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Ready Player One (film)
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Ready Player One
Theatrical release poster
Directed by
Steven Spielberg
Produced by
Steven Spielberg
Donald De Line
Dan Farah
Kristie Macosko Krieger
Screenplay by
Zak Penn
Ernest Cline
Based on
Ready Player One
by Ernest Cline
Starring
Tye Sheridan
Olivia Cooke
Ben Mendelsohn
T.J. Miller
Simon Pegg
Mark Rylance
Music by
Alan Silvestri
Cinematography
Janusz Kamiński
Edited by
Michael Kahn
Sarah Broshar
Production
company
Warner Bros. Pictures[1]
Amblin Partners[1]
Amblin Entertainment[1]
Village Roadshow Pictures[1]
De Line Pictures[1]
Access Entertainment
Dune Entertainment
Farah Films & Management[1]
Distributed by
Warner Bros. Pictures
Release date
March 11, 2018 (2018-03-11) (SXSW)[2]
March 29, 2018 (2018-03-29) (United States)
Running time
140 minutes[3]
Country
United States
Language
English
Budget
$175 million[4][5]
Box office
$582 million[6]
Ready Player One is a 2018 American science fiction adventure film produced and directed by Steven Spielberg, and written by Zak Penn and Ernest Cline, based on Cline's 2011 novel of the same name. The film stars Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Lena Waithe, T.J. Miller, Simon Pegg, and Mark Rylance.
The film takes place in 2045, when much of humanity uses the virtual reality software OASIS to escape the desolation of the real world. Orphaned teenager Wade Watts (Sheridan) discovers clues to a hidden game within the program that promises the winner full ownership of the OASIS, and joins several allies to try to complete the game before a large company run by businessman Nolan Sorrento (Mendelsohn) can do so.
Ready Player One premiered at South by Southwest on March 11, 2018, was theatrically released by Warner Bros. Pictures in the United States on March 29, 2018, in 2D, Real D 3D, IMAX and IMAX 3D. It grossed $582 million worldwide, making it the sixth-highest-grossing film of 2018. The film received generally positive reviews, critics praised its visuals, brisk pacing, and Rylance's performance. The film was noted to have significant differences from the book; some critics said the film's plot was an improvement over the source material.[7][8]
Contents
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Casting
3.3 Filming
3.4 Visual effects and post-production
4 Cultural references
5 Music
6 Release
6.1 Home media
7 Reception
7.1 Box office
7.1.1 North America
7.1.2 Other territories
7.2 Critical response
8 Possible sequel
9 Notes
10 References
11 External links
Plot[edit]
Set in a slum-filled version in 2045, people escape their lives to live out most days in the virtual reality entertainment universe OASIS, co-created by James Halliday and Ogden Morrow of Gregarious Games. After Halliday's death, a pre-recorded message left by his avatar Anorak announces a game, granting ownership of OASIS to the first to find the Golden Easter Egg within it, locked behind a gate requiring three keys. The contest has lured a number of "Gunters", Egg hunters, and the interest of Nolan Sorrento, the CEO of Innovative Online Industries (IOI), seeking to control OASIS himself. IOI uses a number of indentured servants and employees called "Sixers" to seek the egg.[a]
Wade Watts is an orphaned teenager living in the "stacks" of Columbus, Ohio with his aunt, Alice; in the OASIS, his avatar, Parzival is good friends with Aech, a virtual mechanic. Parzival befriends Art3mis, a well-known Gunter, sharing a common interest in Halliday's history. They review Halliday's life from the Archives with help of its Curator. They learn Halliday had several regrets; his partner Morrow had signed away his part of Gregarious Games due to fallout over Halliday's love for Morrow's wife Kira. Using this information, they solve the first two challenges of Anorak's game: a car race across an ever-shifting Manhattan cityscape, and a search for Kira in a simulation of the Overlook Hotel from The Shining. Aech and his friends Daito and Sho also follow; they become known as the "High Five" on the OASIS scoreboards.
Sorrento learns of Parzival's identity through OASIS mercenary i-R0k, and attempts to sway Wade into IOI, but he refuses. In retaliation, Sorrento has IOI's head of operations F'Nale Zandor bomb Wade's stack, killing Alice. Art3mis' player, Samantha Cook, rescues Wade, but they too are soon found by IOI, who captures and forces Samantha into their servitude. Wade is extracted by the other High Five–Helen (Aech), Toshiro (Daito) and Zhou (Sho)– who discover her location and remotely provide her means to assist them in the OASIS as Art3mis.
The third challenge requires one to play Halliday's favorite Atari 2600 game, in a castle on Planet Doom, which Sorrento has protected with a force field. Attesting to Sorrento's nature, Parzival recruits countless OASIS players to help the rebels attack the IOI forces around the castle. Art3mis breaks the force field, allowing Parzival to reach the console, but Sorrento activates the Cataclyst, a bomb that wipes all the avatars off Planet Doom. However, due to having won a coin from the Archive's Curator earlier, Parzival gets an extra life, and proceeds to play through Adventure to find its Easter egg, and is awarded the last key. Opening the gate, he is greeted by Anorak and given a contract to sign. Parzival recognizes it as the same contract Morrow signed to turn over his part of Gregarious, and refuses. Anorak reveals himself to be Halliday, and that the contract was the final test to make sure Parzival would not have the same regrets as Halliday did with Morrow. Parzival is given the Golden Egg that controls OASIS.
In the real world, Sorrento and Zandor fail to stop Parzival before he wins, and are arrested for the bombing, and IOI is dismantled as a company. Wade decides to run OASIS alongside the other High Five. Morrow, revealed to have been the Curator, offers his services to Wade. Wade and the others agree to shut down the OASIS twice a week for everyone to spend more time to improve the real world, while he and Samantha move into an apartment together.
Cast[edit]
Tye Sheridan as Parzival / Wade Watts, a Gunter who wishes to win the Quest so he can leave the stacks.
Olivia Cooke as Art3mis / Samantha Cook, a famous Gunter who works with various allies to ensure the OASIS is kept free and out of the hands of IOI.
Ben Mendelsohn as Nolan Sorrento, the recently appointed CEO of Innovative Online Industries, who seeks full control over the OASIS. He leads the Sixers, an army of indentured servants in the OASIS.
Lena Waithe as Aech / Helen Harris, a Gunter and long-time friend of Wade's who works as a robot and vehicle mechanic in the OASIS.
T.J. Miller as i-R0k, a freelance weapons and magic item dealer and bounty hunter, who is often employed by IOI.
Simon Pegg as Curator / Ogden Morrow, a co-creator of the OASIS, who eventually left the company due to personal reasons. He harbors a concern about how many people have developed an unhealthy dependency on the game.
Mark Rylance as Anorak / James Halliday, the deceased co-creator of the OASIS, who includes an Easter Egg hidden in the OASIS after his passing that grants control over the OASIS to its winner.
Philip Zhao as Sho / Zhou, a Gunter and one of the "High Five", and 11 years old in reality.[9]
Win Morisaki as Daito / Toshiro, a Gunter and one of the "High Five".
Hannah John-Kamen as F'Nale Zandor, the head of IOI's operations in the physical world, as well as their indentured servitude programs.[9]
Additionally, Susan Lynch portrays Alice, Wade's aunt; Ralph Ineson portrays Rick, Alice's abusive boyfriend; Perdita Weeks portrays Karen "Kira" Underwood, Morrow's wife; Clare Higgins portrays Mrs. Gilmore, Wade's neighbor; and Letitia Wright portrays a rebel who can briefly be seen at the safe house. McKenna Grace and Lulu Wilson appear as elementary school children who use the OASIS.
