation.
When the SATs roll around, Vanessa helps Dan with his studying. This leads to her official introduction to Nate Archibald. The two bicker and banter light-heartedly, but when Vanessa finds a practice essay Nate wrote for the SATs, she sees a more vulnerable side to him. The two spend the day together and Vanessa listens to his problems. Despite their coming from different worlds, they realize they have a lot in common and end the night with a kiss. The next day, Nate takes Vanessa on a 'surprise date' where he tells her she should take the SATs just to ensure that she has options. He pays and registers for her, and after finally giving in, the two enter into a relationship. When she finds out that Georgina Sparks is not who she says she is, Vanessa confronts her and says she knows her real name, as well as her intentions. Despite this fact, Georgina escapes with Dan, who continues to believe the lies she tells him.
In the season finale, "Much 'I Do About Nothing" Vanessa prepares for Lily and Bart Bass's wedding. Once she's all dressed up in one of Jenny's designs, Dan tells her that she 'cleans up nice,' before the two proceed to the wedding together. After the ceremony, Nate, burdened by the myriad of problems with his father, tells Vanessa he's not ready to be in a relationship, and the two break up. Later, Vanessa and Dan's friendship grows as they bond over their break-ups.
Season 2[edit]
Vanessa spends the summer redecorating Rufus's art gallery and turning the extra space into a cafe. Nate confides in her the financial circumstances of his father's debts and although the two seem interested in each other, Nate is continuously too busy to hang out with her. Vanessa pushes him away because of this, but he confesses that he does want a relationship with her. During a citywide blackout, however, the older woman Nate slept with throughout summer, Catherine, threatens to turn Nate's father into the police if Nate ever leaves her. Vanessa sacrifices her relationship with Nate for the Captain's safety and tells Nate she doesn't want to be with him. Later, Vanessa snaps a photo of Catherine when she sees the older woman making out with her stepson, hoping to use it as blackmail. She learns the consequences of her meddling, however, when she realizes that telling Catherine's husband of her affairs left Nate as penniless as ever, whereas Blair was going to gain back the Archibald's riches. Nate becomes upset with Vanessa, not because she made him lose the money, but because she never confided in him.
Vanessa helps Jenny convince Rufus to let her do home-schooling. She further displays her charitable side by helping save the Brooklyn Inn from auction and petitioning for landmark status. When Blair refuses to cooperate with the charity, Vanessa blackmails her by using the photo of Catherine and Lord Marcus kissing, which, if exploited, would humiliate Blair. The Queen of Constance is therefore forced to comply, but conspires with Chuck to destroy Vanessa. The two intend to seduce and humiliate her. At Lily's housewarming party, Vanessa witnesses the more vulnerable side of Chuck and the two bond briefly. She's embarrassed, however, when she learns it was all Blair's ploy, and turns her back on them both. During Jenny's guerrilla fashion show, Vanessa spots Nate and Jenny kissing. She feels betrayed by both of them, since she still had feelings for Nate and since she and Jenny were such close friends. In turn, on Thanksgiving, Vanessa hides an important letter from Jenny. This letter was a confession of Nate's feelings for Jenny and his desire to be with her. Not knowing about the letter that was kept from her, Jenny reconciles her friendship with Vanessa.
Around Christmastime, Vanessa and Nate repair their relationship, which they try to hide from Jenny. The blond discovers a picture of them kissing on Gossip Girl, however, and embarrasses Vanessa by giving her a see-through dress, which everyone mocks at the Snowflake Ball. A teary-eyed Vanessa runs off, leaving Nate to tell Jenny that she's not the girl he thought she was. He chooses Vanessa and the two speed away in a taxi as a brokenhearted Jenny watches from afar. Vanessa tries not to interfere with Serena and Dan's relationship, and instead celebrates her 2-month anniversary with Nate at the opera, where the two happily kiss and mock the other theater-goers.
When the seniors of Constance Billiard and St. Jude's are forced to put on a play, Nate worries that Vanessa is attracted to the play's director, seeing as the two have so much in common. This leads to a heated argument between Vanessa and him, in which the two fight about their differences and insecurities. Later, Vanessa goes to Nate's house and they make up, deciding to watch the Age of Innocence together.
Vanessa and Nate make plans to travel Europe together over summer break. Nate feels manipulated by his family to intern at the mayor's office and Vanessa worries that he's being controlled by his grandfather. Eventually, Nate decides he will intern for the mayor, which he announces in a speech. After hearing this, a disappointed Vanessa leaves the party. She goes over to the Humphreys, where she tells Jenny that her relationship with Nate might in fact be over.
A week later, Vanessa and Chuck see Blair and Nate hugging. The two then conspire to tear their friendship apart. Vanessa attempts to make Nate jealous by kissing Chuck at Jenny's party, but when Nate and Blair appear unfazed, Vanessa and Chuck really do sleep together. In "Southern Gentlemen Prefer Blondes," Vanessa and Dan play the drinking game I Never, in which she admits to sleeping with Chuck twice and regretting it both times. In the season finale, Vanessa and Nate catch up and become friends at the Constance-St. Jude's Graduation. A week later, Nate tells her that the mayor hit on him, so he quit his internship. He and Vanessa reinstate their summer plans to go backpacking through Europe. The three unknowingly get to know Scott Rosson, the lovechild of Lily and Rufus. Afterwards, Dan receives a suspicious phone call from Georgina who tells both Vanessa and Dan that she'll be seeing them at NYU next year.
Season 3[edit]
It's revealed that Vanessa did indeed spend her summer backpacking through Europe with Nate and the two had a fling one night, but remain good friends and nothing more. When she returns to New York, she gets to know Scott Ronsson, and develops a crush on him. When she discovers that Dan's been living the high life thanks to the van der Woodsens and has been hiding it from her, she fights with him and eventually tells him that despite his wealth, he needs to be himself in order for her to be friends with him. Scott and Vanessa begin dating and Scott encourages Vanessa to stay friends with Dan. When Vanessa moves into her dorm at NYU, she realizes that she shares the hall with Blair Waldorf and Georgina Sparks. Vanessa and Georgina become friends after Vanessa forgives her for her past behavior, whereas Vanessa and Blair's rivalry deepens. She grows suspicious of Scott and eventually discovers he is not a student at NYU. When she confronts him, he confesses that he's Lily and Rufus' son and she encourages him to tell them. Scott eventually tells Lily and Rufus the truth at their wedding and moves back to Boston, promising to come down and visit the now broken-hearted Vanessa.
