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Author Gary Tillery draws parallels between Harrison 's approach to " [ going ] through the motions of living in the material world " and the way someone in the 21st century might play a virtual reality game . Tillery writes that " what we see and experience during the game is actually an illusion " – or maya in the Hindu belief to which Harrison subscribed – and that " [ w ] hat does matter in the great scheme of things is to wake up from the dreamlike state we mistake for reality . " Speaking at a 1974 press conference , in reply to whether there was a " paradox " between his spiritualism and the lifestyle of a musician , Harrison conceded : " It is difficult ... You can go to the Himalayas and miss it completely and [ yet ] be stuck in the middle of New York and be very spiritual ... I think one by one we all free ourselves from the chains that we have chained ourselves to , whatever we 're chained to . "
= = Composition = =
As reproduced in I , Me , Mine , Harrison wrote the lyrics to " Living in the Material World " on portions of a torn @-@ up envelope , which was previously addressed to Terry Doran at Apple Corps in central London , its postmark dated 7 November 1971 . The song contrasts the world of material things against spiritual concerns . The verses describing the material world are set to rock music , over what Harrison biographer Simon Leng terms " George 's favourite ' Get Back ' rhythm " . The two sections describing the spiritual world – serving as the song 's middle eights – use a more gentle melody backed by Indian instrumentation and so recall Harrison 's 1967 composition " Within You Without You " , in Leng 's view . While admiring how other Harrison lyrics from this period " resembled Vedic sutras " , author Joshua Greene writes that in " Living in the Material World " he " condensed a lengthy passage from the Bhagavad Gita into a dozen simple words " .
In the song 's opening verse , Harrison admits that he " Can 't say what I 'm doing here " in the material world , a statement that theologian Dale Allison identifies as Kafkaesque until Harrison offers " eschatological hope " with the subsequent line , " But I hope to see much clearer " . Harrison then states that he uses his body " like a car / Taking me both near and far " . Author Ian Inglis regards this as an apt metaphor , since our bodies " are merely the vehicles that carry us on our journeys " .
Harrison refers to his years as a member of the Beatles , naming former bandmates John Lennon , Paul McCartney and Ringo Starr in a verse that commentators recognise for its humorous content :
Met them all here in the material world
John and Paul here in the material world
Though we started out quite poor
We got Richie on a tour .
Inglis comments on Harrison 's pun on the word " Richie " , which can refer to the Beatles ' financial success from 1963 onwards , on one hand , and to the improvements in musicianship brought about by the arrival of drummer Richard Starkey , also known as Ringo Starr , when he replaced Pete Best in late 1962 . While noting Harrison 's " laconic humour " in the song , Leng describes him as " still caught in the yin @-@ yang of his Beatles identity " , further to the various " instalments of ' the Beatles soap opera ' " Harrison provided on his 1970 triple album All Things Must Pass .
In the Indian @-@ styled middle eight , Harrison sings about his " sweet memories " of " the spiritual sky " and prays not to " get lost or go astray " . Allison writes that Harrison 's " true home " is here in the <unk> spiritual sky , since " however grand and glorious " his achievements with the Beatles might be to others , they brought him no " meaningful contentment " .
After returning to the rock @-@ music setting , Harrison sings of his frustrations in the material world , which rather than satisfying human desires , merely leaves the senses " swelling like a tide " . Tillery writes of Harrison not being immune to " the siren call of the world " despite his spiritual goals , and Harrison would refer to the years 1973 – 74 as " the naughty period " , a reaction to the failure of his marriage to Pattie Boyd .
In line with teachings that Harrison had absorbed from both Maharishi Mahesh Yogi in 1967 and the Bhagavad Gita , Allison suggests , the lines " Got a lot of work to do / Try to get a message through " demonstrate " a sort of prophetic self @-@ conception " on the singer 's part . In the final verse , Harrison expresses his desire for moksha , or release from the cycle of reincarnation , with the words : " I hope to get out of this place / By the Lord Sri Krsna 's Grace . "
Inglis writes that " Living in the Material World " contrasts not only the physical with the spiritual , but also a number of other issues for Harrison , including " past and present , West and East , noise and calm " . Leng notes the irony in the fact that although Harrison 's experience with the Beatles " cast him into the material world " , his exposure to Eastern philosophy came through that same experience , and thus the Beatles were " both his nemesis and his saviors " .