Production[edit]
Development[edit]
Warner Bros. and De Line Pictures won an auction for the rights to Ernest Cline's novel Ready Player One in 2010, before it had been published.[10] Cline was set to write the script for the film, which Donald De Line and Dan Farah would produce.[10] Eric Eason rewrote Cline's script,[11] and Zak Penn was hired to rewrite the previous drafts by Cline and Eason. Village Roadshow Pictures came aboard to co-finance and co-produce the film with Warner Bros.[12] Steven Spielberg signed on to direct and produce the film, which Kristie Macosko Krieger also produced, along with De Line and Farah.[13] Ready Player One is Spielberg's first action-fantasy film since The Adventures of Tintin in late 2011.[14] Cline and Penn made several revisions while adapting the novel to film. Most of these changes were to eliminate scenes that would be uninteresting in a visual format, such as when Wade beats a high score in Pac-Man, or recites all the lines from the film WarGames.[15][16]
Casting[edit]
Director Steven Spielberg (far left) and Ernest Cline with the cast of Ready Player One at San Diego Comic-Con. From third of left: Tye Sheridan, Olivia Cooke, T.J. Miller and Ben Mendelsohn
Three actresses were top-runners for the role of Art3mis: Elle Fanning, Olivia Cooke, and Lola Kirke;[17] In September 2015, Cooke was announced as having been cast in the coveted female lead role. In January 2016, Ben Mendelsohn joined the cast.[18] In February 2016, Tye Sheridan was confirmed as playing the lead role of Wade, after a lengthy nationwide casting call failed to produce an unknown for the part.[19] In March 2016, Simon Pegg joined the cast.[20] In April 2016, Mark Rylance joined the cast,[21] and in June 2016, T.J. Miller, Hannah John-Kamen and Win Morisaki also joined.[22][23][24][25] In July 2016, Philip Zhao joined the cast,[26] and Lena Waithe, Ralph Ineson, McKenna Grace, and Letitia Wright were later also announced to have been cast.[27][28][29][30]
Filming[edit]
Production was set to begin in July 2016.[23] Screenwriter Zak Penn tweeted on July 1, 2016 that the first week of filming had been completed.[31] In August and September 2016, filming took place in Birmingham, England; this included Livery Street in the Jewellery Quarter area of the city, which was extensively used, including the van chase that takes place towards the film's end. The chase was edited to make the street appear longer than it actually is. The backpackers hostel Hatters, also on Livery Street, was used for internal filming for a basement scene. The Ludgate Hill Car Park lot on Lionel Street, in which caravan homes were partially built was also used and a planned explosion there caused some local business and homes to call emergency services, as no prior notification were given by the production team. Other locations in the city included the former industrial area of Digbeth, in a rooftop scene that overlooks the Birmingham City Centre skyline. Some of the city's landmark buildings were erased and replaced with CGI buildings to create a dystopian Ohio in the year 2045.[32][33] Principal photography ended on September 27, 2016.[34][35]
Visual effects and post-production[edit]
Spielberg worked with Industrial Light & Magic (ILM) to oversee the film's visual effects, meeting with ILM for 3 hours three times a week.[35] He has stated that "[t]his is the most difficult movie I've done since Saving Private Ryan."[35]
A significant part of the film takes place in a virtual space based on the Overlook Hotel in the film The Shining. This was mostly a digital recreation of the film using high-quality telecine of the original film, giving them some freedom of new camera angles and shots that could be generated from this recreation. The final film includes a combination of the original footage from The Shining and ILM's additional work. Only a few scenes in this sequence which involved real actors, such as the appearance of the Grady twins, required them to construct a faithful reproduction of The Shining's set for the actors to interact with. Finally, the sequence was post-processed to introduce film grain and other aging effects to make the new footage indistinguishable from the original film.[36]
ILM also had to faithfully produce digital recreations of several of the cultural references that appear throughout the film, including the DeLorean time machine, the Iron Giant, Chucky, and King Kong that was modeled after the 1933 version of the character.[37] The Tyrannosaurus rex from Jurassic Park was also recreated using the same base model that ILM had previously created during the original film production.[37]
Cultural references[edit]
Ready Player One pays homage to the popular culture of the 1970s and 1980s as in the book, but also extends to the 1990s, 2000s, and 2010s; several reviewers have identified well over one hundred references to films, television shows, music, toys, video games, anime and comics of these eras.[38][39][40] Cline did not have any issues with these copyrighted elements when he published the book, but was aware that securing all necessary rights would be a major obstacle for a film adaptation, a task made easier by Spielberg's reputation.[15] Spielberg and producer Kristie Macosko Krieger spent several years securing the rights for the copyrighted elements used in the film, starting before filming began, since some scenes would not be possible without certain copyrighted elements.[41][42] Spielberg estimated that they had gotten about 80% of the copyrighted elements they wanted.[15] Spielberg noted that in some cases, the filmmakers were able to secure rights for some but not all the characters they wanted; in negotiating with Warner Bros., they could not secure Close Encounters of the Third Kind from Columbia Pictures, despite the latter being one of Spielberg's first films as director.[43]
Blade Runner, which was integral to the plot of the book, was off limits to the film adaptation because Blade Runner 2049 was in production at the same time as Ready Player One. As a replacement, they conceived of players having to play out the events of The Shining, which Spielberg was able to secure the rights to as an homage to his friend Stanley Kubrick.[15] While Cline's original work heavily used the character of Ultraman, the rights over the character were still under legal dispute, requiring them to replace Ultraman with the titular robot from The Iron Giant.[44] Spielberg recognized that his past films were a significant part of the 1980s popular culture cited in the book, and to avoid being accused of "vanity", he opted to remove many of the references to his own work.[45] Cline stated that he believed Spielberg wanted to avoid self-references to films he directed, due to the criticism he received for his film 1941, which lampooned his own previous works Jaws and Duel. Cline said he had to convince Spielberg to include some iconic elements, such as the DeLorean time machine from Back to the Future, which Spielberg conceded as the film was one he produced rather than directed.[46] Spielberg also allowed the Tyrannosaurus rex from his own Jurassic Park to be included.[37] Cline also asked ILM to include a reference to Last Action Hero, one of Penn's first screenplays, without Penn's knowledge.[47]
Music[edit]
On June 9, 2016, Variety stated that Spielberg's regular collaborator John Williams was planning to compose the film's score.[48] However, in July 2017, it was reported that Williams had left the project to work on Spielberg's The Post instead, with Alan Silvestri hired to take over scoring duties for Ready Player One.[49] The official score was released by WaterTower Music as a two-CD set on March 30, 2018,[50] with vinyl and cassette releases projected for the summer.[51] At Spielberg's request, Silvestri references his own music from Back to the Future within the film's score, as well as quoting the music by Wendy Carlos and Rachel Elkind from The Shining for the film's sequence at the Overlook Hotel.[52]
The film also includes licensed music from the 1970s and 1980s, which appears on the digital-only soundtrack album Ready Player One: Songs From the Motion Picture.
showOriginal Soundtrack
No.
Title
Performed by
Length
1. "I Wanna Be Your Lover" Prince 5:48
2. "Everybody Wants to Rule the World" Tears for Fears 4:12
3. "Just My Imagination (Running Away with Me)" The Temptations 3:49
4. "Stand on It" Bruce Springsteen 3:06
5. "One Way or Another" Blondie 3:27
6. "Can't Hide Love" Earth, Wind & Fire 4:09
7. "Blue Monday" New Order 7:24
8. "Stayin' Alive" Bee Gees 4:45
9. "We're Not Gonna Take It" Twisted Sister 3:38
10. "You Make My Dreams" Hall & Oates 3:12
11. "Pure Imagination (feat. Merethe Soltvedt)" Bryan Nguyen 2:33
showReady Player One (Original Motion Picture Soundtrack)
No.