Famous actress Olivia Burke becomes Vanessa's new roommate, and the two become immediate friends. Olivia and Dan embark on a relationship, but when they have a threesome with Vanessa, the trio become awkward around each other, resulting in Vanessa and Olivia fighting over Dan. Once Olivia realizes that Dan's true feelings lie with Vanessa, she breaks up with him and moves out of NYU to continue pursuing her acting career. Dan finally confessed his love for Vanessa, who becomes confused and tries to brush off the subject. Later, however, she admits that she loves him as well and that although she doesn't want to ruin her friendship with him, she wants to explore these feelings, starting with being "friends with benefits". The two finally begin their relationship.
Their relationship becomes problematic when Vanessa secretly applies to NYU's program for writers, Tisch, which Dan has also applied for. Despite their competition, Vanessa is chosen by the program and although this causes further issues between the two, Dan eventually expresses pride in Vanessa. Later, however, their relationship hits another obstacle when Dan discovers that Vanessa has received an offer difficult to reject: to work in Haiti, assisting the disaster aid as well as filming for CNN. When Dan tells Vanessa he knows she's been offered this position, she insists on not going and staying in the city with Dan to work on their relationship. Dan eventually convinces Vanessa to accept the offer, however, when he informs her that it's a once in a lifetime opportunity. Thus, Vanessa says a tearful goodbye to Dan and leaves, the couple planning on engaging in a long-distance relationship.
In the finale, while Vanessa is still in Haiti, Nate sends her a Gossip Girl blast that includes a picture of Dan and Serena in bed together, implying that Dan has cheated on her.
Season 4[edit]
Vanessa returns from Haiti to find Dan with Georgina. Suspecting a relationship between the two, Vanessa is shocked to discover that they are raising his son, Milo. Vanessa confronts Dan regarding Milo's paternity and realizes that Dan has kept his son's existence from his immediate family. Before Georgina leaves for an extended vacation, she answers a call from Vanessa, who tells her to pass a message to Dan that she will be there for him when he needs her. After meeting Juliet Sharp, Vanessa gets entangled in one of her schemes to break the love triangle between Dan, Nate and Serena, using Vanessa's feelings for Dan to sway him away from Serena. Vanessa later finds out that Dan does not feel the same way about her after sex but Dan comes forward to her and professes his love. With Dan's struggles in raising Milo increase, Vanessa offers her aid to raise him and moves in with him. Dan accepts but Georgina returns to take Milo from Dan. Vanessa unsuccessfully attempts to comfort Dan on losing his son but only succeeds in driving him towards Serena and avoid facing his problems. Dan lies about his whereabouts until Vanessa finds out that he will be arriving at a party with Serena. Realizing his mistake, Dan and Vanessa reconcile and resume their relationship. With Serena's enrollment in Columbia, Gossip Girl spreads a blast implying that Serena has a sexually transmitted disease, causing Vanessa and Juliet to panic considering that their respective partners have a sexual history with Serena. Hoping to confirm on whether or not Dan had slept with Serena and if he still had residual feelings for her, Vanessa and Juliet steal Serena's phone. Vanessa happily finds out that Dan loves her and discovers that Juliet was responsible for another blast against Serena, one stating that she was soliciting sex for grades. Fearing backlash against her, Juliet frames Vanessa for the blast, causing Vanessa to leave and effectively ending her relationship with Dan. In the aftermath of ruining Blair's 20th birthday, Vanessa listens to Dan's troubles, replying to his conclusion on the contagious scheming of the Upper East side by saying that they need rest and a good dose of Brooklyn.
Nate turns to Vanessa when he uncovers one of her lies and she accepts, knowing that helping Nate would clear her name. Distracting Juliet from returning to her apartment, Nate calls off their scheme when he finds out about Juliet's background but Vanessa sneaked in, finding pictures of Serena kissing her college professor, Colin. Vanessa confronts Juliet, hoping to recruit her in vindicating her name and exposing Serena but Juliet declines her offer, unaware that Vanessa took the pictures with her.
Following Charlie's mental breakdown at the Constance Billiard alumni party, Vanessa scouts out Dan's apartment to look for her but instead finds a novel that Dan has been working on and reads it. When Dan calls her if she found Charlie, Vanessa pours out her admiration for Dan's work and suggests that he publish it, further concluding that in the five years that he wrote the novel, she deduced Dan's secret desire to be a part of the Upper East side, one that even surpasses Jenny's from years ago. Dan had been reluctant to publish it, fearing backlash against his friends for writing a novel that satirizes them. Vanessa tells him to stop dropping everything for his friends and instead be a great person, stating that he was a better person before he met Serena. Dan angrily shoots back at her, saying that his life was better before she climbed into his fire escape years ago. Vanessa steals his manuscript and has it published. When asked where the money will be directed, Vanessa reveals that she will be living in Spain and that she'll make sure the money goes to the right place.
Season 6[edit]
Vanessa received an SMS which reveals that Dan was "Gossip Girl". Her cameo was filmed on the set of the Sex and The City prequel, The Carrie Diaries; the producers like to imagine that she was directing an episode.[7]
Reception[edit]
Originally set for a four or five-episode guest appearance, Yahoo! cites Szohr "who so clicked with viewers that producers eventually added her to series regular status." Szohr's performance even led her to making People magazine's famous yearly list of its "Most Beautiful People" in 2008.[1] Szohr's portrayal of Vanessa in the TV series has drawn criticism from Ziegesar, who claimed Vanessa is "one character they ruined", in response to the show's deviation from the novels where Vanessa is bald and often clothed in black.[4] TV Guide named her one of TV's Worst-Dressed Characters.[8]
Isabelle Carreau of TV Squad brushed off initial fans' dislike of the character when reviewing the second-season episode, The Dark Night, stating "I'm glad that, contrary to how most characters on GG react, Vanessa didn't scream, throw things, and pull hair when telling Nate how disappointed in him she is. Vanessa is not my favorite character, but she is slowly growing on me because of the calmness and maturity she can show.".[9]
Regarding the direction of her character as the show progressed to its fourth season, Vanessa received negative reviews from critics. Mark O. Estes from Tv Overmind was displeased with her character inconsistency that she displayed on the fourth-season episode, Gaslit, stating "even I can't speak up for her throwing Jenny under the bus the way she did." and further expressed disappointment that the show's writers are catering to fans' negative reception of Vanessa.[10] TV Guide heavily panned the character, describing her direction "from a borderline interesting counterpoint to all the glamour of her surroundings to a sniveling buttinsky with nothing better to do than meddle for the sole sake of spoiling everyone's fun.", laying out the possibility of her character leaving or becoming a villain.[11] On May 9, 2011, it was announced that Taylor Momsen and Jessica Szohr would not be back as series regulars for the fifth season of the show, although both have been invited back as guest stars.[12] Szohr left the show after discussing with producers on the direction of her character, having felt that her portrayal of Vanessa had run its course. "I had so much fun and I made friends I'll have for a lifetime and it was so great to work in the city, but I got the most I could out of Vanessa."[13]
References[edit]
^ Jump up to: a b "Jessica Szohr – Yahoo! TV". January 8, 2011.