While citing the Bhagavad Gita as a significant influence on " Living in the Material World " , Allison views the " dualistic anthropology " expressed in the song as " central to [ Harrison 's ] self @-@ conception and worldview " . Harrison himself attributed this dualism to his Pisces astrological sign , an issue he addresses in the posthumously released " Pisces Fish " . He acknowledged in one interview : " I am an extreme person ... I was always extremely up or extremely down , extremely spiritual or extremely drugged . "
= = Production = =
Harrison began recording his long @-@ awaited follow @-@ up to All Things Must Pass in October 1972 , having been sidetracked with issues relating to the Concert for Bangladesh for over a year . The Magic Is Here Again and The Light That Has Lighted the World were each rumoured to be the new album 's title until Apple Records announced it as Living in the Material World . Inglis views " Living in the Material World " as an ideal title track for the album , given " the internal dialogue in which he was engaging at the time " . Leng describes Harrison as " a man positively pregnant with vision " following the " overwhelming success " of his solo career since the Beatles ' break @-@ up , and suggests that a visit he made to India with American musician Gary Wright in early 1972 was a contributing factor .
= = = Initial recording = = =
Keen to pare down the production after the Wall of Sound excesses employed by Phil Spector on All Things Must Pass , Harrison used a small group of backing musicians throughout the sessions . Aside from himself on electric guitar , the line @-@ up on the basic track for " Living in the Material World " was Nicky Hopkins ( piano ) , Wright ( Hammond organ ) , Klaus Voormann ( bass ) and Starr and Jim Keltner ( both on drums ) . Inglis describes the music as " a powerful rock backing " , while Leng views " Living in the Material World " as " the one time in his career that Harrison deliberately set out to create a big , showpiece rock number " .
The recording took place at the Beatles ' Apple Studio , according to the album 's sleeve credits , although Voormann maintains that Harrison 's new home studio , FPSHOT , was the main location . Harrison had intended to co @-@ produce with Spector as before , but he became the album 's sole producer due to Spector 's unreliability . Session tapes , since made available unofficially on the Living in the Alternate World bootleg , reveal that the rock instrumentation on " Living in the Material World " continued , at a reduced volume , over the " spiritual sky " portions originally .
With Phil McDonald as recording engineer , the basic tracks for most of the album were completed by December 1972 , before Hopkins departed for Jamaica to work on the Rolling Stones ' new album , Goats Head Soup ( 1973 ) . Harrison , McDonald and Indian tabla player Zakir Hussain then produced the recording of a recent New York performance by Shankar and Ali Akbar Khan , released on Apple Records in January 1973 as the double live album In Concert 1972 .
= = = Overdubbing = = =
Work resumed on Living in the Material World over January and February , with Hussain and Jim Horn among those making contributions to the overdubs on the title track . Over the two " spiritual sky " sections , Hussain added tabla , replacing the rock rhythm section , while Horn played flute and Harrison played sitar . Author Alan Clayson likens Harrison 's production style on Material World to that of Beatles producer George Martin and notes that " this moderation resulted in arrangements flexible enough for the title track to flit smoothly " between the contrasting rock and " celestial " Indian sections . The use of Indian instrumentation recalls Harrison 's work with the Beatles during 1966 – 68 , following which , Harrison admitted , he rarely played the sitar . Adding to the pun behind the " Richie " line in the verse referencing the Beatles , Starr provides a drum fill ; later in the track , Horn 's flute similarly acknowledges the mention of Krishna – flute being synonymous with Krishna in the Hindu faith .
