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Rip Van Winkle
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For other uses, see Rip Van Winkle (disambiguation).
Statue of Rip Van Winkle in Irvington, New York, not far from Tarrytown, the location of Sunnyside, the home of its author Washington Irving
"Rip Van Winkle" is a short story by American author Washington Irving published in 1819. Written while Irving was living in Birmingham, England, it is part of a collection entitled The Sketch Book of Geoffrey Crayon, Gent. Although the story is set in New York's Catskill Mountains, Irving later admitted, "When I wrote the story, I had never been on the Catskills."[1] The story's title character is a Dutch-American villager living around the time of the American Revolutionary War.
Contents
[hide]
1 Summary
2 Characters
3 Composition and publication history
4 Themes and literary forerunners
5 Adaptations
5.1 Theater
5.2 Film
5.3 Music
5.4 Cartoons and animated films
5.5 Comics
5.6 Television
6 In popular culture
6.1 Architecture
6.2 Beverages
6.3 Literature
6.4 Music
7 See also
8 References
8.1 Citations
8.2 Sources
9 Further reading
10 External links
Summary[edit]
"Rip Van Winkle" is set in the years before and after the American Revolutionary War. In a pleasant village, at the foot of New York's Catskill Mountains, lives kindly Rip Van Winkle, a Dutch villager. Van Winkle enjoys solitary activities in the wilderness or hanging out at the inn with his friends. He is loved by all in the town, especially the children to whom he tells stories or for whom he repairs toys. However, he tends to shirk hard work, to his nagging wife's dismay, which has caused his home and farm to fall into disarray.
One autumn day, to escape his wife's nagging, Van Winkle wanders into the mountains with his dog, Wolf. Hearing his name called out, Van Winkle sees a man wearing antiquated Dutch clothing; he is carrying a keg up the mountain and requires help. Together, the men and Wolf proceed to a hollow in which Rip discovers the source of thunderous noises: a group of ornately dressed, silent, bearded men who are playing nine-pins.
Van Winkle does not ask who they are or how they know his name. Instead, he begins to drink some of their Jenever and soon falls asleep.
When he awakens on the mountain, Van Winkle discovers shocking changes: his musket is rotting and rusty, his beard is a foot long, and his dog is nowhere to be found. He returns to his village, where he recognizes no one.
Van Winkle returns just after an election, and people are asking how he voted. Never having cast a ballot in his life, Van Winkle proclaims himself a faithful subject of King George III, unaware that the American Revolution has taken place, and nearly gets himself into trouble with the townspeople until one elderly woman recognizes him as the long-lost Rip Van Winkle.
King George's portrait on the inn's sign has been replaced with one of George Washington. Van Winkle learns that most of his friends were killed fighting in the American Revolution. He is also disturbed to find another man called Rip Van Winkle; it is his son, now grown up. Van Winkle also discovers that his wife died some time ago but is not saddened by the news.
Van Winkle learns that the men he met in the mountains are rumored to be the ghosts of Hendrick (Henry) Hudson's crew, which had vanished long ago, and that he has been away from the village for at least 20 years. His grown daughter takes him in. He resumes his usual idleness, and his strange tale is solemnly taken to heart by the Dutch settlers, particularly by the children who say that whenever thunder is heard, the men in the mountains must be playing nine-pins. The henpecked husbands in the area often wish they could have a sip of Van Winkle's elixir to sleep through their own wives' nagging.
Characters[edit]
Name
Description
Rip Van Winkle A henpecked husband who loathes "profitable labor"; and a meek, easygoing, ne'er-do-well resident of the village who wanders off to the mountains and meets strange men playing nine-pins.
Dame Van Winkle Rip Van Winkle's cantankerous and nagging wife.
Rip Van Winkle, Jr. Rip Van Winkle's ne'er-do-well son.
Judith Gardenier Rip Van Winkle's married daughter; she takes her father in after he returns from his sleep.
Derrick Van Bummel The local schoolmaster who went on to serve in American Revolution as a flag officer and later a member of Congress.
Nicholas Vedder Landlord of the local inn where menfolk congregate.
Van Schaick The local parson.
Jonathan Doolittle Owner of the Union Hotel, the establishment that replaced the village inn.
Wolf Van Winkle's faithful dog, who does not recognize him when he wakes up.
Man carrying keg up the mountain The ghost of one of Henry Hudson's crew members.
Ninepin bowlers The ghosts of Henry Hudson's crewmen from his ship, the Half-Moon; they share purple magic liquor with Rip Van Winkle and play a game of nine-pins.
Brom Dutcher Van Winkle's neighbor who went off to war while Van Winkle was sleeping.
Old woman Woman who identifies Van Winkle when he returns to the village after his sleep.
Peter Vanderdonk The oldest resident of the village, who confirms Van Winkle's identity and cites evidence indicating Van Winkle's strange tale is true.
Mr. Gardenier Judith Gardenier's husband, a farmer and crabby villager.
Rip Van Winkle III Rip Van Winkle's infant grandchild; his mother is Judith Gardenier.