Jump up ^ Ausiello, Michael (September 16, 2007). "Exclusive Girl Gossip: Brian Babe Joins Cast!". TV Guide. Retrieved 2010-09-03.
Jump up ^ Byrne, Fiona (November 20, 2007). "The Night We Met Vanessa From 'Gossip Girl' and Didn't Kill Her". New York Magazine. Retrieved 2010-10-25.
^ Jump up to: a b Tapper, Christina (January 8, 2011). "Gossip Girl Author Loves the Show, Hates Vanessa". People. Archived from the original on October 27, 2011.
Jump up ^ "Szohr's High School 'Very Different' From 'Gossip Girl' World". AOL News. Retrieved 2010-08-20. [permanent dead link]
Jump up ^ "Welcome Back, Gossip Girl". Vanity Fair. March 17, 2011. Archived from the original on March 1, 2011.
Jump up ^ http://uk.eonline.com/news/372400/gossip-girl-finale-dan-was-almost-revealed-in-episode-1-and-more-surprises-you-didn-t-know
Jump up ^ "TV's Worst-Dressed Characters". TV Guide. February 27, 2013. Retrieved April 13, 2013.
Jump up ^ Carreau, Isabelle (September 15, 2008). "Gossip Girl: The Dark Night". TV Squad. Retrieved July 27, 2010.
Jump up ^ Gossip Girl 4.10 “Gaslit” Review/Recap Archived February 12, 2011, at the Wayback Machine.. TV Overmind. December 1, 2010. Retrieved March 14, 2011.
Jump up ^ Holbrook, Damian (April 26, 2011). "Watercooler: Gossip Girl's Vanessa Needs to Go!". Retrieved April 30, 2011.
Jump up ^ Ausiello, Michael (May 9, 2011). "Gossip Girl Exclusive: Taylor Momsen and Jessica Szohr Not Returning For Season 5". TV Line.
Jump up ^ Gibson, Cristina (June 28, 2011). "Jessica Szohr on Leaving Gossip Girl: "I'm Ready for a Change"". E! Online.
[hide]
v
t
e
Gossip Girl
Episodes
Season 1
"Pilot"
"The Wild Brunch"
"Victor, Victrola"
"Hi, Society"
"The Thin Line Between Chuck and Nate"
"Desperately Seeking Serena"
"All About My Brother"
"Much 'I Do' About Nothing"
Season 2
"Summer, Kind of Wonderful"
"Never Been Marcused"
"The Dark Night"
"The Ex Files"
"The Serena Also Rises"
"Seder Anything"
"Valley Girls"
"The Goodbye Gossip Girl"
Season 3
"Reversals of Fortune"
"The Freshman"
"The Lost Boy"
"Enough About Eve"
"They Shoot Humphreys, Don't They?"
"The Last Days of Disco Stick"
"The Debarted"
"The Hurt Locket"
"Last Tango, Then Paris"
Season 4
"Belles de Jour"
"Double Identity"
"The Undergraduates"
"Touch of Eva"
"Easy J"
"Gaslit"
"The Townie"
"Petty in Pink"
"The Princesses and the Frog"
"The Wrong Goodbye"
Season 5
"Yes, Then Zero"
"All the Pretty Sources"
"Rhodes to Perdition"
"Riding in Town Cars with Boys"
"The End of the Affair?"
"Father and the Bride"
"G.G."
"The Backup Dan"
Season 6
"Gone Maybe Gone"
"New York, I Love You XOXO"
Characters
Serena van der Woodsen
Blair Waldorf
Dan Humphrey
Nate Archibald
Jenny Humphrey
Chuck Bass
Vanessa Abrams
Eric van der Woodsen
Lily van der Woodsen
Rufus Humphrey
Georgina Sparks
Juliet Sharp
Ivy Dickens
Lola Rhodes
Related
Gossip Girl novel series
The It Girl novel series
OMFGG – Original Music Featured on Gossip Girl No. 1
Gossip Girl: Acapulco
episodes
Gossip Girl: Thailand
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English alphabet
From Wikipedia, the free encyclopedia
Jump to: navigation, search
English alphabet
An English pangram displaying all the characters in context, in Dax Regular font.
Type
Logographic (non-phonetic ideographic) and alphabetic
Languages
English
Written English
Time period
~1500 to present
Parent systems
(Proto-writing)
Egyptian hieroglyphs
Proto-Sinaitic alphabet
Phoenician alphabet
Greek alphabet
Old Italic script
Latin alphabet
English alphabet
Child systems
ISO basic Latin alphabet
Cherokee syllabary (in part)
Scots alphabet
Osage alphabet
SENĆOŦEN alphabet
Numerous other Latin-based orthographies.
Direction
Left-to-right
ISO 15924
Latn, 215
Unicode alias
Latin
Unicode range
U+0000 to U+007E Basic Latin and punctuation
This article contains IPA phonetic symbols. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Unicode characters. For an introductory guide on IPA symbols, see Help:IPA.
The modern English alphabet is a Latin alphabet consisting of 26 letters, each having an uppercase and a lowercase form:
A a
B b
C c
D d
E e
F f
G g
H h
I i
J j
K k
L l
M m
N n
O o
P p
Q q
R r
S s
T t
U u
V v
W w
X x
Y y
Z z
The same letters constitute the ISO basic Latin alphabet.
The exact shape of printed letters varies depending on the typeface (and font). The shape of handwritten letters can differ significantly from the standard printed form (and between individuals), especially when written in cursive style.
Written English has a number[1] of digraphs, but they are not considered separate letters of the alphabet:
ch
ci
ck
gh
ng
ph
qu
rh
sc
sh
th
ti
wh
wr
zh
Some traditions[which?] also use two ligatures, æ and œ,[nb 1] or consider the ampersand (&) part of the alphabet.
Contents
[hide]
1 History
1.1 Old English
1.2 Modern English
1.3 Ligatures in recent usage
2 Proposed reforms
3 Diacritics
4 Letters
4.1 Etymology
4.2 Frequencies
4.3 Ampersand
4.4 Apostrophe
5 Phonology
6 See also
7 Notes
8 References
9 Further reading
History[edit]
See also: History of the Latin alphabet and English orthography
Old English[edit]
Main article: Old English Latin alphabet
The English language was first written in the Anglo-Saxon futhorc runic alphabet, in use from the 5th century. This alphabet was brought to what is now England, along with the proto-form of the language itself, by Anglo-Saxon settlers. Very few examples of this form of written Old English have survived, these being mostly short inscriptions or fragments.