For the solos on " Living in the Material World " , Harrison and Horn overdubbed slide guitar and tenor saxophone , respectively . Leng likens Harrison 's soloing to the " passionate , rocking slide guitar " he supplied on " Edward " for Hopkins 's The Tin Man Was a Dreamer album , also recorded at Apple in late 1972 . The recording ends with what Clayson terms " a syncopated blues run @-@ down " , emphasising the song 's " big production " status .
= = Release and album artwork = =
Apple Records released Living in the Material World at the end of May 1973 , with the title track sequenced to end side one in the original , LP format . " Living in the Material World " followed another Harrison composition reflecting on his years with the Beatles , " Who Can See It " . In keeping with the album content , Tom Wilkes 's design for the record 's face labels contrasted a devout spiritual existence with life in the material world , by featuring a painting of Krishna and his warrior prince Arjuna on side one and a picture of a Mercedes stretch limousine on the reverse . The painting of Krishna and Arjuna came from a version of the Bhagavad Gita published by Prabhupada .
Author Elliot Huntley views Living in the Material World as a concept album on which the material – spiritual " quandary " evident in the title track is " eloquently expressed " through the artwork 's mix of religious symbolism and an inner @-@ gatefold photograph that showed " [ Harrison 's ] band indulging in a gratuitously sumptuous feast " . The stretch @-@ limousine image was a detail taken from this photo , the concept for which reflected Harrison 's view that the material world is not only related to money and possessions , but to " everything which is gross , physical , or material as opposed to the subtle , astral or casual " , as he puts it in I , Me , Mine when discussing the song . NME critic Bob Woffinden also commented on the symbolism of this picture showing " Harrison with his musicians ( Nicky Hopkins , Klaus Voormann , Jim Keltner , Ringo – the usual lot ) enjoying a hearty repast , passing the no @-@ doubt vintage wine , while in the background the longest limousine in the world awaits their convenience " .
A parody of da Vinci 's The Last Supper , the picture was taken by Hollywood glamour photographer Ken Marcus . Clayson has speculated on the symbolism and hidden messages within the photo : whether the nurse with a pram , set back from and to the left of the dining table , was a reference to Boyd 's inability to conceive a child ; and the empty , distant wheelchair in memory of Harrison 's late mother . Allison finds evidence of Harrison 's antipathy towards organised religion in this inner @-@ gatefold photo , following on from the lyrics to his 1970 song " Awaiting on You All " . In order to add to Harrison 's " mystique " , author Bruce Spizer writes , Wilkes placed a colour image of him over the main , black @-@ and @-@ white print . The same detail echoed the contrast in " Living in the Material World " between the illusory nature of human existence and what Allison describes as the " vital , eternal reality " offered by spiritual enlightenment .
The song also provided the inspiration for the title of Harrison 's charity , the Material World Charitable Foundation , launched in April 1973 . Harrison donated the copyright to " Living in the Material World " and eight other tracks on the album to the foundation , one of the stated aims of which was " to encourage the exploration of alternative life views and philosophies " .
= = Reception = =
In his album review for Rolling Stone , Stephen Holden wrote of Harrison having " inherited the most precious Beatle legacy – the spiritual aura that the group accumulated " and suggested that he had " maintained its inviolability with remarkable grace " . Holden described " Living in the Material World " as " an incantatory , polyrhythmic rocker with a falsetto @-@ on @-@ sitar refrain " and viewed the music as " some of the most complex on the album " . Billboard magazine listed the song first among the " best cuts " on a collection whose themes included " the Beatles and their mish @-@ mash " and a " spiritual undercoat " . In Melody Maker , Michael Watts described " Living in the Material World " as " brilliant " and suggested that it might have made a superior lead single to " Give Me Love ( Give Me Peace on Earth ) " . In his 1981 book The Beatles Apart , Bob Woffinden wrote admiringly of Harrison " grappling with the problem " of " striving for spiritual goals when you 're a young and famous multi @-@ millionaire " . Woffinden dismissed the title track as a " flop " , however , citing Harrison 's failed attempts " to <unk> the syllables of ' material ' " with the melody .