Composition and publication history[edit]
First installment of The Sketch Book of Geoffrey Crayon, Gent. included "Rip Van Winkle"
After a failed business venture with his brothers, Irving filed for bankruptcy in 1818.[2] Despondent, he turned to writing for possible financial support, although he had difficulty thinking of stories to write. He stayed in Birmingham, England with his brother-in-law Henry Van Wart.[3] The two were reminiscing in June 1818 when Irving was suddenly inspired by their nostalgic conversation.[4] Irving locked himself in his room and wrote non-stop all night. As he said, he felt like a man waking from a long sleep. He presented the first draft of "Rip Van Winkle" to the Van Wart family over breakfast.[5]
"Rip Van Winkle" was one of the first stories Irving proposed for his new book, The Sketch Book of Geoffrey Crayon, Gent. Irving asked his brother Ebeneezer to assist with publication in the United States. As Irving wrote, "I shall feel very anxious to hear of the success of this first re-appearance on the literary stage – Should it be successful, I trust I shall be able henceforth to keep up an occasional fire."[6] 2,000 copies of the first octavo-sized installment, which included "Rip Van Winkle", were released on June 23, 1819, in Baltimore, Boston, New York, and Philadelphia, published by Cornelius S. Van Winkle, and sold at a somewhat expensive 75 cents.[7] A British edition was published shortly afterward, by John Miller, who went out of business immediately thereafter. With help from his friend Walter Scott, Irving was able to convince John Murray to take over British publication of the Sketch Book.[8]
Themes and literary forerunners[edit]
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In the tenth chapter of his book Lives and Opinions of Eminent Philosophers, the third century AD Greek historian Diogenes Laertius relates the story of the legendary sage Epimenides of Knossos, who was said to have been a shepherd on the island of Krete. One day, Epimenides followed after a sheep that had wandered off and, after becoming tired, went into a cave under Mount Ida and fell asleep. When he woke back up, he continued searching for the sheep, but could not find it, so he returned to his father's farm, only to discover that it was under new ownership. He went home, only to discover that the people there did not know him. Finally, he encountered his younger brother, who had become an old man, and learned that he had been asleep in the cave for fifty-seven years. According to the different sources that Diogenes relates, Epimenides lived to be 154, 157, or 299 years old.[9] Multiple sources have identified the story of Epimenides as the earliest known variant of the "Rip Van Winkle" fairy tale.[10][11][12]
In Christian tradition, there is a similar, well-known story of "The Seven Sleepers of Ephesus", which recounts a group of early Christians who hid in a cave circa 250 AD, to escape the persecution of Christians during the reign of the Roman emperor Decius. They fell into a miraculous sleep and woke some 200 years later during the reign of Theodosius II, to discover that the city and the whole Empire had become Christian.[11] This Christian story is recounted by Islam and appears in a famous Sura of the Koran, Sura Al-Kahf. The version recalls a group of young monotheists escaping from persecution within a cave and emerging hundreds of years later.[13] Irving, who wrote a biography of Muhammad,[citation needed] may have been familiar with the story.
The story of "Rip Van Winkle" itself is widely thought to have been based off Johann Karl Christoph Nachtigal's German folktale "Peter Klaus",[11][4] which is a shorter story set in a German village. It tells of a goatherd named Peter Klaus who goes looking for a lost goat. He finds some men drinking in the woods and, after drinking some of their wine, he falls asleep. When he wakes back up, twenty years have passed.[4][14]
In many ways, the story is a classic European faerie tale of a man who is actually rewarded for helping the faeries move their barrel. They advance him to a time in life where he is free of his nagging wife and is now old enough for it be respectable for him to take it easy and play with children, working when he wants to instead of when he has to, supported by his loving, grown children.[citation needed] The theme of independence is also explored; the young Van Winkle lives in British America and is a subject of the King; the old Van Winkle awakes in a country independent of the Crown. On a personal level, the awakened Van Winkle has gained another form of "independence": being widowered from his shrewish wife.[citation needed]
In Orkney, there is a similar folktale linked to the burial mound of Salt Knowe, adjacent to the Ring of Brodgar. A drunken fiddler on his way home hears music from the mound. He finds a way in and finds the trowes (trolls) having a party. He stays and plays for two hours, then makes his way home to Stenness, where he discovers 50 years have passed. The Orkney Rangers believe this may be one source for Washington Irving's tale because his father was an Orcadian from the island of Shapinsay and would almost certainly have known the story.[citation needed]
In Ireland, the story of Niamh and Oisin has a similar theme. Oisin falls in love with the beautiful Niamh and leaves with her on her snow white horse, bound for Tir Na nOg – the land of the ever-young. Missing his family and friends, he asks to pay them a visit. Niamh lends him her horse, warning him never to dismount, and he travels back to Ireland. But 300 years have passed; his family and fellow warriors are all dead. When Oisin encounters some men trying to move a boulder, he reaches down to help them, the girth of the horse's saddle snaps, and he falls to the ground. Before the watching eyes of the men, he becomes a very, very old man.
Author Joe Gioia suggests the basic plot strongly resembles, and may have originated with, an upstate New York Seneca legend of a young squirrel hunter who encounters the mystic "Little People", and after a night with them returns to his village to find it overgrown by forest and everyone gone: that single night had lasted a year.[15]
The story is also similar to the ancient Jewish Talmudic[16] story about Honi the Circle-Maker (Honi M'agel), who falls asleep after asking a man why he is planting a carob tree which traditionally takes 70 years to mature, making it virtually impossible to ever benefit from the tree's fruit. After this exchange, Honi falls asleep on the ground, is miraculously covered by a rock, and remains out of sight for 70 years. When he awakens, he finds a fully mature tree and learns he has a grandson. When nobody believes that he is Honi, he prays to God, and God takes him from this world.
The story also bears some similarities to stories from east Asia, including the third century AD Chinese tale of "Ranka", as retold by Lionel Giles in A Gallery of Chinese Immortals, and the eighth-century Japanese tale "Urashima Tarō".[11] The Hindu story of Muchukunda from the Bhagavatam also displays many similarities to the story of "Rip Van Winkle".[17][18]
Adaptations[edit]
Joseph Jefferson as Rip Van Winkle (1896)
Classics Illustrated issue #12
The story has been adapted for other media for the last two centuries, in cartoons, films, stage plays, music, and other media.
Theater[edit]
Actor Joseph Jefferson performed various dramatizations of the character on the 19th-century stage.[19] He and Dion Boucicault wrote an adaptation[20] which opened in London in 1865[19] and on Broadway in 1866.[19][20]
Film[edit]
In 1896 Joseph Jefferson filmed a series of short films recreating scenes from his stage adaptations,[20] which are collectively in the U.S. National Film Registry.
Several other film adaptations have been produced.[20]
Music[edit]
In 1882 Robert Planquette and H.B. Farnie premiered a romantic opera adaptation.[20]
The 1960s Tale Spinners For Children record series included a dramatization of the "Rip Van Winkle" story.[citation needed]
Numerous modern songs have been written whose lyrics retell the story, including the 1961 song "Rip Van Winkle" by The Devotions, the 2006 song "Rip Van Winkle" by Witch, and "Kaatskill Serenade" by David Bromberg. In the Belle and Sebastian song "I Could Be Dreaming" an extract from "Rip Van Winkle" is read.
Cartoons and animated films[edit]
The cartoon, Have You Got Any Castles? (1938), depicts Rip Van Winkle trying to fall asleep in a cuckoo clock.