The Latin script, introduced by Christian missionaries, began to replace the Anglo-Saxon futhorc from about the 7th century, although the two continued in parallel for some time. Futhorc influenced the emerging English alphabet by providing it with the letters thorn (Þ þ) and wynn (Ƿ ƿ). The letter eth (Ð ð) was later devised as a modification of dee (D d), and finally yogh (Ȝ ȝ) was created by Norman scribes from the insular g in Old English and Irish, and used alongside their Carolingian g.
The a-e ligature ash (Æ æ) was adopted as a letter in its own right, named after a futhorc rune æsc. In very early Old English the o-e ligature ethel (Œ œ) also appeared as a distinct letter, likewise named after a rune, œðel[citation needed]. Additionally, the v-v or u-u ligature double-u (W w) was in use.
In the year 1011, a monk named Byrhtferð recorded the traditional order of the Old English alphabet.[2] He listed the 24 letters of the Latin alphabet first (including ampersand), then 5 additional English letters, starting with the Tironian note ond (⁊), an insular symbol for and:
A B C D E F G H I K L M N O P Q R S T V X Y Z & ⁊ Ƿ Þ Ð Æ
Modern English[edit]
In the orthography of Modern English, thorn (þ), eth (ð), wynn (ƿ), yogh (ȝ), ash (æ), and ethel (œ) are obsolete. Latin borrowings reintroduced homographs of ash and ethel into Middle English and Early Modern English, though they are not considered to be the same letters[citation needed] but rather ligatures, and in any case are somewhat old-fashioned. Thorn and eth were both replaced by th, though thorn continued in existence for some time, its lowercase form gradually becoming graphically indistinguishable from the minuscule y in most handwriting. Y for th can still be seen in pseudo-archaisms such as "Ye Olde Booke Shoppe". The letters þ and ð are still used in present-day Icelandic while ð is still used in present-day Faroese. Wynn disappeared from English around the 14th century when it was supplanted by uu, which ultimately developed into the modern w. Yogh disappeared around the 15th century and was typically replaced by gh.
The letters u and j, as distinct from v and i, were introduced in the 16th century, and w assumed the status of an independent letter, so that the English alphabet is now considered to consist of the following 26 letters:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
The variant lowercase form long s (ſ) lasted into early modern English, and was used in non-final position up to the early 19th century.
Ligatures in recent usage[edit]
Outside of professional papers on specific subjects that traditionally use ligatures in loanwords, ligatures are seldom used in modern English.
The ligatures æ and œ were until the 19th century (slightly later in American English)[citation needed] used in formal writing for certain words of Greek or Latin origin, such as encyclopædia and cœlom, although such ligatures were not used in either classical Latin or ancient Greek. These are now usually rendered as "ae" and "oe" in all types of writing,[citation needed] although in American English, a lone e has mostly supplanted both (for example, encyclopedia for encyclopaedia, and maneuver for manoeuvre).
Some fonts for typesetting English contain commonly used ligatures, such as for ⟨tt⟩, ⟨fi⟩, ⟨fl⟩, ⟨ffi⟩, and ⟨ffl⟩. These are not independent letters, but rather allographs.
Proposed reforms[edit]
Alternative scripts have been proposed for written English – mostly extending or replacing the basic English alphabet – such as the Deseret alphabet, the Shavian alphabet, Gregg shorthand, etc.
Diacritics[edit]
Main article: English terms with diacritical marks
Diacritic marks mainly appear in loanwords such as naïve and façade. As such words become naturalised in English, there is a tendency to drop the diacritics, as has happened with old borrowings such as hôtel, from French. Informal English writing tends to omit diacritics because of their absence from the keyboard, while professional copywriters and typesetters tend to include them.[3] Words that are still perceived as foreign tend to retain them; for example, the only spelling of soupçon found in English dictionaries (the OED and others) uses the diacritic. Diacritics are also more likely to be retained where there would otherwise be confusion with another word (for example, résumé (or resumé) rather than resume), and, rarely, even added (as in maté, from Spanish yerba mate, but following the pattern of café, from French).
Occasionally, especially in older writing, diacritics are used to indicate the syllables of a word: cursed (verb) is pronounced with one syllable, while cursèd (adjective) is pronounced with two. È is used widely in poetry, e.g. in Shakespeare's sonnets. J.R.R. Tolkien uses ë, as in O wingëd crown. Similarly, while in chicken coop the letters -oo- represent a single vowel sound (a digraph), in obsolete spellings such as zoölogist and coöperation, they represent two. This use of the diaeresis is rarely seen, but persists into the 2000s in some publications, such as MIT Technology Review and The New Yorker.
An acute, grave, or diaeresis may also be placed over an "e" at the end of a word to indicate that it is not silent, as in saké. In general, these devices are often not used even where they would serve to alleviate some degree of confusion.
Letters[edit]
English alphabet
A Received Pronunciation British English speaker reciting the English alphabet
Problems playing this file? See media help.
The names of the letters are rarely spelled out, except when used in derivations or compound words (for example tee-shirt, deejay, emcee, okay, aitchless, etc.), derived forms (for example exed out, effing, to eff and blind, etc.), and in the names of objects named after letters (for example em (space) in printing and wye (junction) in railroading). The forms listed below are from the Oxford English Dictionary. Vowels stand for themselves, and consonants usually have the form consonant + ee or e + consonant (e.g. bee and ef). The exceptions are the letters aitch, jay, kay, cue, ar, ess (but es- in compounds ), double u, wye, and zed. Plurals of consonants end in -s (bees, efs, ems) or, in the cases of aitch, ess, and ex, in -es (aitches, esses, exes). Plurals of vowels end in -es (aes, ees, ies, oes, ues); these are rare. All letters may stand for themselves, generally in capitalized form (okay or OK, emcee or MC), and plurals may be based on these (aes or As, cees or Cs, etc.)