More recently , AllMusic critic Lindsay Planer has described " Living in the Material World " as " one of the more profound observations to be made about the somewhat schizophrenic struggle between universal existence and monetary @-@ driven survival " . Planer praises the recording as " a testament to the artist 's ability to deliver the goods [ as a guitarist ] , with searing albeit brief interaction with saxophonist Jim Horn " and similarly compliments the playing of Starr and Hopkins . While opining that Material World " suffers from a more anonymous tract " next to All Things Must Pass , Zeth Lundy of PopMatters pairs " Living in the Material World " with " The Lord Loves the One ( That Loves the Lord ) " as the album 's " most uptempo rock songs " , which " fare much better [ than some of the ballads ] as eager bids for secession from this life , or at least from the clutches of its material concerns " .
Writing in 2014 , Joe Marchese of The Second Disc highlights " Living in the Material World " among tracks that combine to form the album 's " earnest and intensely personal , yet wholly accessible , statement " . While describing Material World as " meticulously produced " , Blogcritics writer Chaz Lipp considers the " galloping title track " to be a song that " rank [ s ] right alongside Harrison 's best work " . In another 2014 review , for the Lexington Herald @-@ Leader , Walter Tunis includes the track among the " stunners " found on Material World , and labels it a " comparatively whimsical title tune " .
Among Beatles and Harrison biographers , Chip Madinger and Mark Easter describe " Living in the Material World " as " superb " and Robert Rodriguez views Harrison 's " deft blending of Western and Eastern sounds " as a " production marvel " . Although he admires the " vaguely Indian middle eight [ s ] " , Elliot Huntley bemoans the " complex , powerhouse arrangement " used elsewhere and finds Horn 's sax playing " a little overbearing " . Simon Leng calls " Living in the Material World " a " musical Roman Candle " , and a " highly effective track " that is " the work of a very confident musician " . Ian Inglis praises Harrison 's " inventive " lyrics , of which the " got Richie on a tour " line is " one of his cleverest puns " , and notes that the song 's positioning in the running order " echoes George Martin 's policy of always selecting a strong track to close each side of every Beatles album " .
= = Subsequent releases and legacy = =
The song was remastered in 2006 for EMI 's reissue of Living in the Material World , five years after Harrison 's death . The final selection on the DVD accompanying this reissue featured " Living in the Material World " set to archival footage of the manufacturing process behind the album . The footage had been commissioned by Harrison in 1973 , and it includes an executive undertaking a test pressing , preparation of the face labels , vinyl cutting , and the album being hand @-@ packaged in EMI 's warehouse . During the first " spiritual sky " section , the film cuts to footage of Harrison raising a yellow and red Om flag on the roof of his Friar Park home – a demonstration he adopted in the early 1970s to reflect when he was living true to his spiritual goals . The clip ends with a <unk> still of Marcus 's inner gatefold photo . With production credited to Abbey Road Interactive , this film of " Living in the Material World " also appears on the DVD included in Harrison 's 2014 The Apple Years 1968 – 75 box set .
The song provided the title for Martin Scorsese 's 2011 documentary George Harrison : Living in the Material World and for Olivia Harrison 's book accompanying the film . During her interview in the documentary , Olivia discusses her late husband 's determination to " work out " all his karma in the one lifetime rather than have his soul return to earth in a new incarnation . Writing for The Huffington Post at the time of the film 's release , Religion News Service reporter Steve Rabey referred to " Living in the Material World " as a song that " illuminates [ Harrison 's ] theology and sense of artistic vocation " , and he said of the former Beatle : " his greatest legacy may be the way his decades @-@ long spiritual quest shaped the ways the West looks at God , gurus and life . " On Harrison 's official website , the Material World Charitable Foundation page continues to use " Living in the Material World " as its featured audio .