Title
Writer(s)
Length
1. "The Oasis" Alan Silvestri 1:49
2. "Hello, I'm James Halliday" Alan Silvestri 2:01
3. "Why Can't We Go Backwards?" Alan Silvestri 4:18
4. "An Orb Meeting" Alan Silvestri 4:11
5. "Real World Consequences" Alan Silvestri 3:30
6. "Sorrento Makes an Offer" Alan Silvestri 3:34
7. "Welcome to the Rebellion" Alan Silvestri 3:14
8. "High 5 Assembles" Alan Silvestri 4:24
9. "Orb of Osuvox" Alan Silvestri 3:45
10. "Sorrento Punked" Alan Silvestri 3:57
11. "Wade's Broadcast" Alan Silvestri 5:51
12. "Arty on the Inside" Alan Silvestri 2:33
13. "Looking for a Truck" Alan Silvestri 5:36
14. "She Never Left" Alan Silvestri 2:41
15. "Last Chance" Alan Silvestri 3:21
16. "Get Me Out of This" Alan Silvestri 1:35
17. "Hold on to Something" Alan Silvestri 5:14
18. "This Is Wrong" Alan Silvestri 3:49
19. "What Are You?" Alan Silvestri 3:29
20. "There's Something I Need to Do" Alan Silvestri 5:01
21. "Main Title" Alan Silvestri 2:27
22. "End Credits" Alan Silvestri 8:04
Release[edit]
Ready Player One was initially scheduled to be released on December 15, 2017,[53] but was pushed back to March 30, 2018, to avoid competition with Star Wars: The Last Jedi.[54] In January 2018, it was announced the film's release date had been moved up one day to March 29, 2018.[55] The film had its world premiere at the Paramount Theatre in Austin, Texas on March 11, 2018 (as part of the South by Southwest Film Festival).[4]
Warner Bros. Pictures distributed the film worldwide, with Village Roadshow Pictures distributing in several overseas territories.[56]
Home media[edit]
Ready Player One was released by Warner Bros. Home Entertainment on digital on July 3, 2018, and on 4K UHD, Blu-ray 3D, Blu-Ray, and DVD on July 24, 2018.[57]
Reception[edit]
Box office[edit]
Ready Player One has grossed $137 million in the United States and Canada, and $445 million in other territories, for a worldwide total of $582 million.[6] Made on a production budget of $175 million, with about $150 million more spent on global marketing costs, the film needed to gross at least $440 million in order to break-even.[58]
North America[edit]
In the United States and Canada, Ready Player One was released alongside God's Not Dead: A Light in Darkness and Acrimony, and was projected to gross $40–50 million from 4,100 theaters over its first four days.[59] It made $12.1 million on its first day, including $3.75 million from Wednesday night previews. It ended up grossing $41.8 million in its opening weekend (for a four-day total of $53.7 million), marking Spielberg's biggest debut since 2008's Indiana Jones and the Kingdom of the Crystal Skull.[60] In its second weekend it grossed $25.1 million (a drop of 40%), finishing second behind newcomer A Quiet Place ($50 million).[61] In its third weekend the film made $11.2 million, coming in fourth behind Rampage, A Quiet Place and Truth or Dare.[62] In its fourth weekend the film made $7.4 million, finishing sixth at the box office [63] In its fifth weekend it grossed $2.4 million, a drop of 67% from previous weekend and finishing ninth.[64]
Other territories[edit]
Worldwide, the film was released day-in-date in 62 countries, including China, where it was expected to make $100–120 million in its opening weekend.[59] It grossed $2.9 million on its first day from 11 countries, including $980,000 from Korea.[65] In China the film made $14.75 million on its first day and earned a score of 9.2 from audiences on Douban (compared to the average 6–7 earned by Hollywood films).[58] It grossed $61.7 million in China in its opening weekend which is the highest opening ever for Warner Bros in said territory. The film's other major opening weekend territories were South Korea ($8.1 million), United Kingdom ($7.3 million), Russia ($6.1 million) and France ($6 million).[66] In its second weekend in China it grossed $42 million, and in third weekend grossed $13.9 million.[67][68] The film grossed $81.7 million in its second weekend overseas, dropping only 35% and is ahead of other newcomers A Quiet Place and Blockers.[67] In its third weekend it grossed $33.8 million overseas dropping 58.6%.[68] On April 21, 2018, the film topped $200 million in China, becoming the tenth-biggest U.S. release ever in the country.[69] In its fourth weekend in China, it grossed $8.24 million finishing third at the box office and has a total gross of $207 million.[70] It grossed $23 million overseas from 67 territories in its fourth weekend.[71] It opened in Japan, its final major market and grossed $4.4 million.[71] In its fifth weekend overseas, it grossed $8.6 million from 63 territories.[72] In China, the weekend was $2.4M to push it past Avatar as the no. 9 Hollywood title ever in the market with $213.8M (RMB 1.34B).[72] Japan's third frame held well during Golden Week with just a 6% drop from the last session. The total there is currently at $17.5M.[73] In its sixth weekend in China, it bumped up 10% from last session to lift the local cume to $220.2M.[73] The film's largest markets after China are Japan ($23.4 million), United Kingdom ($21.3 million), France ($21.5 million), Korea ($18.6 million), and Russia-CIS ($13.1 million).[74]
Critical response[edit]
On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 73% based on 336 reviews, and an average rating of 6.9/10. The website's critical consensus reads, "Ready Player One is a sweetly nostalgic thrill ride that neatly encapsulates Spielberg's strengths while adding another solidly engrossing adventure to his filmography."[75] On Metacritic, the film has a weighted average score of 64 out of 100, based on 54 critics, indicating "generally favorable reviews".[76] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, while PostTrak reported filmgoers gave it an 82% overall positive score and a 65% "definite recommend".[58]
In a review for RogerEbert.com, Brian Tallerico wrote that the film's "overwhelming" nature and non-stop action will likely thrill fans of pop culture; while he observed narrative weaknesses, such as a lack of depth among the supporting characters, he felt that they ultimately do not hinder the film from working "on the level of technical, blockbuster mastery that Spielberg helped define".[77] Writing for Variety, Owen Gleiberman called the film a "coruscating explosion of pop-culture eye candy", and found the sequence based on The Shining to be "irresistible". However, he also criticized Spielberg's dichotomization of fantasy and reality, as well as the film having "more activity than it does layers".[78] IndieWire's Eric Kohn characterized the film as "an astonishing sci-fi spectacle and a relentless nostalgia trip at once" and praised both the sequence based on The Shining as well as Penn's screenplay, particularly with respect to Mendelsohn's character. Nevertheless, he remarked that the film "drags a bunch in its final third".[79]
Alissa Wilkinson, writing for Vox, praised both the quality and quantity of the world building. She also commented on just how dystopian the future portrayed is, where the main characters fight to save the OASIS and the escape from reality it represents, with arguably less concern for the problems of the real world.[80]
Monica Castillo was more critical of the film in her review for The Guardian and drew attention to the absence of character arcs, the lack of resolution for plot holes in the novel, and the bloating of scenes in the film by trivia.[81] Matt Bobkin scored the film a 6 out of 10 for Exclaim! saying the film "is not so much a groundbreaking recontextualizing, more doe-eyed affection with no critical commentary".[82] Movie Metropolis noted that the film "is an absolute thrill-ride from start to finish and is pure Spielberg in the very best way" and awarded it 4 out of 5 stars.[83]
Film and television critic Matt Zoller Seitz praised Ready Player One and noted the undercurrent of sadness present in the film, stating that "I don't think Spielberg gets enough credit for making sad films that most people interpret as happy, and complex films that are immediately dismissed as simple or confused".[84][85][86] Seitz concluded that the film "is a mess, but it is a fascinating and complex one..."[87]
Possible sequel[edit]
Cline is working on a sequel to the novel.[88] For a sequel to the film, he stated, "[...] I think there's a good chance that, if this one does well, Warner Bros. will want to make a sequel. I don't know if Steven [Spielberg] would want to dive back in, because he would know what he is getting into. He's said that it's the third-hardest film he's made, out of dozens and dozens of movies".[89][90]
Notes[edit]
Jump up ^ IOI employees are called Sixers because their employee IDs are six digits long and begin with the number 6
References[edit]
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Jump up ^ Bonomolo, Cameron (February 1, 2018). "New Look At 'X-Men' Star Tye Sheridan in 'Ready Player One'". Comicbook.com. Retrieved March 16, 2018.
Jump up ^ Carr, Mary Kate (February 16, 2018). "5 things to know about Black Panther breakout star Letitia Wright". Entertainment Weekly. Time. Retrieved March 23, 2018.
Jump up ^ Penn, Zak [@zakpenn] (July 1, 2016). "First week of #ReadyPlayerOne finished. Surreal. It went to 11. Thanks for writing your book @erniecline and the assist in Oology" (Tweet). Retrieved March 23, 2018 – via Twitter.
Jump up ^ Evry, Max (August 16, 2016). "Ready Player One Set Photos Show a Grungy Dystopia". ComingSoon.net. CraveOnline Media. Retrieved August 17, 2016.
Jump up ^ Young, Graham; Beardsworth, Luke; Bains, Sanjeeta (September 6, 2016). "Recap: Spielberg films Ready Player One in JQ - another set location revealed plus car chase filmed". Birmingham Mail. Midland Newspapers. Retrieved September 6, 2016.
Jump up ^ Penn, Zak [@zakpenn] (September 25, 2016). "Two days of production left on #ReadyPlayerOne" (Tweet). Retrieved November 23, 2017 – via Twitter.
^ Jump up to: a b c Thompson, Anne (November 7, 2017). "Steven Spielberg Has Finally Finished 'The Post'". IndieWire. Penske Business Media. Retrieved November 23, 2017.
Jump up ^ Lussier, Germain (April 11, 2018). "Here's How Steven Spielberg and ILM Recreated That Movie for Ready Player One". io9. Univision Interactive Media. Retrieved April 11, 2018.
^ Jump up to: a b c Murphy, Mekado (April 27, 2018). "How They Made the Movie References Pop in 'Ready Player One'". The New York Times. Retrieved July 25, 2018.
Jump up ^ Crow, David; Cecchini, Mike (April 1, 2018). "Ready Player One: Complete Easter Egg and Reference Guide". Den of Geek. Dennis Publishing. Retrieved April 1, 2018.
Jump up ^ Dyce, Andrew (March 29, 2018). "Ready Player One: The COMPLETE Easter Egg Guide". Screen Rant. Retrieved April 1, 2018.
Jump up ^ Gallagher, Simon (March 29, 2018). "Ready Player One: 135 Easter Eggs & References Explained". What Culture. Retrieved April 1, 2018.
Jump up ^ Barnes, Brooks (March 21, 2018). "Can Steven Spielberg Remember How to Have Fun?". The New York Times. The New York Times Company. Retrieved March 21, 2018.
Jump up ^ Hugh, William (March 19, 2018). "Well, nevermind, then: Of course there's going to be Star Wars shit in Ready Player One". The A.V. Club. The Onion. Retrieved March 19, 2018.