The animated short Popeye Meets Rip Van Winkle (1941) features a caricature of Harpo Marx playing the harp.[citation needed]
The story inspired an episode of The Flintstones entitled "Rip Van Flintstone", which originally aired on November 5, 1965.[21] In it, Fred falls asleep at the Slate Company picnic and dreams he has awakened 20 years in the future as an old man. He notices various changes to his town of Bedrock and to his friends. Fred remarks that, "Maybe I have fallen asleep for 20 years like in that Rip Van Winklestone story."
The story was parodied in an episode of the Laurel and Hardy cartoon series entitled "Flipped Van Winkles".
Rip Van Winkle (1978), a claymation version of the story produced and directed by Will Vinton, was nominated for an Academy Award for Best Animated Short Film.[22]
An episode of the HBO show Happily Ever After: Fairy Tales for Every Child gives a feminist retelling of the story as told from the point of view of Rip's wife Vanna. The adaptation, starring Tom Arnold and Calista Flockhart and co-narrated by Gloria Steinem, is set in the 1960s, where Rip is a heavy metal rocker who often neglects his wife and child.[20]
Comics[edit]
Issue 12 of Classics Illustrated retold the "Rip Van Winkle" story with various twists.
In the Carl Barks comic Rip Van Donald (1950), Donald Duck's nephews trick him into believing that he has been sleeping for 40 years, and has supposedly awakened in the then-future year of 1990. Donald expects to see a fabulous "futuristic" world, and the nephews must use various tricks to keep their prank going. Eventually Donald falls asleep and "returns" to 1950.
Disney's "Rip van Goofy" (February 1, 1966)[23] is a parody of "Rip Van Winkle", with Goofy portraying the character who sleeps for 20 years. When he awakens, no one remembers him except Mickey Mouse, once a child to whom Rip van Goofy told fantasy stories.
In a 1988 issue of Boys' Life, the Dink & Duff comic strip has the African-American Cub Scout Dink pondering the meaning of Americanism, only to lapse into a coma and awaken in 2068. A boy who addresses him as "Rip van Dinkle" explains that during the past 80 years the United States has been replaced by an authoritarian monarchy. Dink eventually awakens back in 1988.
Television[edit]
In the 16th episode of The Famous Adventures of Mr. Magoo (original airdate January 16, 1965), Mr. Magoo (voiced by Jim Backus) plays Rip Van Winkle.[20]
In the Faerie Tale Theatre children's television series, Francis Ford Coppola directed the 1987 episode "Rip Van Winkle" in which actor Harry Dean Stanton played the title role.[20]
Tales of Washington Irving, a one-hour animated television special from 1970, presented adaptations of "The Legend of Sleepy Hollow" and "Rip Van Winkle".[20]
The TV show Wishbone showed the dog imagining himself as the title character, complete with the men playing nine-pins and his mistaking the George Washington Inn for his old hangout, the King George Inn.[24][25]
In popular culture[edit]
Architecture[edit]
The Rip Van Winkle Bridge spans the Hudson River near Catskill, New York.
Beverages[edit]
Old Rip Van Winkle is a brand of Kentucky Straight Bourbon whiskey produced by the Sazerac Company.
Pappy Van Winkle's Family Reserve is the flagship brand of Bourbon whiskey owned by the "Old Rip Van Winkle Distillery" company, actually distilled and bottled by the Sazerac Company.
Literature[edit]
A character in the novel Darkness at Noon (1940) is nicknamed Rip Van Winkle because he spent 20 years imprisoned in solitary confinement.
Music[edit]
The American composer George Whitefield Chadwick wrote a concert overture entitled Rip Van Winkle in 1879, when he was a student in Leipzig.
Composer Ferde Grofe spent 20 years working on a symphonic tone poem based on "Rip Van Winkle", eventually reworking the material into his Hudson River Suite. One of the movements is entitled "Rip Van Winkle".
See also[edit]
Rip Van Wink from The Beano
References[edit]
Citations[edit]
Jump up ^ Pierre M. Irving, The Life and Letters of Washington Irving, G. P. Putnam's Sons, 1883, vol. 2, p. 176.
Jump up ^ Burstein, Andrew (2007). The Original Knickerbocker: The Life of Washington Irving. New York: Basic Books. p. 117. ISBN 978-0-465-00853-7.
Jump up ^ Jones, Brian Jay (2008). Washington Irving: An American Original. New York: Arcade Books. p. 168. ISBN 978-1-55970-836-4.
^ Jump up to: a b c Burstein, Andrew (2007). The Original Knickerbocker: The Life of Washington Irving. New York: Basic Books. p. 125. ISBN 978-0-465-00853-7.
Jump up ^ Jones, Brian Jay (2008). Washington Irving: An American Original. New York: Arcade Books. pp. 168–169. ISBN 978-1-55970-836-4.
Jump up ^ Burstein, Andrew (2007). The Original Knickerbocker: The Life of Washington Irving. New York: Basic Books. p. 120. ISBN 978-0-465-00853-7.
Jump up ^ Jones, Brian Jay (2008). Washington Irving: An American Original. New York: Arcade Books. pp. 177–178. ISBN 978-1-55970-836-4.
Jump up ^ Burstein, Andrew (2007). The Original Knickerbocker: The Life of Washington Irving. New York: Basic Books. pp. 149–150. ISBN 978-0-465-00853-7.
Jump up ^ Laertius, Diogenes & Hick, R.D. (translator) (1972). Lives of Eminent Philosophers: Books I-V. Cambridge: Harvard. p. 115. CS1 maint: Multiple names: authors list (link)
Jump up ^ Welch, Deshler (9 May 1887). The Theater. 3. New York City, New York: Theatre Publishing Company. p. 139. Retrieved 21 June 2017.
^ Jump up to: a b c d Thorn, John. "Saint Rip". nyfolklore.org. Voices: The Journal of New York Folklore. Retrieved 21 June 2017.
Jump up ^ Bates, Alfred (1906). The Drama; Its History, Literature and Influence on Civilization: American Drama. 20. London, England: Historical Publishing Company. p. 121. Retrieved 21 June 2017.
Jump up ^ "Surat Al-Kahf (18:9-26)". The Holy Qur'an – القرآن الكريم.