= = Personnel = =
George Harrison – vocals , electric guitar , slide guitar , sitar , backing vocals
Jim Horn – tenor saxophone , flute
Gary Wright – organ
Nicky Hopkins – piano
Klaus Voormann – bass
Ringo Starr – drums , tambourine
Jim Keltner – drums , maracas
Zakir Hussain – tabla
= Delaware Route 1 =
Delaware Route 1 ( DE 1 ) is a 103 @.@ 02 @-@ mile @-@ long ( 165 @.@ 79 km ) state highway in the U.S. state of Delaware . The route runs from the Maryland border in Fenwick Island , Sussex County , where it continues into that state as Maryland Route 528 ( MD 528 ) , north to an interchange with DE 58 in Christiana , New Castle County , where the road continues north as DE 7 . Between Fenwick Island and Dover Air Force Base in Dover , Kent County , DE 1 is a four- to six @-@ lane surface divided highway with occasional interchanges . The route heads north past the Delaware Beaches along the Atlantic Ocean before it runs northwest through rural areas , turning north at Milford to continue to Dover . Upon reaching Dover , DE 1 becomes the Korean War Veterans Memorial Highway , a four- to six @-@ lane freeway that is tolled . Between Dover and Tybouts Corner , DE 1 parallels U.S. Route 13 ( US 13 ) , crossing over and featuring interchanges with it multiple times . Past Tybouts Corner , the freeway heads north to Christiana , reaching an interchange with Interstate 95 ( I @-@ 95 ) a short distance before its terminus .
DE 1 was first designated in the 1970s between Fenwick Island and US 113 in Milford , replacing a portion of DE 14 and following the newly constructed Milford Bypass . DE 14 between Fenwick Island and Milford had been built as a state highway in the 1920s and 1930s and was widened into a divided highway between the 1950s and 1970s . In the 1980s , a limited @-@ access Relief Route for US 13 was proposed between Dover and the Wilmington area in order to relieve that route of beach traffic . This relief route would be incorporated into DE 1 in 1988 , with the route extended up US 113 between Milford and Dover to connect to the Relief Route . The tolled DE 1 freeway between Dover Air Force Base and Christiana opened in multiple stages between 1991 and 2003 , and at a cost of $ 900 million was the largest public works project in Delaware history . The concurrent US 113 designation north of Milford was removed in 2004 . Upgrades continue to be made to DE 1 such as the construction and improvement of interchanges as well as widening portions of the road .
= = Route description = =
= = = Fenwick Island to Lewes = = =
DE 1 begins at the Maryland border in the Delaware Beaches community of Fenwick Island in Sussex County , where the road continues south into Ocean City , Maryland as MD 528 . From this point , DE 1 heads north on four @-@ lane divided Coastal Highway . A block after the state line , the route intersects the eastern terminus of DE 54 . The road continues north through business areas with some residences a short distance to the west of the Atlantic Ocean . DE 1 leaves Fenwick Island and heads into Fenwick Island State Park , running along a narrow strip of land with the Little Assawoman Bay to the west and the Atlantic Ocean to the east . The route passes a small area of residential development before it goes through more of the state park . The road enters South Bethany , where it passes through residential areas . DE 1 heads into commercial areas in Middlesex Beach and briefly curves northwest before turning north again and continuing into Bethany Beach , where the road name changes to Delaware Avenue . The route runs past residences and comes to an intersection with DE 26 , which heads east into the commercial center of Bethany Beach . The road curves northeast and leaves Bethany Beach as it passes to the east of a Delaware National Guard training site . Continuing north , DE 1 becomes Coastal Highway again and runs between wooded areas to the west and beachfront homes to the east . Farther north , the route crosses into Delaware Seashore State Park , where it travels along a strip of land between the Indian River Bay to the west and the Atlantic Ocean to the east . DE 1 comes to a right @-@ in / right @-@ out access point to the park before it crosses over the Indian River Inlet on the cable @-@ stayed Indian River Inlet Bridge .