Jump up ^ Burke, Carolyn (March 15, 2018). "Ready Player One Won't Reference Disney's Star Wars Movies [Updated]". Screen Rant. Retrieved March 16, 2018.
Jump up ^ Lussier, Germain (March 15, 2018). "Steven Spielberg Tried to Get Star Wars Into Ready Player One, But Couldn't". io9. Univision Interactive Media. Retrieved March 16, 2018.
Jump up ^ Couch, Aaron (July 22, 2017). "Steven Spielberg Brings Ambitious 'Ready Player One' Footage to Comic-Con". The Hollywood Reporter. Prometheus Global Media. Retrieved July 25, 2017.
Jump up ^ Long, Christian (February 27, 2018). "Ernest Cline on 'Ready Player Two' and the Scene Spielberg Fought For". The Hollywood Reporter. Prometheus Global Media. Retrieved March 16, 2018.
Jump up ^ Lussier, Germain (March 22, 2018). "Last Action Hero and Ready Player One Screenwriter Shocked to Find Last Action Hero Reference in Ready Player One". io9. Univision Interactive Media. Retrieved March 23, 2018.
Jump up ^ Burlingame, Jon (June 9, 2016). "AFI Honoree John Williams Looks Back on Six Decades of Iconic Themes". Variety. Penske Business Media. Retrieved June 9, 2016.
Jump up ^ Burlingame, Jon (July 7, 2017). "John Williams and Alan Silvestri to Score Steven Spielberg's Next Films (EXCLUSIVE)". Variety. Penske Business Media. Retrieved July 8, 2017.
Jump up ^ "Ready Player One - Original Motion Picture Soundtrack". WaterTower Music. March 30, 2018. Retrieved April 20, 2018.
Jump up ^ Newman, Melinda (March 28, 2018). "How Steven Spielberg Picked 'Ready Player One's' Classic '70s and '80s Tunes: Exclusive Track Listing". Billboard. Retrieved March 30, 2018.
Jump up ^ Burton, Byron (April 2, 2018). "'Ready Player One' Composer Alan Silvestri on Its Touching Final Moments". The Hollywood Reporter. Prometheus Global Media. Retrieved April 5, 2018.
Jump up ^ Fleming, Mike Jr. (August 6, 2015). "Steven Spielberg's 'Ready Player One' Slotted For December 2017". Deadline Hollywood. Penske Business Media. Retrieved August 7, 2015.
Jump up ^ Chitwood, Adam (February 9, 2016). "Steven Spielberg's 'Ready Player One' Flees 'Star Wars', Sets New 2018 Release Date". Collider. Complex Media. Retrieved June 10, 2017.
Jump up ^ D'Alessandro, Anthony (January 25, 2018). "'Ready Player One' Opening A Day Earlier Over Easter Weekend". Deadline Hollywood. Retrieved January 25, 2018.
Jump up ^ Warner Bros. Pictures (July 7, 2017). "Warner Bros. Pictures Gets Ready to Run the Gamut at Comic-Con International: San Diego". Business Wire. Berkshire Hathaway. Retrieved July 9, 2017.
Jump up ^ Gallichio, Christian (May 22, 2018). "Ready Player One Blu-ray Release Details". Screen Rant. Retrieved June 14, 2018.
^ Jump up to: a b c D'Alessandro, Anthony (April 1, 2018). "How Warner Bros. Sold 'Ready Player One' On The Spielberg Spirit & Beat Tracking With $53M+ 4-Day – Sunday Postmortem". Deadline Hollywood. Penske Business Media. Retrieved April 1, 2018.
^ Jump up to: a b D'Alessandro, Anthony; Tartaglione, Nancy (March 27, 2018). "Steven Spielberg's 'Ready Player One' To Get Its Game On With $140M+ Global Start". Deadline Hollywood. Penske Business Media. Retrieved March 27, 2018.
Jump up ^ Associated Press (April 2, 2018). "Box office Top 20: 'Ready Player One' launches with $53.7M". ABC News. American Broadcasting Company. Archived from the original on April 5, 2018. Retrieved April 3, 2018.
Jump up ^ D'Alessandro, Anthony (April 8, 2018). "'A Quiet Place' Screams To $50M+ Opening; 'Blockers' Breaks Through To $21M+ – Early Sunday Update". Deadline Hollywood. Penske Business Media. Retrieved April 8, 2018.
Jump up ^ D'Alessandro, Anthony (April 15, 2018). "The Rock Rebounds: 'Rampage' Shushes 'A Quiet Place' With $34M+ No. 1 Opening". Deadline Hollywood. Penske Business Media. Retrieved April 15, 2018.
Jump up ^ "Weekend Box Office Results for April 20–22, 2018". Box Office Mojo. Retrieved April 30, 2018.
Jump up ^ "Weekend Box Office Results for April 27–29, 2018". Box Office Mojo. Retrieved April 30, 2018.
Jump up ^ D'Alessandro, Anthony (March 31, 2018). "'Ready Player One' Raises Global Score To $109M Through Three Days". Deadline Hollywood. Penske Business Media. Retrieved March 31, 2018.
Jump up ^ Rubin, Rebecca (April 1, 2018). "'Ready Player One' Impresses With $61.7 Million in China". Variety. Penske Business Media. Retrieved April 23, 2018.
^ Jump up to: a b Rubin, Rebecca (April 8, 2018). "'Ready Player One' Crushes 'A Quiet Place,' 'Blockers' Overseas". Variety. Penske Business Media. Retrieved April 18, 2018.
^ Jump up to: a b Tartaglione, Nancy (April 15, 2018). "'Rampage' Rocks Up $114M Offshore Bow; 'Quiet Place' Screams To $52M – International Box Office". Deadline Hollywood. Penske Business Media. Retrieved April 18, 2018.
Jump up ^ "'Ready Player One' Tops $500M Global Box Office, Scores $200M+ In China". Deadline Hollywood. Penske Business Media. April 21, 2018. Retrieved April 22, 2018.
Jump up ^ Frater, Patrick (April 23, 2018). "China Box Office: 'Rampage' Wins Quiet Weekend". Variety. Penske Business Media. Retrieved April 23, 2018.
^ Jump up to: a b Rubin, Rebecca (April 22, 2018). "Dwayne Johnson's 'Rampage' Continues to Roar Overseas". Variety. Penske Business Media. Retrieved April 23, 2018.
^ Jump up to: a b Tartaglione, Nancy (April 29, 2018). "'Avengers: Infinity War's $630M Global Bow Sets All-Time Record – International Box Office". Deadline Hollywood. Penske Business Media. Retrieved April 29, 2018.
^ Jump up to: a b Tartaglione, Nancy (May 6, 2018). "'Avengers: Infinity War' Surges To $1.164B Global & #5 Superhero Movie Ever WW; $713M Overseas – International Box Office". Deadline Hollywood. Penske Business Media. Retrieved May 6, 2018.
Jump up ^ "Ready Player One (2018) - International Box Office Results - Box Office Mojo". www.boxofficemojo.com. Retrieved 2018-07-25.
Jump up ^ "Ready Player One (2018)". Rotten Tomatoes. Fandango Media. Retrieved August 2, 2018.
Jump up ^ "Ready Player One Reviews". Metacritic. CBS Interactive. Retrieved April 4, 2018.
Jump up ^ Tallerico, Brian (March 12, 2018). "SXSW Film Festival 2018: "Ready Player One"". RogerEbert.com. Ebert Digital. Retrieved March 12, 2018.
Jump up ^ Gleiberman, Owen (March 12, 2018). "SXSW Film Review: 'Ready Player One'". Variety. Penske Business Media. Retrieved March 12, 2018.
Jump up ^ Kohn, Eric (March 12, 2018). "'Ready Player One' Review: Steven Spielberg Delivers Astonishing Sci-Fi Spectacle and Relentless Nostalgia — SXSW 2018". IndieWire. Penske Business Media. Retrieved March 12, 2018.
Jump up ^ Wilkinson, Alissa (March 29, 2018). "Ready Player One is a fun romp that's even more dystopian than it realizes". Vox. Vox Media. Retrieved March 30, 2018.
Jump up ^ Castillo, Monica (March 12, 2018). "Ready Player One review – Spielberg's shiny VR caper isn't worth playing". The Guardian. Guardian News and Media. Retrieved March 12, 2018.
Jump up ^ Bobkin, Matt (March 31, 2018). "Ready Player One". Exclaim!. Retrieved March 31, 2018.
Jump up ^ Lutkin, Alex (March 22, 2018). "Ready Player One review "Virtually amazing"". Movie Metropolis. Retrieved July 9, 2018.
Jump up ^ Seitz, Matt Zoller [@mattzollerseitz] (April 4, 2018). "Thinking back on READY PLAYER ONE: I don't think Spielberg gets enough credit for making sad films that most people interpret as happy, and complex films that are immediately dismissed as simple or confused" (Tweet) – via Twitter.