Jump up ^ A translation of the tale is available on Wikisource: Peter the Goatherd.
Jump up ^ Gioia, Joe (2013). The Guitar and the New World: A Fugitive History. State University of New York Press. pp. 188–191. ISBN 978-1-4384-4617-2. The story of the young hunter and the Great Little People, whose single night is that of a human year, became Irving's satire on progress and a portrait of the fundamental strangeness of change.
Jump up ^ Babylonian Talmud Taanit 23a Hebrew/Aramaic text at Mechon-Mamre
Jump up ^ "Muchukunda". Mythfolklore.net. October 16, 2007. Retrieved October 30, 2013.
Jump up ^ "Srimad Bhagavatam Canto 10 Chapter 51". Vedabase.net. Retrieved 2013-10-30.
^ Jump up to: a b c Jefferson, Joseph; Boucicault, Dion (1895). Rip Van Winkle (Introduction). Dodd, Mead and Company. pp. 401–403. Retrieved 23 May 2017.
^ Jump up to: a b c d e f g h i Hischak, Thomas S. (2012). American Literature on Stage and Screen. Jefferson, North Carolina: McFarland and Company. pp. 197–198. Retrieved 23 May 2017.
Jump up ^ "IMDb Pro : Rip Van Flintstone Business Details". pro.imdb.com. July 27, 2007. Retrieved October 30, 2013.
Jump up ^ "Will Vinton's Personal Website". Willvinton.net. Retrieved 2013-10-30.
Jump up ^ "Rip van Goofy". Walt Disney's Comics and Stories (5). Gold Key. 26 (305). February 1, 1966.
Jump up ^ Moore, Scott (November 5, 1995). "In Dogged Pursuit of Literacy". The Washington Post. Retrieved 26 March 2017.
Jump up ^ Mendoza, Manuel (October 8, 1995). "Tales Wag `Wishbone' To Lure Kids To Classics". The Sun Sentinel. Retrieved 26 March 2017.
Sources[edit]
Irving, Washington & Wyeth, N.C. (illustrator) (1921). Rip Van Winkle (e-book ed.). CS1 maint: Uses authors parameter (link) at the Internet Archive
Irving, Washington. Rip Van Winkle. Bartleby (e-book ed.).
Irving, Washington (1946). Rip Van Winkle. KiddieRecords (Audiobook ed.).
Rip Van Winkle (film ed.). 1896. at the Internet Archive
'Karl Katz', a comparison. Internet Archive. Archived from the original on 2009-10-28. CS1 maint: BOT: original-url status unknown (link)
Irving, Washington (1948). Rip Van Winkle (Radio adaptation ed.). Theatre Guild on the Air. Internet Archive
Further reading[edit]
"'Rip Van Winkle' and 'The Legend of Sleepy Hollow' – Irving's Fictions of Revolution". cowbeech.force9.co.uk.
"'Rip Van Winkle' Study Guide". Cummings Study Guides.
"Washington Irving in Birmingham". Birmingham.gov.uk.
External links[edit]
The full text of Rip Van Winkle at Wikisource
Media related to Rip Van Winkle at Wikimedia Commons
Rip Van Winkle public domain audiobook at LibriVox
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text:
Baby, I Love Your Way
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Baby, I Love Your Way (Live)"
Single cover
Single by Peter Frampton
from the album Frampton
B-side
"It's a Plain Shame"
Released
September 1975
Format
7"
Recorded
1975
Genre
Reggae rock, soft rock[1]
Length
4:43
3:31 (7" version)
Label
A&M 1832
Songwriter(s)
Peter Frampton
Producer(s)
Peter Frampton
Peter Frampton singles chronology
"Show Me the Way (live)"
(1975) "Baby, I Love Your Way (Live)"
(1975) "Do You Feel Like We Do (live)"
(1976)
"Show Me the Way (live)"
(1975) "Baby, I Love Your Way (live)"
(1975) "Do You Feel Like We Do (live)"
(1976)
"Baby, I Love Your Way" is a song written and performed by English singer Peter Frampton. It was released in September 1975 and was first featured on Frampton's 1975 album, Frampton. The song segues from the previous track "Nassau".
A live version of the song was later released on his 1976 multi-platinum album Frampton Comes Alive!, where it gained popularity as a hit song, peaking at number 12 on the US Billboard Hot 100 chart.[2] It also reached number three in Canada.
Contents
[hide]
1 Track listing
2 Chart performance
2.1 Weekly charts
2.2 Year-end charts
3 Big Mountain version
3.1 Critical reception
3.2 Track listing
3.3 Music video
3.4 Chart performance (Big Mountain version)
3.4.1 Weekly charts
3.4.2 Year-end charts
4 Other cover versions
5 References
6 External links
Track listing[edit]
7" single – United States (1975)
"Baby, I Love Your Way" – 3:17 (edited from the LP version that runs 4:43)
"(I'll Give You) Money" – 4:35
7" single – United States (1976)
"Baby, I Love Your Way" – 3:28 (edited from the LP version that runs 4:43)
"It's a Plain Shame" – 4:21
Chart performance[edit]
Weekly charts[edit]
Chart (1975–76)
Peak
position
Australia (KMR)[3] 65
Brazil (IBOPE)[4] 8
Canada (RPM)[5] 3
Ireland (IRMA)[6] 14
New Zealand (RIANZ)[7] 27
United Kingdom (The Official Charts Company) 43
US Billboard Hot 100[8] 12
US Billboard Adult Contemporary[9] 28
Year-end charts[edit]
Chart (1976)
Rank
Canada[10] 47
US Billboard Hot 100[11] 89
US Cash Box[12] 99
Big Mountain version[edit]
"Baby, I Love Your Way"
Single by Big Mountain
from the album Unity
Released
February 1, 1994
Format
CD single, 7"
Recorded
1993
Genre
Reggae fusion
Length
4:28 (Radio version)
Label
RCA
Songwriter(s)
Peter Frampton
Big Mountain singles chronology
"Reggae Inna Summertime"
(1993) "Baby, I Love Your Way"
(1994) "I Would Find a Way"
(1995)
"Reggae Inna Summertime"
(1993) "Baby, I Love Your Way"
(1994) "I Would Find a Way"
(1995)
The song was covered by the American reggae/pop band Big Mountain in 1994, reaching number 6 on the Billboard Hot 100 chart[2] and number 2 on the UK Singles Chart (being kept off the top spot by "Love is All Around" by Wet Wet Wet). Their version achieved major worldwide success, reaching the top ten in many countries across Europe. Their version is featured on the soundtrack for the 1994 movie Reality Bites. In the film itself, Michael Grates (played by Ben Stiller) explains that he used to listen to the Frampton song a lot.[citation needed] This version was also played during the 2017 film Jumanji: Welcome to the Jungle during two fight sequences.