Letter
Name
Name pronunciation
Frequency
Modern English
Latin
Modern
English
Latin
Old French
Middle
English
A a ā /eɪ/, /æ/[nb 2] /aː/ /aː/ /aː/ 8.17%
B bee bē /biː/ /beː/ /beː/ /beː/ 1.49%
C cee cē /siː/ /keː/ /tʃeː/ > /tseː/ > /seː/ /seː/ 2.78%
D dee dē /diː/ /deː/ /deː/ /deː/ 4.25%
E e ē /iː/ /eː/ /eː/ /eː/ 12.70%
F ef (eff as a verb) ef /ɛf/ /ɛf/ /ɛf/ /ɛf/ 2.23%
G gee gē /dʒiː/ /ɡeː/ /dʒeː/ /dʒeː/ 2.02%
H aitch hā /eɪtʃ/ /haː/ > /ˈaha/ > /ˈakːa/ /ˈaːtʃə/ /aːtʃ/ 6.09%
haitch[nb 3] /heɪtʃ/
I i ī /aɪ/ /iː/ /iː/ /iː/ 6.97%
J jay – /dʒeɪ/ – – /ja:/ 0.15%
jy[nb 4] /dʒaɪ/
K kay kā /keɪ/ /kaː/ /kaː/ /kaː/ 0.77%
L el or ell el /ɛl/ /ɛl/ /ɛl/ /ɛl/ 4.03%
M em em /ɛm/ /ɛm/ /ɛm/ /ɛm/ 2.41%
N en en /ɛn/ /ɛn/ /ɛn/ /ɛn/ 6.75%
O o ō /oʊ/ /oː/ /oː/ /oː/ 7.51%
P pee pē /piː/ /peː/ /peː/ /peː/ 1.93%
Q cue[nb 5] qū /kjuː/ /kuː/ /kyː/ /kiw/ 0.10%
R ar er /ɑːr/ /ɛr/ /ɛr/ /ɛr/ > /ar/ 5.99%
or[nb 6] /ɔːr/
S ess (es-)[nb 7] es /ɛs/ /ɛs/ /ɛs/ /ɛs/ 6.33%
T tee tē /tiː/ /teː/ /teː/ /teː/ 9.06%
U u ū /juː/ /uː/ /yː/ /iw/ 2.76%
V vee – /viː/ – – – 0.98%
W double-u – /ˈdʌbəl.juː/[nb 8] – – – 2.36%
X ex ex /ɛks/ /ɛks/ /iks/ /ɛks/ 0.15%
ix /ɪks/
Y wy hȳ /waɪ/ /hyː/ ui, gui ? /wiː/ ? 1.97%
/iː/
ī graeca /iː ˈɡraɪka/ /iː ɡrɛːk/
Z zed[nb 9] zēta /zɛd/ /ˈzeːta/ /ˈzɛːdə/ /zɛd/ 0.07%
zee[nb 10] /ziː/
Etymology[edit]
The names of the letters are for the most part direct descendants, via French, of the Latin (and Etruscan) names. (See Latin alphabet: Origins.)
The regular phonological developments (in rough chronological order) are:
palatalization before front vowels of Latin /k/ successively to /tʃ/, /ts/, and finally to Middle French /s/. Affects C.
palatalization before front vowels of Latin /ɡ/ to Proto-Romance and Middle French /dʒ/. Affects G.
fronting of Latin /uː/ to Middle French /yː/, becoming Middle English /iw/ and then Modern English /juː/. Affects Q, U.
the inconsistent lowering of Middle English /ɛr/ to /ar/. Affects R.
the Great Vowel Shift, shifting all Middle English long vowels. Affects A, B, C, D, E, G, H, I, K, O, P, T, and presumably Y.
The novel forms are aitch, a regular development of Medieval Latin acca; jay, a new letter presumably vocalized like neighboring kay to avoid confusion with established gee (the other name, jy, was taken from French); vee, a new letter named by analogy with the majority; double-u, a new letter, self-explanatory (the name of Latin V was ū); wye, of obscure origin but with an antecedent in Old French wi; zee, an American leveling of zed by analogy with the majority; and izzard, from the Romance phrase i zed or i zeto "and Z" said when reciting the alphabet.
Some groups of letters, such as pee and bee, or em and en, are easily confused in speech, especially when heard over the telephone or a radio communications link. Spelling alphabets such as the ICAO spelling alphabet, used by aircraft pilots, police and others, are designed to eliminate this potential confusion by giving each letter a name that sounds quite different from any other.
Frequencies[edit]
Main article: Letter frequency
The letter most commonly used in English is E. The least used letter is Z. The frequencies shown in the table may differ in practice according to the type of text.[4]
Ampersand[edit]
The & has sometimes appeared at the end of the English alphabet, as in Byrhtferð's list of letters in 1011.[2] Historically, the figure is a ligature for the letters Et. In English and many other languages it is used to represent the word and and occasionally the Latin word et, as in the abbreviation &c (et cetera).
Apostrophe[edit]
The apostrophe, while not considered part of the English alphabet, is used to contract English words. A few pairs of words, such as its (belonging to it) and it's (it is or it has), were (form of 'to be') and we're (we are), and shed (to get rid of) and she'd (she would or she had) are distinguished in writing only by the presence or absence of an apostrophe. The apostrophe also distinguishes the possessive endings -'s and -s' from the common plural ending -s, a practice introduced in the 18th century; before, all three endings were written -s, which could lead to confusion (as in, the Apostles words).[5]
Phonology[edit]
Main article: English phonology
The letters A, E, I, O, and U are considered vowel letters, since (except when silent) they represent vowels; the remaining letters are considered consonant letters, since when not silent they generally represent consonants. However, Y commonly represents vowels as well as a consonant (e.g., "myth"), as very rarely does W (e.g., "cwm"). Conversely, U and I sometimes represent a consonant (e.g., "quiz" and "onion" respectively).
W and Y are sometimes referred as semivowels by linguists.
See also[edit]
Alphabet song
NATO phonetic alphabet
English orthography
English spelling reform
American manual alphabet
Two-handed manual alphabets
English braille
American braille
New York Point
Notes[edit]
Jump up ^ See also the section on Ligatures
Jump up ^ often in Hiberno-English, due to the letter's pronunciation in the Irish language
Jump up ^ mostly in Hiberno-English, sometimes in Australian English, usually in Indian English[citation needed] (although often considered incorrect)[citation needed], and also used in Malaysian English
Jump up ^ in Scottish English
Jump up ^ One of the few letter names not spelled with the letter in question. The spelling qu ~ que is obsolete, being attested from the 16th century.
Jump up ^ in Hiberno-English
Jump up ^ in compounds such as es-hook
Jump up ^ Especially in American English, the /l/ is often not pronounced in informal speech. (Merriam Webster's Collegiate Dictionary, 10th ed). Common colloquial pronunciations are /ˈdʌbəjuː/, /ˈdʌbəjə/, and /ˈdʌbjə/ (as in the nickname "Dubya"), especially in terms like www.
Jump up ^ in British English, Hiberno-English and Commonwealth English
Jump up ^ in American English
References[edit]
Jump up ^ "Digraphs (Phonics on the Web)". www.phonicsontheweb.com. Retrieved 2016-04-07.
^ Jump up to: a b Michael Everson, Evertype, Baldur Sigurðsson, Íslensk Málstöð, On the Status of the Latin Letter Þorn and of its Sorting Order
Jump up ^ "Dictionary.com definition". Retrieved 18 September 2016.