Jump up ^ Seitz, Matt Zoller [@mattzollerseitz] (April 4, 2018). "It's both. I don't think he's capable of really exploding the format he helped create, but after seeing it last night, I said to my wife, "I think this is altogether his saddest film since A.I."" (Tweet) – via Twitter.
Jump up ^ Matt Zoller Seitz [@mattzollerseitz] (May 28, 2018). "This movie felt very sad and dark to me in a way that very few of the reviews pointed out. I think Spielberg did another one of his rope a dope specials: there's a whole other movie going on underneath the surface, just like the scene where the hero is driving under the street" (Tweet) – via Twitter.
Jump up ^ Seitz, Matt Zoller [@mattzollerseitz] (April 4, 2018). "In conclusion: READY PLAYER ONE is a mess, but it is a fascinating and complex one, and I suspect a lot of the people trashing it for being one particular thing will stumble on it again years from now and realize how much they overlooked. It's happened many times with Spielberg" (Tweet) – via Twitter.
Jump up ^ Sequel citations:
Lussier, Germain (January 16, 2015). "Ernie Cline Writing a 'Ready Player One' Sequel". /Film. Retrieved May 2, 2017.
West, Kelly (January 16, 2015). "Ready Player One Is Getting A Sequel". CinemaBlend. GatewayBlend. Retrieved May 2, 2017.
Berkey, Rachel (January 25, 2015). "READY PLAYER ONE Sequel Rumored To Be In The Works - Nerdist". Nerdist. Retrieved May 2, 2017.
Knight, Jacob (December 12, 2017). "Ernie Cline Penning A Sequel Novel To READY PLAYER ONE". Birth.Movies.Death. Retrieved April 4, 2018.
Jump up ^ Radish, Christina (March 29, 2018). "Ernest Cline on 'Ready Player One', Working with Spielberg, and Hopes for a Sequel". Collider. Complex Media. Retrieved April 1, 2018.
Jump up ^ Moran, Sarah (March 30, 2018). "Ready Player Two? It Could Happen – And The First Movie May Tease It". Screen Rant. Retrieved April 1, 2018.
External links[edit]
Wikiquote has quotations related to: Ready Player One (film)
Official website
Ready Player One on IMDb
Ready Player One at AllMovie
Ready Player One at Box Office Mojo
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Steven Spielberg
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Awards and nominations
Films directed
Firelight (1964)
Slipstream (1967)
Amblin' (1968)
Night Gallery ("Eyes" segment, 1969)
L.A. 2017 (1971)
Duel (1971)
Something Evil (1972)
Savage (1973)
The Sugarland Express (1974, also wrote)
Jaws (1975)
Close Encounters of the Third Kind (1977, also wrote)
1941 (1979)
Raiders of the Lost Ark (1981)
E.T. the Extra-Terrestrial (1982)
Twilight Zone: The Movie ("Kick the Can" segment, 1983)
Indiana Jones and the Temple of Doom (1984)
The Color Purple (1985)
Empire of the Sun (1987)
Indiana Jones and the Last Crusade (1989)
Always (1989)
Hook (1991)
Jurassic Park (1993)
Schindler's List (1993)
The Lost World: Jurassic Park (1997)
Amistad (1997)
Saving Private Ryan (1998)
A.I. Artificial Intelligence (2001, also wrote)
Minority Report (2002)
Catch Me If You Can (2002)
The Terminal (2004)
War of the Worlds (2005)
Munich (2005)
Indiana Jones and the Kingdom of the Crystal Skull (2008)
The Adventures of Tintin (2011)
War Horse (2011)
Lincoln (2012)
Bridge of Spies (2015)
The BFG (2016)
The Post (2017)
Ready Player One (2018)
Films written
Ace Eli and Rodger of the Skies (1973)
Poltergeist (1982, also produced)
The Goonies (1985)
Films produced
An American Tail: Fievel Goes West (1991)
Memoirs of a Geisha (2005)
Flags of Our Fathers (2006)
Letters from Iwo Jima (2006)
Super 8 (2011)
The Hundred-Foot Journey (2014)
Television
Amazing Stories (1985–87)
High Incident (1996–97)
Invasion America (1998)
See also
Steven Spielberg bibliography
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Amblimation
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Incident at Loch Ness (2004)
The Grand (2007)
Atari: Game Over (2014)
Writer
Last Action Hero (1993)
PCU (1994)
Inspector Gadget (1999)
Behind Enemy Lines (2001)
X2 (2003)
Suspect Zero (2004)
Elektra (2005)
X-Men: The Last Stand (2006)
The Incredible Hulk (2008)
The Avengers (2012)
Ready Player One (2018)
Television
Alphas (2011-2012)
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Land Ordinance of 1785
From Wikipedia, the free encyclopedia
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The Land Ordinance of 1785 was adopted by the United States Congress of the Confederation on May 20, 1785. It set up a standardized system whereby settlers could purchase title to farmland in the undeveloped west. Congress at the time did not have the power to raise revenue by direct taxation, so land sales provided an important revenue stream. The Ordinance set up a survey system that eventually covered over three-fourths of the area of the continental United States.[1]
The earlier Ordinance of 1784 was a resolution written by Thomas Jefferson (delegate from Virginia) calling for Congress to take action. The land west of the Appalachian Mountains, north of the Ohio River and east of the Mississippi River was to be divided into ten separate states.[2] However, the 1784 resolution did not define the mechanism by which the land would become states, or how the territories would be governed or settled before they became states. The Ordinance of 1785 put the 1784 resolution in operation by providing a mechanism for selling and settling the land,[3] while the Northwest Ordinance of 1787 addressed political needs.
The 1785 ordinance laid the foundations of land policy until passage of the Homestead Act in 1862. The Land Ordinance established the basis for the Public Land Survey System. The initial surveying was performed by Thomas Hutchins. After he died in 1789, responsibility for surveying was transferred to the Surveyor General. Land was to be systematically surveyed into square townships, six miles (9.656 km) on a side. Each of these townships were sub-divided into thirty-six sections of one square mile (2.59 km²) or 640 acres. These sections could then be further subdivided for re-sale by settlers and land speculators.[4]
The ordinance was also significant for establishing a mechanism for funding public education. Section 16 in each township was reserved for the maintenance of public schools. Many schools today are still located in section sixteen of their respective townships[citation needed], although a great many of the school sections were sold to raise money for public education. In later States, section 36 of each township was also designated as a "school section".[5][6][7]
The Point of Beginning for the 1785 survey was where Ohio (as the easternmost part of the Northwest Territory), Pennsylvania and Virginia (now West Virginia) met, on the north shore of the Ohio River near East Liverpool, Ohio. There is a historical marker just north of the site, at the state line where Ohio State Route 39 becomes Pennsylvania Route 68.
Plan for numbering sections of a township adopted May 20, 1785
General Land Office plan for numbering sections of a standard survey township, adopted May 18, 1796
Diagram of the 1785 Land Ordinance showing how the method of subdivision can be applied from the scale of the country down to the scale of a single lot
Contents
[hide]
1 History
2 Public education
3 Layout of townships
4 Influence
5 Motive
6 See also
7 Notes
8 References and further reading
9 External links
History[edit]
The Confederation Congress appointed a committee consisting of the following men:
Thomas Jefferson (Virginia)
Hugh Williamson (North Carolina)
David Howell (Rhode Island)
Elbridge Gerry (Massachusetts)
Jacob Read (South Carolina)
On May 7, 1784, the committee reported “An ordinance for ascertaining the mode of locating and disposing of lands in the western territories, and for other purposes therein mentioned.” The ordinance required the land be divided into “hundreds of ten geographical miles square, each mile containing 6086 and 4-10ths of a foot” and “sub-divided into lots of one mile square each, or 850 and 4-10ths of an acre”,[8] numbered starting in the northwest corner, proceeding from west to east, and east to west, consecutively. After debate and amendment, the ordinance was reported to Congress April 26, 1785. It required surveyors “to divide the said territory into townships seven miles square, by lines running due north and south, and others crossing these at right angles. — The plats of the townships, respectively, shall be marked into sections of one mile square, or 640 acres.” This is the first recorded use of the terms “township” and “section.”[9]
On May 3, 1785, William Grayson of Virginia made a motion seconded by James Monroe to change “seven miles square” to “six miles square.” The ordinance was passed on May 20, 1785. The sections were to be numbered starting at 1 in the southeast and running south to north in each tier to 36 in the northwest. The surveys were to be performed under the direction of the Geographer of the United States, (Thomas Hutchins).[9] The Seven Ranges, the privately surveyed Symmes Purchase, and, with some modification, the privately surveyed Ohio Company of Associates, all of the Ohio Lands were the surveys completed with this section numbering.[10]
Locations in Ohio using Land Ordinance of 1785 Section Numbering
The Act of May 18, 1796,[11] provided for the appointment of a surveyor-general to replace the office of Geographer of the United States, and that “sections shall be numbered, respectively, beginning with number one in the northeast section, and proceeding west and east alternately, through the township, with progressive numbers till the thirty-sixth be completed.” All subsequent surveys were completed with this boustrophedonical section numbering system, except the United States Military District of the Ohio Lands which had five mile (8 km) square townships as provided by the Act of June 1, 1796,[12] and amended by the Act of March 1, 1800.[9][13]
Howe and others give Thomas Hutchins credit for conceiving the rectangular system of lots of one square mile in 1764 while a captain in the Sixtieth, or, Royal American, Regiment, and engineer to the expedition under Col. Henry Bouquet to the forks of the Muskingum, in what is now Coshocton County, Ohio. It formed part of his plan for military colonies north of the Ohio, as a protection against Indians. The law of 1785 embraced most of the new system.[14] Treat, on the other hand, notes that tiers of townships were familiar in New England, and insisted on by the New England legislators.[15]
Public education[edit]
Public Education in Land Grants in the Land Ordinance of 1785 and the Northwest Ordinance of 1787 Background:*
The Land Ordinance of 1785, adopted May 20, 1785 by the Continental Congress, set the stage for an organized and community-based westward expansion in the United States in the years after the American Revolution. The Land Ordinance of 1785, coming on the heels of the Ordinance of 1784, was the effort of a five-person committee led by Thomas Jefferson. The ordinance established a systematic and ubiquitous process for surveying, planning and selling townships in the western frontier. [There is no reference to "Education" in this section - other than the title. It should be removed, or updated and properly cited.]