Critical reception[edit]
Billboard magazine reviewed the song favorably, calling it an "earthy rendition" which is "right in the pocket of current trends."[13]
Track listing[edit]
CD single – Europe (1994)
"Baby, I Love Your Way" – 4:28
"Baby, I Love Your Way" (6 Point 6 on the Richter Scale Mix) – 6:54
"Baby, te quiero a tí" – 4:40
Music video[edit]
The video was directed by Matti Leshem and premiered in April 1994.[14]
Chart performance (Big Mountain version)[edit]
Weekly charts[edit]
Chart (1994–1995)
Peak
position
Australia (ARIA)[15] 4
Austria (Ö3 Austria Top 40)[16] 4
Belgium (Ultratop 50 Flanders)[17] 7
Canada Top Singles (RPM)[18] 2
Denmark (IFPI)[19] 1
Europe (Eurochart Hot 100)[20] 1
Finland (Suomen virallinen lista)[21] 13
France (SNEP)[22] 7
Germany (Media Control Charts)[23] 9
Ireland (IRMA)[24] 7
Netherlands (Dutch Top 40)[25] 4
New Zealand (Recorded Music NZ)[26] 4
Norway (VG-lista)[27] 6
Spain (AFYVE)[28] 1
Sweden (Sverigetopplistan)[29] 1
Switzerland (Schweizer Hitparade)[30] 2
UK Singles (The Official Charts Company)[31] 2
US Billboard Hot 100 6
US Billboard Hot Adult Contemporary Tracks 10
Year-end charts[edit]
Chart (1994)
Position
Canada Top Singles (RPM)[32] 28
New Zealand (Recorded Music NZ)[33] 18
U.S. Billboard Hot 100[34] 21
Other cover versions[edit]
The American dance-pop group Will to Power created a medley of Frampton's song and the 1975 Lynyrd Skynyrd hit, "Free Bird", in 1988. Titled "Baby, I Love Your Way/Freebird Medley", this version spent one week at #1 on the Billboard Hot 100 chart.[2]
References[edit]
Jump up ^ "VH1's 40 Most Softsational Soft-Rock Songs". Stereogum. SpinMedia. 31 May 2007. Retrieved 2016-07-31.
^ Jump up to: a b c Whitburn, Joel (2004). The Billboard Book of Top 40 Hits, 8th Edition (Billboard Publications)
Jump up ^ "Forum - 1970 (ARIA Charts: Special Occasion Charts)". australian-charts.com. Retrieved 2016-12-15.
Jump up ^ Billboard. Books.google.com. 1977-04-09. p. 81. Retrieved 2016-10-11.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-10-11.
Jump up ^ "The Irish Charts - All there is to know". Irishcharts.ie. Archived from the original on 2009-06-03. Retrieved 2016-10-11.
Jump up ^ Steffen Hung. "Peter Frampton - Baby, I Love Your Way". Lescharts.com. Archived from the original on 2016-10-12. Retrieved 2016-10-11.
Jump up ^ Steve Huey. "Peter Frampton". AllMusic.
Jump up ^ Whitburn, Joel (1993). Top Adult Contemporary: 1961–1993. Record Research. p. 91.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-10-11.
Jump up ^ "Top 100 Hits of 1976/Top 100 Songs of 1976". Musicoutfitters.com. Retrieved 2016-10-11.
Jump up ^ "Archived copy". Archived from the original on 2014-10-21. Retrieved 2016-06-05.
Jump up ^ Billboard, March 5, 1994 - page 59
Jump up ^ Big Mountain - Baby I Love Your Way | mvdbase.com
Jump up ^ "Australian-charts.com – Big Mountain – Baby, I Love Your Way". ARIA Top 50 Singles.
Jump up ^ "Austriancharts.at – Big Mountain – Baby, I Love Your Way" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – Big Mountain – Baby, I Love Your Way" (in Dutch). Ultratop 50.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-10-11.
Jump up ^ Billboard. July 23, 1994. Retrieved 2010-12-01.
Jump up ^ "Billboard - Google Books". Books.google.com. 1994-07-23. Retrieved 2016-10-11.
Jump up ^ Pennanen, Timo (2006). Sisältää hitin - levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1st ed.). Helsinki: Tammi. ISBN 978-951-1-21053-5.
Jump up ^ "Lescharts.com – Big Mountain – Baby, I Love Your Way" (in French). Les classement single.
Jump up ^ "Die ganze Musik im Internet: Charts". Musicline.de. Retrieved 2016-10-11.
Jump up ^ Jaclyn Ward. "The Irish Charts - All there is to know". Irishcharts.ie. Archived from the original on 2009-06-03. Retrieved 2016-10-11.
Jump up ^ "Nederlandse Top 40 – Big Mountain" (in Dutch). Dutch Top 40.
Jump up ^ "Charts.org.nz – Big Mountain – Baby, I Love Your Way". Top 40 Singles.
Jump up ^ "Norwegiancharts.com – Big Mountain – Baby, I Love Your Way". VG-lista.
Jump up ^ Billboard. Books.google.com. 1994-07-23. Retrieved 2016-10-11.
Jump up ^ "Swedishcharts.com – Big Mountain – Baby, I Love Your Way". Singles Top 100.
Jump up ^ "Swisscharts.com – Big Mountain – Baby, I Love Your Way". Swiss Singles Chart.
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 57. ISBN 1-904994-10-5.
Jump up ^ "RPM 100 Hit Tracks of 1994". RPM. Retrieved November 23, 2017.
Jump up ^ "End of Year Charts 1994". Recorded Music NZ. Retrieved December 3, 2017.
Jump up ^ "Billboard Top 100 Hits for 1994". Retrieved December 3, 2017.