Jump up ^ Beker, Henry; Piper, Fred (1982). Cipher Systems: The Protection of Communications. Wiley-Interscience. p. 397. Table also available from Lewand, Robert (2000). Cryptological Mathematics. The Mathematical Association of America. p. 36. ISBN 978-0883857199. and "Archived copy". Archived from the original on 2008-07-08. Retrieved 2008-06-25.
Jump up ^ "Apostrophe Definition". dictionary.com. Retrieved 14 June 2015.
Further reading[edit]
Michael Rosen (2015). Alphabetical: How Every Letter Tells a Story. Counterpoint. ISBN 978-1619027022.
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text:
Ford Mustang (third generation)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Third generation
Overview
Manufacturer
Ford
Production
1979–1993[1]
Model years
1979–1993
Assembly
Dearborn, Michigan
San Jose, California
Metuchen, New Jersey
Valencia, Carabobo, Venezuela[2]
Designer
Jack Telnack (1976)[3]
Body and chassis
Class
Pony car
Body style
2-door convertible
2-door coupe
3-door hatchback
Layout
FR layout
Platform
Ford Fox platform
Related
Ford Fairmont
Ford LTD
Ford Thunderbird
Mercury Capri
Mercury Zephyr
Mercury Marquis
Mercury Cougar
Lincoln Continental
Lincoln Mark VII
Powertrain
Engine
2.3 L (140 cu in) 86 hp I4[4]
2.3 L (140 cu in) turbocharged I4
3.3 L (201 cu in) I6 85 hp
2.8 L (171 cu in) V6
3.8 L (232 cu in) Essex V6
4.2 L (256 cu in) V8
4.95 L (302 cu in) Windsor V8[4] (marketed as a "5.0" model)
Transmission
4 or 5-speed manual
3 or 4-speed automatic
Dimensions
Wheelbase
100.5 in (2,553 mm)
Length
179.6 in (4,562 mm)
Width
1987–1990: 69.1 in (1,755 mm)
1991–93: 68.3 in (1,735 mm)
Height
1987–1990: 52.1 in (1,323 mm)
1991–93 Coupe: 52 in (1,321 mm)
1991–93 Hatchback: 52.1 in (1,323 mm)
Chronology
Predecessor
Ford Mustang (second generation)
Successor
Ford Mustang (fourth generation)
Main article: Ford Mustang
The third-generation Mustang was produced by Ford from 1979 to 1993. Built on Ford’s Fox platform (and thus commonly referred to as the "Fox" or "Foxbody" Mustang), it evolved through a number of sub-models, trim levels, and drivetrain combinations during its production life. It underwent updates for 1987, and for a time seemed destined for replacement with a front-wheel drive Mazda platform. However, company executives were swayed by consumer opinion and the rear-wheel drive Mustang stayed, while the front wheel drive version became the Ford Probe. Enthusiasts group the generation into two segments: the 1979-1986 cars, with their quad headlight arrangement, and the 1987-1993 cars, with their aerodynamic composite headlamps and front fascia styling. Production ended with the introduction of the fourth-generation Mustang (SN-95) for the 1994 model year.
Contents
[hide]
1 1979–1982
2 1983–1986
2.1 Motorsport
2.2 In Mexico
3 Proposed replacement
4 1987–1993
5 References
1979–1982[edit]
The 1979 model year Mustang was based on the larger Fox platform that was initially developed for the Ford Fairmont and Mercury Zephyr twins that debuted in the 1978 model year. The larger body meant the interior offered more space for four passengers, especially in the back seat, as well as a larger capacity trunk and a bigger engine bay. Body styles included a coupe (notchback) and hatchback. Two trim levels were available and included the base model and the more luxurious Ghia model.
In addition to the base & Ghia trim levels, a Cobra appearance package also made its debut and would continue through both the 1980 & 1981 model years. The all-new 1979 Cobra (17,579 produced) featured black trim and grille area, chrome door handles, stainless steel lock sets and antenna, aluminum roof drip rail, body-colored sail panels, black lower body-side paint, color-coordinated dual pinstripes in the wraparound body-side moldings and bumper grooves, an optional snake decal for the hood and Cobra lettering on the doors. There was no rear spoiler on the 1979 models (except on the mid year introduction of the Indianapolis 500 Pace Car replicas). The 1980 Cobra (5,550 produced) and the 1981 Cobra (1,821 produced) received a mild makeover with a new front bumper and air dam (complete with fog lights), cowl-type hood scoop, and rear spoiler (all carried over from the earlier Pace Car replicas). Graphics included belt-line stripe, a hood decal, and "COBRA" decals on side-windows and the rear spoiler. Exterior trim was black, including the door handles, keylocks, antenna, and sail panels.
On May 27th, 1979, the all-new Mustang was chosen as the Official Pace Car of the Indianapolis 500. Ford commemorated this event with a mid-year addition "Indy 500" Pace Car model (10,478 produced). The two-tone Pewter and Black colors were complimented with Orange and Red graphics. The front end featured a unique front air dam with fog lights, and a full length cowl type hood scoop, while the rear end got the new for '79 rear spoiler (all of these additions carried over to both the '80 & '81 Cobra). The black interior featured Recaro seats with patterned Black and White inserts. Available were the 2.3 L Turbo with mandatory four-speed manual transmission or the 5.0 L V8 with either an overdrive 4-speed manual or three-speed automatic transmission. The production cars included a sunroof. However, the three actual pace cars were fitted with a T-roof by Cars & Concepts of Brighton, MI. The T-roof option would not become an available option until the 1981 model year.[4]
In 1982, the Cobra model was dropped in favor of the Mustang GT, which returned after 13 years. The new GT featured a re-engineered 157 hp (117 kW; 159 PS) 302 cu in (4.9 L) "5 Liter" engine with new valves, a more aggressive cam (from a 1973 351W Torino application), a larger twin-barrel carburetor, and a revised firing order, as well as a better breathing intake and exhaust system. The GT included the front air dam with fog lamps and the rear spoiler from the '79 Pace Car and the 1980 & 1981 Cobras. However, the full length hood scoop from those models did not carry over and the smaller 1979 Cobra hood scoop made its return on the GT. Only four colors were offered on the GT model and they consisted of Dark Red, Bright Red, Silver, and Black. As in many previous years, the 5.0 engine was not tied only to the performance flagship GT. It was available on lower trims, and also formed the basis for the "SSP" (Special Service Package) cars that were used by government and police law enforcement, and were almost exclusively ordered in the 2-door sedan bodystyle. The 4.2 Liter V8 was available for the last time on all Mustang models and only with an automatic transmission. Trim levels were also revised to now include the L (base), GL, and GLX under the GT model.