Layout of townships[edit]
Each western township contained thirty-six square miles of land, planned as a square measuring six miles on each side, which was further subdivided into thirty six lots, each lot containing one square mile of land. The mathematical precision of the planning was the concerted effort of surveyors. Each township contained dedicated space for public education and other government uses, as five of the thirty six lots were reserved for government or public purposes. The thirty six lots of each township were numbered accordingly on each township's survey. The centermost land of each township corresponded to lot numbers 15, 16, 21 and 22 on the township survey, with lot number 16 dedicated specifically to public education. As the Land Ordinance of 1785 stated: "There shall be reserved the lot No. 16, of every township, for the maintenance of public schools within the said township."[16]
Knepper notes: “Sections number 8, 11, 26, and 29 in every township were reserved for future sale by the federal government when, it was hoped, they would bring higher prices because of developed land around them. Congress also reserved one third part of all gold, silver, lead, and copper mines to its own use, a bit of wishful thinking as regards Ohio lands.”[17] The ordinance also said “That three townships adjacent to Lake Erie be reserved, to be hereafter disposed of by Congress, for the use of the officers, men, and others, refugees from Canada, and the refugees from Nova Scotia, who are or may be entitled to grants of land under resolutions of Congress now existing.“ This was not possible, as the area next to Lake Erie was property of Connecticut, so the Canadians had to wait until the establishment of the Refugee Tract in 1798.[18]
Influence[edit]
Many historians recognize the influences of the colonial experience in the land ordinances of the 1780s.[19] The committees that formulated these ordinances were inspired by the individual colonial experiences of the states that they represented. The committees attempted to implement the best practices of such states to solve the task at hand.[20] The surveyed townships of the Land Ordinance of 1785, writes historian Jonathan Hughes, “represented an amalgam of the colonial experience and ideals.”[21] Two geographically and ideologically distinct colonial land systems were competing at such time in history – the New England system and the Southern system.[20] While the primary influence on the Land Ordinance of 1785 was the New England land system of the colonial era, marked by its emphasis on community development and systematic planning, the exceedingly individualistic Southern land system also played a role.
Even though Jefferson’s committee had a Southern majority, it recommended the New England survey system.[22] The highly planned and surveyed western townships established in the Land Ordinance of 1785, were heavily influenced by the New England settlements of the colonial era, particularly the land grant provisions of the Ordinances which dedicated land towards public education and other government uses. In colonial times, New England settlements contained dedicated public space for schools and churches, which often held a central role in the community. For instance, the 1751 royal charter for Marlboro Vermont provides: “one Shear [share] for the First Settled Minister one Shear for the benefit of the School forever.”[23] By time of the Land Ordinance of 1785 was enacted, the New England states had used land grants for over a century to support public education and build new schools. The clause in the Land Ordinance of 1785 which dedicated “Lot Number 16” of each western township for public education reflected this regional New England experience.[24]
In addition, the use of surveyors to precisely chart out the new townships in the westward expansion was directly influenced by the New England land system, which similarly relied on surveyors and local committees to clearly delineate property boundaries. Defined property boundary lines and an established land title system, provided colonials with a sense of security in their land ownership, by minimizing the likelihood of ownership or boundary disputes. This was an important consideration in the Land Ordinance of 1785. One of the primary purposes of the Ordinance was to raise funds for the increasingly insolvent government. Providing land speculators security in their purchases encouraged additional demand for the western lands. In addition, the organized and communal nature of the western settlements, allowed the government to reserve a number of well-defined plots of land for future government development. Since the rest of the township would have been developed by the time the government decided to develop such reserved lands, there was an already built-in assurance of land value appreciation for the reserved lands. This had the effect of increasing the value of government assets without much further investment by the government.
The New England land system, while the primary influence on the great land ordinances of the 1780s, was not the only land system influence. The Southern land system, marked by individualism and personal initiative, also helped shape the ordinance. While the New England land system was premised on community-based development, the Southern land system was premised on individual frontiersman appropriating undeveloped land to call their own. The Southern pioneer claimed property and the local surveyor would demarcate it for him. The system did not protect people from competing claims or set up an orderly chain of title. The process was called ‘indiscriminate location”. This system encouraged individuals to amass large plantations instead of settling into dense communal development. This system was supported by the use of slave labor.[25] Perhaps the committee’s resistance against indiscriminate location and support for limited and disciplined land settlement was an implicit attempt to create a structural barrier to developing a plantation economy that was dependent on slave labor. The committee could have been attempting to effectively eradicate slavery in the West after Jefferson failed to outlaw it in the Land Ordinance of 1784.
While the Land Ordinance of 1785 created a New England style land system, the Northwest Ordinance of 1787 determined how the townships would be administered. The Northwest Ordinance of 1787, like the Land Ordinance of 1785, was inspired by the New England colonial settlements, and manifested this influence by further encouraging the worship of religion and the spread of education. The Northwest Ordinance of 1787 stated, “Religion, morality, and knowledge being necessary to good government and the happiness of mankind, schools and the means of education shall forever be encouraged.”[26] However, the Northwest Ordinance of 1787 also contained Southern characteristics of municipal governance. The Southern influence can be felt in the Western townships in that once the federal land was dedicated to the particular township, the township was relatively free of the influence of the federal government, and the local municipality was left to govern itself. This manifested itself in public education as well. Once the land was dedicated, the actual development of the public schools was the responsibility of the local township or the particular state.[27] Although the great Ordinances of the 1780s set the framework for a national system of schools by dedicating land across the West, the devolved development and administration by the state and local government led to unique results.[28]
Motive[edit]
Retaining central land in each township ensured that these lands would create value for the federal government. Instead of disbursing funds to the new states to create public education systems dedicating a central lot in each township provided the new townships with the means to develop educational institutions without any transfer of funds. This was a practical and necessary way to achieve the committee’s goal in a pre-Constitution America. Aside from raising funds for a financially struggling government, the westward expansion outlined in the Land Ordinances of the 1780s also provided a framework for spreading democratic ideals. Jefferson proposed an article in the Ordinance of 1784 that would have outlawed slavery in the new states after the year 1800. However he could not amass enough votes to pass the anti-slavery article. Later Jefferson did succeed, however, in ensuring public funding of education by dedicating land to education in the Land Ordinance of 1785. Public education was an ideal already developed in the New England colonial settlements. New Englanders provided for public education in their land grants due to a belief that public education could be used to further unite the young nation and spread democratic ideals.[29]
The systematic and highly organized westward settlements, with their local governments and central square dedicated towards public education were a concerted effort to inspire civic duty and participation in the democratic process. Usher relates this initiative to “the Supreme Court in Cooper v. Roberts (1855), ‘plant in the heart of every community the same sentiments of grateful reverence for the wisdom, forecast, and magnanimous statesmanship of those who framed the institutions of these new States.” [30] The westward expansion therefore was not only a tool for raising much needed funds, but also a tool in a grand socializing experiment to inoculate the settlers to democratic ideals. The hope was that the unique planning of each township with a public school centrally located, coupled with the obligation of each township’s local citizens to take part in the civic process of governing the township, teaching and building the schools, and maintaining order, would instill the democratic ideals crucial to the nation’s success.