External links[edit]
Lyrics of this song at MetroLyrics
[hide]
v
t
e
Peter Frampton
Studio albums
Wind of Change
Frampton's Camel
Somethin's Happening
Frampton
I'm in You
Where I Should Be
Breaking All the Rules
The Art of Control
Premonition
When All the Pieces Fit
Peter Frampton
Now
Fingerprints
Thank You Mr. Churchill
Extended plays
Rise Up
Live albums
Frampton Comes Alive!
Frampton Comes Alive! II
Singles
"Show Me the Way"
"Baby, I Love Your Way"
"Do You Feel Like We Do"
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"Signed, Sealed, Delivered I'm Yours"
Related articles
Discography
The Herd
Humble Pie
Mia Rose Frampton
Bob Mayo
John Siomos
Retrieved from "https://en.wikipedia.org/w/index.php?title=Baby,_I_Love_Your_Way&oldid=817775670"
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text:
Overdrive (mechanics)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
For other uses, see Overdrive.
This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (May 2012)
An overdrive is sometimes a separate unit that fits into the back of a gearbox, as with this Fairey unit. A plate warns to only engage the unit in third and fourth gears.
Gearbox without electro-hydraulic operated overdrive. (Note the thin tail end under the gearshift lever)
The same gearbox with electro-hydraulic operated overdrive. (note the extra gear housing being built instead of the thin tail end.)
Laycock de Normanville "J type" Overdrive Unit.
Overdrive is a term used to describe the operation of an automobile cruising at sustained speed with reduced engine revolutions per minute (RPM), leading to better fuel consumption, lower noise, and lower wear.[1] Use of the term is confused, as it is applied to several different, but related, meanings.[1]
The most fundamental meaning is that of an overall gear ratio between engine and wheels, such that the car is over-geared, and cannot reach its potential top speed, i.e. the car could travel faster if it were in a lower gear, with the engine turning at higher RPM.[1]
The purpose of such a gear may not be immediately obvious. The power produced by an engine increases with the engine's RPM to a maximum, then falls away. The point of maximum power is somewhat lower than the absolute maximum RPM to which the engine is limited, the "redline" RPM. A car's speed is limited by the power required to drive it against air resistance, which increases with speed. At the maximum possible speed, the engine is running at its point of maximum power, or power peak, and the car is traveling at the speed where air resistance equals that maximum power. There is therefore one specific gear ratio at which the car can achieve its maximum speed: the one that matches that engine speed with that travel speed.[1] At travel speeds below this maximum, there is a range of gear ratios that can match engine power to air resistance, and the most fuel efficient is the one that results in the lowest engine speed. Therefore, a car needs one gearing to reach maximum speed but another to reach maximum fuel efficiency at a lower speed.
With the early development of cars and the almost universal rear-wheel drive layout, the final drive (i.e. rear axle) ratio for fast cars was chosen to give the ratio for maximum speed. The gearbox was designed so that, for efficiency, the fastest ratio would be a "direct-drive" or "straight-through" 1:1 ratio, avoiding frictional losses in the gears. Achieving an overdriven ratio for cruising thus required a gearbox ratio even higher than this, i.e. the gearbox output shaft rotating faster than the engine. The propeller shaft linking gearbox and rear axle is thus overdriven, and a transmission capable of doing this became termed an "overdrive" transmission.[1]
The device for achieving an overdrive transmission was usually a small separate gearbox, attached to the rear of the main gearbox and controlled by its own shift lever.[1] These were often optional on some models of the same car.
As popular cars became faster relative to legal limits and fuel costs became more important, particularly after the 1973 oil crisis, the use of 5-speed gearboxes became more common in mass-market cars. These had a direct (1:1) fourth gear with an overdrive 5th gear, replacing the need for the separate overdrive gearbox.[1]
With the popularity of front wheel drive cars, the separate gearbox and final drive have merged into a single transaxle. There is no longer a propeller shaft and so one meaning of "overdrive" can no longer be applied. However the fundamental meaning, that of an overall ratio higher than the ratio for maximum speed, still applies.[1] Although the deliberate labelling of an overdrive is now rare, the underlying feature is now found across all cars.
Contents
[hide]
1 Description
1.1 Background
1.2 Gearbox vs. final drive
1.3 Overdrive
2 Usage
3 How an overdrive unit works
4 In Europe
5 In North America
6 Fuel economy and drivetrain wear
7 References
8 External links
Description[edit]
Background[edit]
The power needed to propel a car at any given set of conditions and speed is straightforward to calculate, based primarily on the total weight and the vehicle's speed. These produce two primary forces slowing the car: rolling resistance and air drag. The former varies roughly with the speed of the vehicle, while the latter varies with the square of the speed. Calculating these from first principles is generally difficult due to a variety of real-world factors, so this is often measured directly in wind tunnels and similar systems.
The power produced by an engine increases with the engine's RPM to a maximum, then falls away. This is known as the point of maximum power. Given a curve describing the overall drag on the vehicle, it is simple to find the speed at which the total drag forces are the same as the maximum power of the engine. This defines the maximum speed the vehicle is able to reach. The rotational speed of the wheels for that given forward speed is simple to calculate, it is simply the tyre circumference multiplied by the RPM.[N 1] As the tire RPM at maximum speed is not the same as the engine RPM at that power, a transmission is used with a gear ratio to convert one to the other.[1][N 2]
At even slightly lower speeds than maximum, the total drag on the vehicle is considerably less, and the engine needs to deliver this greatly reduced amount of power. In this case the RPM of the engine has changed significantly while the RPM of the wheels has changed very little. Clearly this condition calls for a different gear ratio. If one is not supplied, the engine is forced to run at a higher RPM than optimal. As the engine requires more power to overcome internal friction at higher RPM, this means more fuel is used simply to keep the engine running at this speed. Every cycle of the engine leads to wear, so keeping the engine at higher RPM is also unfavorable for engine life. Additionally, the sound of an engine is strongly related to the RPM, so running at lower RPM is generally quieter.[1]
If one runs the same RPM transmission exercise outlined above for maximum speed, but instead sets the "maximum speed" to that of highway cruising, the output is a higher gear ratio that provides ideal fuel mileage. In an era when cars were not able to travel very fast, the maximum power point might be near enough to the desired speed that additional gears were not needed. But as more powerful cars appeared, especially during the 1960s, this disparity between the maximum power point and desired speed grew considerably. This meant that cars were often operating far from their most efficient point. As the desire for better fuel economy grew, especially after the 1973 oil crisis, the need for a "cruising gear" became more pressing.[1]
Gearbox vs. final drive[edit]
The obvious solution to this problem would be to add more gears to the transmission. Indeed, in modern vehicles this is common. However, due to historical particularities, this was not always practical.