Past the bridge , the road passes to the east of a United States Coast Guard station and continues north through more of the state park between the Rehoboth Bay to the west and the Atlantic Ocean to the east . The route travels near the Indian River Life Saving Service Station and two fire control towers from World War II before it leaves Delaware Seashore State Park and enters Dewey Beach . At this point , DE 1 passes homes prior to running through business areas . The route comes to an intersection with the southern terminus of DE 1A , which heads north towards Rehoboth Beach . At this intersection , DE 1 turns northwest away from the Atlantic Ocean and passes through residential areas with some commercial development . The road leaves Dewey Beach and continues to a right @-@ in / right @-@ out interchange with DE 1B , which heads north into Rehoboth Beach . Immediately after , the route crosses over the Lewes and Rehoboth Canal on a high @-@ level , twin span crossing and enters commercial areas . DE 1 intersects the northern terminus of DE 1A access road to Rehoboth Beach , at which point it widens to six lanes . The road passes more businesses and runs between two sections of the Tanger Outlets Rehoboth Beach outlet mall . Farther northwest , the route comes to an intersection with the eastern terminus of DE 24 and the southern terminus of DE 1D in Midway . DE 1 passes to the northeast of another part of the Tanger Outlets as it is lined with more businesses . In Carpenters Corner , the route intersects US 9 , which travels northeast to provide access to Lewes and the Cape May @-@ Lewes Ferry across the Delaware Bay . At this point , DE 1 becomes concurrent with US 9 , and the two routes run through woods before curving west past businesses . In Five Points , US 9 splits from DE 1 by heading west concurrent with DE 404 , with access to the northern termini of DE 23 and DE 1D , while US 9 Bus. heads northeast towards Lewes . Past Five Points , DE 1 narrows back to four lanes and bypasses Nassau to the southwest , curving northwest to pass over a Delaware Coast Line Railroad line on a bridge .
= = = Lewes to Dover Air Force Base = = =
After the bridge over the railroad line , DE 1 leaves the Delaware Beaches area and heads into a mix of farm fields and residential and commercial development , traveling to the northeast of Red Mill Pond . The road continues through more agricultural areas with some residential subdivisions and woods . The route crosses over the Broadkill River and passes to the southwest of a golf course before it comes to a junction with DE 16 , which heads west to Milton and east to Broadkill Beach . Following this , DE 1 continues through farmland and woodland to the southwest of the Prime Hook National Wildlife Refuge , reaching an intersection with the northern terminus of DE 5 . Immediately after this intersection , the road travels to the east of <unk> Pond and runs north @-@ northwest through more agricultural areas . The route curves northwest as it bypasses the community of Argos Corner to the southwest . Past here , DE 1 crosses Cedar Creek and passes near a couple residential subdivisions before intersecting DE 30 Alt . A short distance later , the road reaches an interchange with the northern terminus of DE 30 . After this interchange , the route comes to a northbound exit and southbound entrance with DE 1 Bus . , which heads northwest into Milford . At this point , DE 1 curves north and becomes the Milford Bypass , which heads around the eastern part of the city . The route passes between residential development to the west and farmland to the east before turning northwest into wooded areas and coming to a diamond interchange with DE 36 .
Past this interchange , DE 1 crosses the Mispillion River into Kent County and continues northwest to an intersection with the eastern terminus of DE 14 . The road runs between commercial development to the southwest and a wooded residential neighborhood to the northeast , crossing Northeast 10th Street . The route passes near more development before it comes to a southbound exit and northbound entrance with the northern terminus of US 113 and DE 1 Bus. at the northern end of Milford . Past this interchange , DE 1 becomes Bay Road and travels to the east of Tub Mill Pond before it runs through a mix of farmland and residential and commercial development . The route intersects Thompsonville Road and continues through farmland with some woods and development . The road curves northwest and comes to an intersection with Frederica Road , which heads to the town of Frederica . DE 1 bends to the north and bypasses Frederica to the east , crossing over the Murderkill River . The route has an interchange with the eastern terminus of DE 12 , which heads south into Frederica . The road runs north through agricultural areas , passing to the west of Barratt 's Chapel , before it reaches the community of Little Heaven . Here , DE 1 intersects Bowers Beach Road , which travels east to Bowers Beach along the Delaware Bay . The route passes near homes and businesses and reaches an intersection with Clapham Road , which heads northwest towards Magnolia and Rising Sun . Following this , the road runs through farmland with some woods before coming to a right @-@ in / right @-@ out interchange with Trap Shooters Road that provides access to Magnolia . DE 1 crosses over the St. Jones River and continues north to a diamond interchange with the southern terminus of DE 9 , at which point it enters the city limits of Dover . At this interchange , the route turns northwest and passes between an asphalt plant to the southwest and the runways of Dover Air Force Base to the northeast .