See also[edit]
Northwest Ordinance
Public Land Survey System
Northwest Territory
Notes[edit]
Jump up ^ Vernon Carstensen, "Patterns on the American Land." Journal of Federalism, (19870 18#4 pp 31–39
Jump up ^ Richard P. McCormick, "The 'Ordinance' of 1784?," William and Mary Quarterly, Jan 1993, Vol. 50 Issue 1, pp 112–22
Jump up ^ Journal of Continental Congress, Vol. 28, p. 375, May 20, 1785 Library of congress
Jump up ^ C. Albert White, A History of the Rectangular Survey System (Bureau of Land Management, 1983)
Jump up ^ White, A History of the Rectangular Survey System
Jump up ^ Williamson 1880 : 226
Jump up ^ The Oregon Territory Act (August 14, 1848) 9 Stat. 323 initiated practice of setting aside section 36 for schools: Section 20 “And be it further enacted, That when the lands in the said Territory shall be surveyed under the direction of the Government of the United States, preparatory to bringing the same into market, sections numbered sixteen and thirty-six in each township in said Territory shall be, and the same is hereby, reserved for the purpose of being applied to schools in said Territory, and in the States and Territories hereafter to be erected out of the same.”
Jump up ^ Journal of Continental Congress, Vol. 27, p. 446, May 28, 1784 Library of congress
^ Jump up to: a b c Higgins 1887 : 33–34, 78–82
Jump up ^ Peters 1918 : 58
Jump up ^ 1 Stat. 464 – Text of Act of May 18, 1796 Library of Congress
Jump up ^ 1 Stat. 490 – Text of Act of June 1, 1796 Library of Congress
Jump up ^ 2 Stat. 14 – Text of Act of March 1, 1800 Library of Congress
Jump up ^ Howe 1907 : 134
Jump up ^ Treat 1910 : 179–182
Jump up ^ http://moglen.law.columbia.edu/twiki/bin/view/AmLegalHist/PublicEducationInLandGrantsSGrenbaum
Jump up ^ Knepper 2002 : 9
Jump up ^ Knepper 2002 : 51
Jump up ^ See Payson Jackson Treat. The National Land System. William S Hein and Co., 2003. and Jonathan Hughes “The Great Land Ordinances.” Minnesota Legal History Project http://www.minnesotalegalhistoryproject.org/assets/hughes.pdf (accessed March 2013).
^ Jump up to: a b Treat, pp. 22–23.
Jump up ^ Hughes, p.11
Jump up ^ Treat p.26
Jump up ^ Hughes, p.13
Jump up ^ David Carleton, Landmark Congressional Laws on Education. Connecticut, Greenwood Press, 2002. p. 15.
Jump up ^ See Treat p.25
Jump up ^ The Northwest Ordinance of 1787, Article 3. http://www.ourdocuments.gov/doc.php?flash=true&doc=8 (Accessed March 2013).
Jump up ^ Alexandra Usher, “Public Schools in the Original Federal Land Grant Program” The Center on Education Policy; April 2011 p. 8 http://www.eric.ed.gov/ERICWebPortal/search/detailmini.jsp?_nfpb=true&_&ERICExtSearch_SearchValue_0=ED518388&ERICExtSearch_SearchType_0=no&accno=ED518388 (Accessed March 2013)
Jump up ^ Usher, p. 8.
Jump up ^ Carleton, p. 15
Jump up ^ Usher, p. 7
References and further reading[edit]
Higgins, Jerome S. (1887). Subdivisions of the Public Lands, Described and Illustrated, with Diagrams and Maps. Higgins & Co.
Howe, Henry (1907). Historical Collections of Ohio, The Ohio Centennial Edition. 1. The State of Ohio.
Knepper, George W (2002). The Official Ohio Lands Book (PDF). State of Ohio.
Peters, William E (1918). Ohio Lands and Their Subdivision. W.E. Peters.
Treat, Payson Jackson (1910). The National Land System 1785–1820. E.B. Treat and Co.
Williamson, James A.; Donaldson, Thomas (1880). The Public Domain. Its History, with Statistics. Government Printing Office.
Johnson, Hildegard Binder. Order upon the Land: The U.S. Rectangular Land Survey and the Upper Mississippi Country (1977)
Geib, George W.. "The Land Ordinance of 1785: A Bicentennial Review," Indiana Magazine of History, March 1985, Vol. 81 Issue 1, pp 1–13
External links[edit]
Wikisource has original text related to this article:
Land Ordinance of 1785
Wikisource has original text related to this article:
Land Ordinance of 1785 (supplement)
Library of Congress – Ordinance Text
Indiana Historical Bureau – Ordinance Text
Ohio History Central – Land Ordinance of 1785
Bureau of Land Management – Principal Meridians and Base Lines Map
The Great American Grid – 1785 Land Ordinance Diagram
Photographs of the Principal Meridians
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One Piece at a Time
From Wikipedia, the free encyclopedia
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For the Johnny Cash album, see One Piece at a Time (album).
"One Piece at a Time"
Single by Johnny Cash
from the album One Piece at a Time
B-side
"Go On Blues"
Released
March 1976 (1976-03)
Format
7-inch single
Genre
Country, rockabilly, novelty
Length
4:00
Label
Columbia
Songwriter(s)
Wayne Kemp
Producer(s)
Charlie Bragg, Don Davis
Johnny Cash singles chronology
"Strawberry Cake"
(1976) "One Piece at a Time"
(1976) "Sold Out of Flagpoles"
(1976)
Audio sample
file
help
"One Piece at a Time" is a country novelty song written by Wayne Kemp[1] and recorded by Johnny Cash and the Tennessee Three in 1976. It was the last song performed by Cash to reach number one on the Billboard Hot Country Singles chart and the last of Cash's songs to reach the Billboard Hot 100, on which it peaked at number 29.[2]
Contents
[hide]
1 Background
2 In popular culture
3 Charts
4 References
5 External links
Background[edit]
Johnny Cash's "One Piece at a Time" Cadillac. Cash is in the driver's seat and Bruce Fitzpatrick is standing at the far right.
The singer leaves his home in Kentucky in 1949 to pursue work at General Motors in Detroit, Michigan. He installs wheels on Cadillacs, watching each one roll by day after day on the assembly line, knowing that he will never be able to afford one of his own.
Beginning almost immediately, he and a co-worker decide to "steal" a Cadillac by way of using their assembly line jobs to obtain the parts via salami slicing. He takes the small parts home hidden in his unusually large lunch box; larger parts are smuggled out in his co-worker's motorhome.
The process of accumulating all the necessary parts turns out to take at least 25 years (the newest part mentioned, the engine, is from 1973), but once they have what they think is a complete car, they attempt to assemble the pieces. Because automakers inevitably make numerous changes to their models, designs and parts over the course of a quarter-century, the result was a hodgepodge of parts from different years and models that did not fit together well (the bolt holes disappear when attempting to fit the engine with a 1953 transmission, there was only one right headlight and two left headlights, and they only had one tail fin).
Despite these problems, the singer and his co-worker get the car in proper working condition. The singer's wife is surprised at the outcome, but wants a ride in it anyway. Townspeople began laughing at the singer's unique car as he takes it to have it registered. However, the folks at the courthouse were not as pleased — it took the "whole staff" to type up the vehicle title, which ended up weighing 60 pounds (27 kg).
The song ends with a CB radio conversation between the singer and a truck driver inquiring about the "psychobilly Cadillac", in which the singer replies, "you might say I went right up to the factory and picked it up; it's cheaper that way".
The song is in a moderate tempo in the key of F major, with a main chord pattern of F-B♭-C7-F. The verses are done in a talking blues style; Cash had used a similar spoken-word format and chord progression in his earlier hit "A Boy Named Sue."[3]
In popular culture[edit]
Bruce Fitzpatrick, owner of Abernathy Auto Parts and Hilltop Auto Salvage in Nashville, Tennessee, was asked by the promoters of the song to build the vehicle for international promotion. Fitzpatrick had all the models of Cadillacs mentioned in the song when it was released and built a car using the song as a model. The result was presented to Cash in April 1976. It was parked outside The House of Cash[4] in Hendersonville, Tennessee, until someone could find a place to store it. After The House of Cash Museum closed, Bruce Fitzpatrick retrieved the '49–'70 Cadillac with a wrecker and brought it back to Abernathy Auto Parts and Hilltop Auto Salvage in Nashville, Tennessee, and crushed it.[5]
The song was covered by Chicago rock band Tub Ring for the 2001 Johnny Cash tribute album, Cash from Chaos.