Engines for the 1979-1982 models included the 88 hp (66 kW) 2.3 L Pinto inline-four, 109 hp (81 kW) 2.8 L Cologne V6 (made by Ford of Germany), and the 140 hp (104 kW) 302 cu in (4.9 L) Windsor V8; which was marketed as a 5.0 L engine and front fenders badged as such. All were carried over from the Mustang II line. Shortly after the model year started an 85 hp (63 kW) 3.3 L straight-six engine was available. Supplies of the 2.8 L V6 proved inadequate leading to it being discontinued in late 1979. A new 132 hp (98 kW) 2.3 L turbo four-cylinder, debuted that offered similar horsepower to the V8. The automaker had plans this engine would usher in a new era in performance. The 2.3 and 2.3 turbo, as well as the V8 models could also be optioned with the newly developed TRX handling suspension that included Michelin 390mm tires and accompanying metric-sized wheels.
Following the second oil crisis in 1979, the 302 cu in (4.9 L) engine was dropped in favor of a new 255 cu in (4.2 L) V8 due to its better fuel economy. The 255 was the only V8 offered in 1980 and 1981. Basically a sleeved-down 302, it produced 120 hp (89 kW), the lowest power ever for a Mustang V8. The 255 was mated only with the three-speed automatic transmission. This meant the 2.3 L turbo was the sole "performance" engine. The turbo 2.3, plagued with reliability issues, was an option through 1981. It was dropped for 1982 in the United States, while remaining available in Canada. An improved version would return in the new-for-1983 Turbo GT. The Traction-Lok limited-slip differential was available for the first time in 1981, with all engine combinations. A five-speed manual option arrived late during the 1980 model year, originally only in the 2.3-liter four-cylinder engines.[5] The T-roof debuted in 1981.[5]
1983–1986[edit]
While most of the Mustang was carried over in late 1982 for 1983, there were some changes and improvements on the then five-year-old "Fox-platform" model. The front fascia was restyled with a more rounded nose and reshaped grill. New, wider horizontal taillights with dedicated amber turn signals replaced the vertical sectioned units. Ford added a convertible to the Mustang line for 1983, after a nine-year absence. The majority of the convertibles were equipped with the new 3.8 L V6 in GLX trim, though 993 GT models were also produced. The Mustang GT received a four-barrel carburetor and a new intake manifold, bringing power to 175 hp (130 kW). The turbocharged 2.3 L four-cylinder also returned, now fuel-injected, and producing 145 hp (108 kW). Turbo GT sales were hurt a higher base price than the 5.0, the lower performance, and the lack of available air conditioning with that powertrain. The 3.8 L Essex V6 replaced the 3.3 L I6, as the 3.3 L engine had little demand and was dropped after 1982.
For 1984, the GL and GLX were dropped, leaving L, LX, GT, Turbo GT, and a new addition, the SVO. Ford also recognized the 20th Anniversary of the Mustang with the GT350, essentially a limited run of GTs and Turbo GTs. 5,260 hatchback and convertible models were built, all trimmed with Oxford White exteriors and Canyon Red interiors. They featured red GT350 rocker stripes and tri-bar Pony emblems on the front fenders.
Two 302 V8s were available, a carbureted version (manual transmission cars), or a new 165 hp (123 kW) electronically fuel-injected engine (automatic-transmission cars). A new "Quadra-Shock" rear suspension, which replaced the slapper bars with horizontally mounted axle shocks, became available after a few months of production. After 1984, the TRX option was retired for the Mustang.
1984 Mustang SVO
The new Mustang SVO appeared first in 1984 and was produced through 1986. The 2.3 L turbocharged inline-four produced initially 175 hp (130 kW) for 1984, uprated to 205 hp (153 kW) beginning halfway through the 1985 model year, and ending with 200 hp (149 kW) for 1986. Four-wheel disc brakes, 16-inch wheels, and an SVO-specific bi-plane rear spoiler were a few of the differences between the SVO and the rest of the Mustang line. The unique front fascia featured an offset hood intake duct for the turbo intercooler and a grill-less nose with sunken single rectangular sealed beam headlamps, flush inboard parking lamps and wraparound outer turn signal lamps. The front end was intended to use flush aerodynamic composite headlamps with replaceable bulbs, but these had not been approved by the US DOT in time for production. Aero headlamps finally appeared on the 1985½ SVO.
For 1985, the front fascia was restyled with a grill-less nose with a horizontal air intake slot. The Mustang GT received new E5AE cylinder heads, a revised Holley four-barrel carburetor, a new and more aggressive roller camshaft (only in models with the manual transmission), less restrictive exhaust manifolds, and a pseudo-dual exhaust which brought more power to a conservatively rated 210 hp (157 kW) engine. This would be the last carbureted V8 in the Mustang. 1985 saw the departure of the L and Turbo GT, leaving the LX, GT, and SVO. For 1986, Ford released the first multiport fuel-injected 302 cu in (4.9 L) V8, rated at 200 hp (149 kW; 203 PS).
1986 Ford Mustang GT 5.0 T-top
In 1986, the Mustang GT saw drivetrain including a new 10.5" (from 10") clutch. The 7.5" rear-end was eliminated in V8 models and the SVO in favor of the stronger 8.8" rear-end, with the 7.5" relegated to the 2.3L and 3.8L applications. Central fuel injection was used on the non-turbo 2.3 in automatic versions, but was dropped the following year in favor of more efficient multi-port fuel injection. The federally-mandated center high-mounted brake light was mounted on the now-standard rear spoiler for hatchbacks, inside the bottom of the rear window of the notchback and on the rear edge the standard luggage rack on convertibles.
Motorsport[edit]
The Mustang became Ford's main challenger in the early years of Group A touring car racing in Europe and Australia. The Mustang, using the 4.9 L V8 engine, only saw a limited life as a contender in the various European championships, being replaced by 1985 by the turbocharged Ford Sierra XR4Ti. Australian Dick Johnson purchased two Mustangs built by the German Zakspeed team in mid-1984 for use through 1985 and 1986 Australian Touring Car seasons as Ford Australia did not homologate either the Australian built Ford XE Falcon or its replacement, the XF Falcon, for racing. Johnson had a race win in the Group A support race for the 1985 Australian Grand Prix, as well as several placings in the 1985 and 1986 Australian Touring Car Championships. The Mustang's competitive life in Group A came to an end at the end of 1986 and was replaced in 1987 by the European designed turbocharged Ford Sierra RS Cosworth.
In Mexico[edit]
1983 Ford Mustang Coupé, Mexican market version
In Mexico, the Ford Mustang had a hybrid appearance from 1981 until 1984, using some Mercury Capri body parts. 1981 and 1982 models received horizontally-ribbed Capri taillights, plus a Capri front fascia in '82/'83. The Capri "bubble" glass hatch was also used in 1983 and 1984 fastbacks (along with Capri taillights), although '84s had the regular Mustang front fascia. The model was then discontinued until it returned in 1994, during which time it was (sort of) replaced by the Thunderbird.