In the conventional rear-wheel drive layout, the transmission system normally contained two sections, the "gearbox" or "transmission" mounted behind the engine, and the "final drive" mounted in the rear axle at the rear of the car. The reason for this separation of duties between the front and back of the car was to allow the drive shaft to run at lower torque, by using higher RPM. As power is the product of RPM and torque, running the shaft at higher RPM allowed more power to be transferred at lower torque. Doing so reduced the torque the driveshaft had to carry, and thus the strength and weight it required.
Although the designer was theoretically free to choose any ratio for the gearbox and final drive, there is one additional consideration which meant that the top gear of most gearboxes was 1:1 or "direct drive". This is chosen for efficiency, as it does not require any gears to transmit power and so reduces the power lost by them. This was particularly important in the early days of cars, as their straight-cut gears were poorly finished, noisy and inefficient. The final drive then took this output and adjusted it in a fixed-ratio transmission arrangement that was much simpler to build. Final drive ratios of 4:1 were common,[N 3] meaning that the wheels would turn at one fourth the rate they would if directly connected to the engine.
Overdrive[edit]
In an era when different models of car with different wheel sizes could be accommodated by simply changing the final drive ratio, it made sense for all transmissions to use direct drive as the highest gear. As noted earlier, however, this would cause the engine to operate at too high an RPM for efficient cruising. Although adding the cruising gear to the main gearbox was possible, it was generally simpler to add a separate two-gear overdrive system to the existing gearbox. This not only meant that it could be tuned for different vehicles, but had the additional advantage that it could be offered as an easily installed option.
With the use of front-wheel drive layouts, the gearbox and final drive are combined into a single transaxle. There is no longer a drive shaft between them and so the notion of "direct drive" isn't applicable. Although "overdrive" is still referred to, this is now mostly a marketing term to refer to any extra-high ratio for efficient cruising, whether it is achieved through the gearbox ratios, or by an unusually high final drive.[N 4]
Usage[edit]
Generally speaking, overdrive is the highest gear in the transmission. Overdrive allows the engine to operate at a lower RPM for a given road speed. This allows the vehicle to achieve better fuel efficiency, and often quieter operation on the highway. When it is switched on, an automatic transmission can shift into overdrive mode after a certain speed is reached (usually 70+ km/h [40-45 mph or more] depending on the load). When it is off, the automatic transmission shifting is limited to the lower gears. Overdrive should usually be selected when the average speed is above 70 km/h (40-45 mph).
Dashboard indicator for overdrive (automatic vehicle, manufactured 2000)
The automatic transmission automatically shifts from OD to direct drive when more load is present. When less load is present, it shifts back to OD. Under certain conditions, for example driving uphill, or towing a trailer, the transmission may "hunt" between OD and the next highest gear, shifting back and forth. In this case, switching it off can help the transmission to "decide". It may also be advantageous to switch it off if engine braking is desired, for example when driving downhill. The vehicle's owner's manual will often contain information and suitable procedures regarding such situations, for each given vehicle.
Virtually all vehicles (cars and trucks) have overdrive today whether manual transmission or automatic. In the automotive aftermarket you can also retrofit overdrive to existing early transmissions. Overdrive was widely used in European automobiles with manual transmission in the 60s and 70s to improve mileage and sport driving as a bolt-on option but it became increasingly more common for later transmissions to have this gear built in. If a vehicle is equipped with a bolt-on overdrive (e.g.: GKN or Gear Vendors) as opposed to having an overdrive built in one will typically have the option to use the overdrive in more gears than just the top gear. In this case gear changing is still possible in all gears, even with overdrive disconnected. Overdrive simply adds effective ranges to the gears, thus overdrive third and fourth become in effect "third-and-a-half" and a fifth gear. In practice this gives the driver more ratios which are closer together providing greater flexibility particularly in performance cars.
How an overdrive unit works[edit]
Overdrive button on the gear stick of an automatic vehicle manufactured in 2000.
An overdrive consists of an electrically or hydraulically operated epicyclic gear train bolted behind the transmission unit. It can either couple the input driveshaft directly to the output shaft (or propeller shaft) (1:1), or increase the output speed so that it turns faster than the input shaft (1:1 + n). Thus the output shaft may be "overdriven" relative to the input shaft. In newer transmissions, the overdrive speed(s) are typically as a result of combinations of planetary/epicyclic gearsets which are integrated in the transmission. In these cases, there is no separately identifiable "overdrive" unit. In older vehicles, it is sometimes actuated by a knob or button, often incorporated into the gearshift knob, and does not require operation of the clutch. Newer vehicles have electronic overdrive in which the computer automatically adjusts to the conditions of power need and load.
In Europe[edit]
The vast majority of overdrives in European cars were invented and developed by a man called de Normanville and manufactured by an English company called Laycock Engineering (later GKN Laycock), at its Little London Road site in Sheffield. The system was devised by Captain Edgar J de Normanville (1882–1968),[2] and made by Laycock through a chance meeting with a Laycock Products Engineer. De Normanville overdrives were found in vehicles manufactured by Standard-Triumph, who were first, followed by Ford, BMC and British Leyland, Jaguar, Rootes Group and Volvo to name only a few. Another British company, the former aircraft builder Fairey, built a successful all-mechanical unit for the Land Rover, which is still in production in America today.
The first production vehicle to feature the Laycock system was the 1948 Standard Vanguard Saloon. The first unit to be created was the A-type overdrive, which was fitted to many sports cars during the 1950s, and into the late 1960s. Several famous marques used A-type overdrives, including Jaguar, Aston Martin, Ferrari, Austin-Healey, Jensen, Bristol, AC, Armstrong Siddeley and Triumph's TR sports car range, from the TR2 through to the end of the 1972 model year of the TR6.