The psychobilly Cadillac from the "One Piece at a Time" video is at the Storytellers museum in Bon Aqua, Tennessee. This is a different car than the one made by Bruce Fitzpatrick. This car was made at the behest of Bill Patch of Welch, OK and constructed by Leland Mayfield, Harley Malone, Eldon McCoy and Don. P. Chenoweth. [6]
An attempt at building a vehicle "one piece at a time" was completed successfully over a five-year period by a Chinese motorcycle assembly line worker in Chongqing.[7]
Charts[edit]
Chart (1976)
Peak
position
US Hot Country Songs (Billboard)[8] 1
US Billboard Hot 100[9] 29
U.S. Billboard Hot Adult Contemporary Tracks[10] 6
Canadian RPM Country Tracks 1
Canadian RPM Top Singles 40
Canadian RPM Adult Contemporary Tracks 1
U.K. Singles Chart 32
References[edit]
Jump up ^ "Hall of Fame - Wayne Kemp". Nashville Songwriters Hall of Fame Foundation, Inc. Retrieved 29 July 2013.
Jump up ^ Whitburn, Joel (2004). The Billboard Book Of Top 40 Country Hits: 1944-2006, Second edition. Record Research. p. 76.
Jump up ^ "'One Piece at a Time' sheet music". MusicNotes.com. Retrieved 5 November 2014.
Jump up ^ "The House Of Cash". stevenmenke.com. Retrieved 9 April 2013.
Jump up ^ Neel, Lara (3 March 2014). "A '49–'70 Cadillac Built for Johnny Cash". Motorbooks. Retrieved 29 December 2014.
Jump up ^ Jimmie Tramel, Unusual Gift for Johnny Cash turned Welch into Cash Country." Tulsa World August 13, 2017. http://www.tulsaworld.com/scene/17towns/towns-in-unusual-gift-for-johnny-cash-turned-welch-into/article_b2607cc5-3ebd-5ccd-a5ea-bd430b6a2c3b.html
Jump up ^ "Man stole motorbike - part by part". Ananova. Archived from the original on 22 August 2009. Retrieved 29 July 2013.
Jump up ^ "Johnny Cash – Chart history" Billboard Hot Country Songs for Johnny Cash.
Jump up ^ "Johnny Cash – Chart history" Billboard Hot 100 for Johnny Cash.
Jump up ^ Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 49.
External links[edit]
Lyrics as they appear on Yahoo! Music
Origin of the Second Cadillac as presented by the Antique Automobile Club of America. See also [1]
Lyrics of this song at MetroLyrics
Preceded by
"After All the Good Is Gone"
by Conway Twitty Billboard Hot Country Singles
number-one single
May 29-June 6, 1976 Succeeded by
"I'll Get Over You"
by Crystal Gayle
RPM Country Tracks
number-one single
June 19, 1976 Succeeded by
"El Paso City"
by Marty Robbins
[hide]
v
t
e
Johnny Cash
Studio albums
With His Hot and Blue Guitar
Sings the Songs That Made Him Famous
The Fabulous Johnny Cash
Greatest!
Songs of Our Soil
Sings Hank Williams
Now, There Was a Song!
Now Here's Johnny Cash
The Sound of Johnny Cash
All Aboard the Blue Train
Ring of Fire: The Best of Johnny Cash
The Original Sun Sound of Johnny Cash
I Walk the Line
Orange Blossom Special
Everybody Loves a Nut
Happiness Is You
Old Golden Throat
More of Old Golden Throat
Hello, I'm Johnny Cash
The World of Johnny Cash
Man in Black
A Thing Called Love
Any Old Wind That Blows
Ragged Old Flag
The Junkie and the Juicehead Minus Me
John R. Cash
Look at Them Beans
One Piece at a Time
The Last Gunfighter Ballad
I Would Like to See You Again
Gone Girl
Silver
Rockabilly Blues
The Baron
The Adventures of Johnny Cash
Johnny 99
Rainbow
Johnny Cash Is Coming to Town
Classic Cash: Hall of Fame Series
Water from the Wells of Home
Boom Chicka Boom
The Mystery of Life
American Recordings
Unchained
American III: Solitary Man
American IV: The Man Comes Around
Personal File
American V: A Hundred Highways
American VI: Ain't No Grave
Out Among the Stars
Concept albums
Ride This Train
Blood, Sweat and Tears
Bitter Tears: Ballads of the American Indian
Sings the Ballads of the True West
From Sea to Shining Sea
America: A 200-Year Salute in Story and Song
The Johnny Cash Children's Album
The Rambler
Gospel albums
Hymns by Johnny Cash
Hymns from the Heart
The Holy Land
The Gospel Road (film soundtrack)
Sings Precious Memories
A Believer Sings the Truth
Believe in Him
Return to the Promised Land (video soundtrack)
My Mother's Hymn Book
Christmas albums
The Christmas Spirit
The Johnny Cash Family Christmas
Classic Christmas
Johnny Cash Country Christmas
Collaborations
The Lure of the Grand Canyon
Carryin' On with Johnny Cash and June Carter
Johnny Cash and His Woman
The Legend of Jesse James
The Survivors Live
Highwayman
Class of '55
Heroes
Highwayman 2
The Road Goes on Forever
VH1 Storytellers
Live albums
At Folsom Prison
At San Quentin
The Johnny Cash Show
På Österåker
Strawberry Cake
Koncert v Praze (In Prague–Live)
At Madison Square Garden
A Concert Behind Prison Walls
Non-gospel soundtracks
I Walk the Line
Little Fauss and Big Halsy
Compilations
Greatest Hits, Vol. 1
Heart of Cash
Greatest Hits, Vol. 2
Sunday Morning Coming Down
International Superstar
Five Feet High and Rising
Destination Victoria Station
Greatest Hits, Vol. 3
The Unissued Johnny Cash
Johnny & June
Tall Man
Encore
Biggest Hits
The Man in Black 1954–1958
The Man in Black 1959–1962
Come Along and Ride This Train
The Essential Johnny Cash (1992)
Wanted Man
The Man in Black 1963–1969
The Man in Black – His Greatest Hits
16 Biggest Hits
Love, God, Murder
The Essential Johnny Cash (2002)
Unearthed
The Legend
The Legend of Johnny Cash
Johnny Cash: Patriot
16 Biggest Hits: Johnny Cash & June Carter Cash
The Legend of Johnny Cash Vol. II
The Complete Columbia Album Collection
Songs
"25 Minutes to Go"
"Seasons of My Heart"
"Any Old Wind That Blows"
"The Ballad of Boot Hill"
"The Ballad of Ira Hayes"
"Ballad of a Teenage Queen"
"Big River"
"Blistered"
"A Boy Named Sue"
"Busted"
"Cat's in the Cradle"
"Cocaine Blues"
"Cry! Cry! Cry!"
"Daddy Sang Bass"
"Dark as a Dungeon"
"Don't Take Your Guns to Town"
"Engine 143"
"Flesh and Blood"
"The Folk Singer"
"Folsom Prison Blues"
"Forty Shades of Green"
"Get Rhythm"
"Give My Love to Rose"
"Goodnight, Irene"
"Green, Green Grass of Home"
"Greystone Chapel"
"Guess Things Happen That Way"
"Hey, Porter"
"Home of the Blues"
"Hurt"
"I Couldn't Keep from Crying"
"I Love You Because"
"I Still Miss Someone"
"I Walk the Line"
"If I Had a Hammer"
"If I Were a Carpenter"
"In My Life"
"In the Jailhouse Now"
"It Ain't Me Babe"
"Jackson"
"Kate"
"The Man Comes Around"
"Man in Black"
"The Matador"
"Oh Lonesome Me"
"One Piece at a Time"
"Oney"
"Orange Blossom Special"
"The One on the Right Is on the Left"
"Remember the Alamo"
"(Ghost) Riders in the Sky"
"Ring of Fire"
"Rock Island Line"
"So Doggone Lonesome"
"Sunday Mornin' Comin' Down"
"Tennessee Flat Top Box"
"There Ain't No Good Chain Gang"
"A Thing Called Love"
"Understand Your Man"
"What Is Truth"
"What'd I Say"
Television
The Johnny Cash Show
Family
June Carter Cash
John Carter Cash
Rosanne Cash
Carlene Carter
Vivian Liberto
Tommy Cash
Carter Family
Related
Albums discography
Singles discography
Sun Records discography
The Highwaymen
Carter Family Fold
Man in Black: His Own Story in His Own Words
Cash: The Autobiography
Johnny Cash! The Man, His World, His Music
Walk the Line
We Walk the Line: A Celebration of the Music of Johnny Cash
Ring of Fire (2013 film)
Ring of Fire (musical)
My Father and the Man in Black
Dyess, Arkansas
The Tennessee Three
Book
Retrieved from "https://en.wikipedia.org/w/index.php?title=One_Piece_at_a_Time&oldid=795407959"
Categories:
1976 singles
Johnny Cash songs
Billboard Hot Country Songs number-one singles
RPM Country Tracks number-one singles
Songs written by Wayne Kemp
RPM Adult Contemporary number-one singles
Songs about automobiles
Songs about labor
Novelty songs
Columbia Records singles
1976 songs
Hidden categories:
Articles with hAudio microformats
Singlechart usages for Billboardcountrysongs
Singlechart called without song
Singlechart usages for Billboardhot100
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