Proposed replacement[edit]
Main article: Ford Probe
Ford Probe
By the mid-1980s, Mustang sales were slumping. Sales were over 100,000 units a year, but were minimal compared to previous numbers. Ford believed that the Mustang had lost its place in the market. They subsequently announced that they would replace the rear-wheel drive Mustang with a Mazda-derived front-wheel-drive version. Mustang fans quickly responded and sent Ford hundreds of thousands of letters, asking them to save the rear-wheel drive Mustang. Ford responded by continuing production of the rear-wheel drive Mustang, and proceeded to rename the front-wheel-drive version as the Probe, which ended up being a replacement for the Escort-based Ford EXP.[6]
1987–1993[edit]
Ford Mustang 5.0 T-top
The 1987 Mustang received a facelift for both the interior and exterior. The exterior design was reminiscent of the earlier SVO and gave the car more of an "Aero" look, in keeping with Ford's overall styling direction. The interior received an all new dash, center console and revised seat and door trim. With the end of the 1986 SVO, the models were now pared down to LX and GT. Taillights on the LX were revised with clear lenses for the turn signals while the GT now wore a specific body-colored triple sectioned louvered treatment. Also for 1987, rear amber turn signals were discontinued on LX and GT models. The rear quarter glass windows lost their louvers and now sported a single larger flush piece of glass lettered with "Mustang" at the bottom rear corners. GTs featured new round fog lamps and gained aerodynamic lower bodyside skirting and new turbine style 15-inch (380 mm) wheels. The 302 cu in (4.9 L) 5.0L Mustangs became popular with the aftermarket performance industry.[7] The V6 option was discontinued while the 2.3 L four-cylinder gained fuel injection, leaving only the 2.3 L four-cylinder and the 302 cu in (4.9 L) V8.
V8-powered Mustangs received E7TE heads and forged aluminum pistons with valve reliefs, as opposed to the flat-tops used in the previous year.[8] The E7 cylinder heads were sourced from the truck line after the 1986 swirl-port design demonstrated performance problems. Power ratings increased to 225 hp (168 kW) and 300 ft·lbf (410 N·m) of torque. No major changes were seen for 1988, although the T-top roof option for hatchbacks was discontinued midyear. For 1989, the Mustang's speed density computer system was replaced with a mass air system (1988 Mustangs sold in California also had the MAF system). This change slightly reduced factory horsepower, but it made Mustangs much easier to modify. With the mass air system, changes made to the intake, engine, and exhaust system would be recognized and compensated for by the ECU, resulting in a correct air/fuel ratio and optimum power. A driver's-side airbag became standard starting in 1989 for 1990 models. Ford's only gesture at a 25th Anniversary Mustang was small, a passenger-side dashboard emblem with galloping-horse logo affixed to all models built between 27 March 1989, and the end of model-year 1990.[9]
In 1989, Ford resources began to focus on the next Mustang, due to debut in late 1993.[10] There would be few changes in the model line through its retirement in 1993. Most changes would be visual. For 1990, a limited run of 4,103 emerald green exterior/white leather interior/15 inch turbine wheels LX 5.0 convertibles were produced for a contest held by 7-Up, but the contest was cancelled at the last second but Ford sold the cars as is. Similarly, for 1992 and 1993, three special-edition LX 5.0 convertibles were released in the spring. These models had Vibrant Red exteriors with Oxford white leather interiors for 1992, Vibrant Yellow exterior with black or white leather interior, or Vibrant white exterior with white leather interior, for 1993.
The 1991 model year changes to the 2.3 L I4 engines included an increase in horsepower (from 88 to 105) due to a revised cylinder head with two spark plugs per cylinder.
With the end of the run near in 1992, Ford switched to cast hypereutectic pistons for all 302 cu in (4.9 L) engines and also re-rated the GT to 205 hp (153 kW) and 275 ft·lbf (373 N·m) of torque. This estimate was more accurate given the previous power ratings were made before the addition of the mass air flow system, minor revisions in the camshaft profile, and other various small changes made throughout the production run.
Under the newly established Ford SVT division, the 1993 Ford Mustang SVT Cobra was offered with the 302 cu in (4.9 L) V8 that produced 235 hp (175 kW) and 280 ft·lbf (380 N·m) of torque. Featuring more subdued styling than the GT, the Cobra used Ford's new GT-40 high-performance engine equipment. A Cobra R model was also produced for 1993 that used the same engine as the regular Cobra. It featured larger brakes, Koni shocks and struts, engine oil cooler, power steering cooler, and rear seat delete. Options such as air conditioning and a stereo system were not available on the Cobra R.
Production of the third generation Mustang concluded in September 1993. The 1993 Mustang was the first for a CD player to be optional from the factory. 1993 also marked the end of the "official" SSP Police/government Mustangs, though some agencies continued buying standard Mustangs for undercover or highway interceptor use.
References[edit]
Jump up ^ Leffingwell, Randy (2005). Mustang Forty Years. MBI Publishing. ISBN 9780760321836. Retrieved 3 April 2014.
Jump up ^ "1981 Ford Mustang "Sport" (VE)" (in Spanish). dkarros.com. Archived from the original on 10 July 2011. Retrieved 3 March 2016.
Jump up ^ Williams, Amie (23 October 2013). "The Fox-Body Mustang Evolution". Mustangandfords.com. Retrieved 3 March 2016.
^ Jump up to: a b c Automobile Club of Italy (1982). World Cars 1982. Herald Books. ISBN 978-0-910714-14-3.
^ Jump up to: a b Hogg, Tony (ed.). "1981 Buyer's Guide". Road & Track's Road Test Annual & Buyer's Guide 1981 (January–February 1981): 97.
Jump up ^ "History". Performance Probe Ford. 2005. Archived from the original on 7 February 2012. Retrieved 3 March 2016.
Jump up ^ Davis, Earl G.; Perkins-Davis, Diane E. (2004). 101 Projects for your Mustang 1964½-1973. Motorbooks International. ISBN 978-0-7603-1161-5.
Jump up ^ "1987-1993 Foxbody Mustang Engine Specifications". fiveohinfo.com. Retrieved 14 November 2012.
Jump up ^ Auto Editors of Consumer Guide (25 February 2007). "The Ford Mustang 25th Anniversary Celebration". auto.howstuffworks.com. Retrieved 3 March 2016.
Jump up ^ Farr, Donald (2013). Mustang: Fifty Years: Celebrating America's Only True Pony Car. Motorbooks. p. 127. ISBN 9780760343968. Retrieved 3 April 2014.
Media related to Ford Mustang III at Wikimedia Commons
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