In 1959, the Laycock Engineering Company introduced the D-type overdrive, which was fitted to a variety of motor cars including Volvo 120 and 1800s, Sunbeam Alpines and Rapiers, Triumph Spitfires, and also 1962-1967 MGBs (those with 3-synchro transmissions).
From 1967 the LH-type overdrive was introduced, and this featured in a variety of models, including 1968–1980 MGBs, the MGC, the Ford Zephyr, early Reliant Scimitars, TVRs, and Gilberns.
The J-type overdrive was introduced in the late 1960s, and was adapted to fit Volvo, Triumph, Vauxhall/Opel, American Motors and Chrysler motorcars, and Ford Transit vans.
The P-type overdrive marked the last updates and included both a Gear Vendors U.S. version and a Volvo version. The Volvo version kept the same package size as the J-type but with the updated 18 element freewheel and stronger splines through the planet carrier. The Gear Vendors U.S. version uses a larger 1.375 outer diameter output shaft for higher capacity and a longer rear case.
Over a period of 40 years, Laycock Engineering manufactured over three and a half million overdrive Units, and over one million of these were fitted to Volvo motorcars.
In 2008 the U.S. company Gear Vendors, Inc.[3] of El Cajon, California purchased all the overdrive assets of GKN to continue production of the U.S. version and all spares for J and P types worldwide.
The system features an oil pressure operated device attached to the back of the standard gearbox operating on the gearbox output shaft. Through a system of oil pressure, solenoids and pistons, the overdrive would drop the revs on whatever gears it was used on by 22% (.778). For instance, the overdrive system applied to a Triumph TR5 operates on 2nd, 3rd and top gear. When engaged, the overdrive would drop the revs from 3000 by 666 RPM, or from 3500 the drop would be 777 RPM to 2723 net. The advantages this reduced rpm had on fuel consumption was most often quite near 22% decrease during highway driving.
In North America[edit]
In the days before automatic transmissions were common, especially in the 1950s, many rear-wheel drive American cars were available with an overdrive option. Borg Warner provided the box that was factory-installed between the transmission and a foreshortened driveshaft. Since the overdrive function, if enabled, could be shifted by simply easing up on the accelerator without depressing the clutch pedal, the action was much like a semi-automatic. Also, an electrically operated solenoid would deactivate the unit via a switch under the accelerator pedal providing the equivalent of the kickdown of the automatic. A knob connected to a bowden cable, similar to some emergency brake applications, was also provided to lock out the unit mechanically. Using overdrive with the main 3-speed transmission in 2nd gear was similar in ratio to 3rd gear, and with the main transmission in 3rd, the overall ratio was fractional (i.e., "true overdrive").
Such add-on overdrive boxes were available from the 1930s to the 1970s for cars and light trucks.
Today, most petrol and diesel cars and trucks come with an overdrive transmission because of the benefit to fuel economy.[citation needed] Overdrive is included in both automatic and manual transmissions as an extra gear (or two in some cases).
Fuel economy and drivetrain wear[edit]
When using overdrive gearing, the car's engine speed drops, reducing wear and normally saving fuel. Since 1981 U.S. corporate average fuel economy (CAFE) legislation, virtually all domestic vehicles have included overdrive to save fuel. One should refer to the car's owner's manual for the proper speed to run at overdrive. All engines have a range of peak efficiency and it is possible for the use of overdrive to keep the engine out of this range for all or part of the time of its use if used at inappropriate speeds, thus cutting into any fuel savings from the lower engine speed.
Overall drivetrain reduction comes down to three basic factors: transmission gearing (including overdrive), differential gearing (in the axle), and tire size. The rotation speed problem comes into effect when the differential gearing is a high ratio and an overdrive is used to compensate. This may create unpleasant vibrations at high speeds and possible destruction of the driveshaft due to the centripetal forces or uneven balance.
The driveshaft is usually a hollow metal tube that requires balancing to reduce vibration and contains no internal bracing.
The higher speeds on the driveshaft and related parts can cause heat and wear problems if an overdrive and high differential gearing (or even very small tires) are combined, and create unnecessary friction. This is especially important because the differential gears are bathed in heavy oil and seldom provided with any cooling besides air blowing over the housing.
The impetus is to minimize overdrive use and provide a higher ratio first gear, which means more gears between the first and the last to keep the engine at its most efficient speed. This is part of the reason that modern automobiles tend to have larger numbers of gears in their transmissions. It is also why more than one overdrive gear is seldom seen in a vehicle except in special circumstances i.e. where high (numerical) differential gear is required to get the vehicle moving as in trucks or performance cars though double overdrive transmissions are common in other vehicles, often with a small number on the axle gear reduction, but usually only engage at speeds exceeding 100 kilometres per hour (62 mph).
References[edit]
Notes
Jump up ^ For instance, a 15-inch wheel with 215/65 tyres has a diameter of about 26 inches, or a circumference of about 82 inches. At 100 mph, or 1760 inches per second, the wheel will be turning 21.5 times per second, or just under 1,300 RPM.
Jump up ^ Using the example above, at 100 mph the engine might need to be turning 5,000 RPM to generate the required power to turn the tyres at 1,300 RPM. A transmission with a gear ratio of 4:1 would be appropriate in this case.
Jump up ^ This ratio varies between cars, from around 3.5:1 to 5:1. American cars with large-slow-revving engines would use higher ratios, European compact cars with small high-revving engines were lower. Often the final drive ratio varied between models within a range, a "sports" model having a lower ratio.
Jump up ^ Small Volkswagens of the 1980s, such as the Polo, were marketed to an environmentally-conscious market with an overdrive top ratio labelled on the gear shift as "E", variously described as "Efficiency", "Economy" or "Environment".
Citations
^ Jump up to: a b c d e f g h i j k Setright, L. J. K. (1976). "Overdrive". In Ian Ward. Anatomy of the Motor Car. Orbis. pp. 93–95. ISBN 0 85613 230 6.
Jump up ^ "Obituary: E,J.de Normanville". Motor. 27 January 1968. p. 112.
Jump up ^ "gearvendors.com". gearvendors.com. Retrieved 2011-09-17.
External links[edit]
Wikimedia Commons has media related to Overdrives.
"How Automatic Transmissions Work – Overdrive" (with a Flash interactive animation)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Overdrive_(mechanics)&oldid=847439238"
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