= = = Dover Air Force Base to Christiana = = =
Along the Dover Air Force Base boundary , DE 1 transitions from a four @-@ lane divided surface road to a freeway called the Korean War Veterans Memorial Highway , which is a toll road . The first interchange is a northbound exit and entrance which serves the commercial gate of Dover Air Force Base . The freeway passes between the air base golf course to the southwest and various base buildings to the northeast before it reaches a diamond interchange serving the main gate to the northeast and base housing to the southwest . After this , the route continues between base residences and the main part of the base prior to reaching a northbound exit and southbound entrance at the eastern terminus of DE 10 and Bay Road that also serves the north gate of Dover Air Force Base . DE 1 runs north along the west side of Bay Road before it passes over it , where there is a southbound exit and entrance and a northbound entrance that serves to provide access to DE 10 from southbound DE 1 and to northbound DE 1 . Immediately after this is a southbound exit and northbound entrance with the Puncheon Run Connector , which heads west towards US 13 . The freeway continues north along the eastern edge of Dover and comes to a southbound exit and northbound entrance at DE 8 , which provides access to downtown Dover . Past this interchange , the highway turns northwest through rural areas before it comes to the Dover mainline toll plaza . DE 1 passes to the northeast of Dover International Speedway and comes to a trumpet interchange that provides access to US 13 and Scarborough Road , serving the northern part of Dover . This interchange has a toll plaza on the southbound exit and northbound entrance . Following this interchange , the toll road leaves Dover and continues through wooded areas with some fields and nearby development . The route heads to the east of the Cheswold area , passing under DE 42 without an interchange , and curves north , crossing the Leipsic River . DE 1 continues thorough rural areas a short distance to the east of US 13 before it reaches Smyrna . Here , the freeway comes to a trumpet interchange serving US 13 at the southern edge of town , with tolls on the southbound exit and northbound entrance . The highway runs to the east of Smyrna with residential development to the west and rural land to the east , passing under DE 6 with no access .
DE 1 curves northwest and crosses the Duck Creek into New Castle County , where it heads through farmland with some woods . The route crosses US 13 at an interchange to the north of Smyrna , with access to the Smyrna Rest Area along US 13 . The tollway continues northwest through rural areas to the west of US 13 , curving north and crossing over the highway once to briefly travel along its east side prior to another bridge over it to again run to the west of it as it passes to the east of the Townsend area . DE 1 heads north and closely follows along the west side of US 13 as it runs through more rural areas with residential development to the east . The freeway turns northwest away from US 13 and crosses the Appoquinimink River , passing to the northeast of a residential neighborhood before coming to a diamond interchange with DE 299 , which provides access to Middletown to the west and Odessa and US 13 to the east . Past this interchange , DE 1 curves northeast and passes over US 13 again before it turns north and crosses <unk> Creek . The freeway continues north a short distance to the east of US 13 past residential subdivisions as it comes to a diamond interchange with Pole Bridge Road , which heads west to intersect US 13 and the southern terminus of DE 896 in Boyds Corner . This interchange has tolls on the northbound exit and southbound entrance . After this interchange , DE 1 curves northwest and crosses over US 13 , turning north and reaching the Biddles Corner mainline toll plaza , which marks the north end of tolling along DE 1 .
After the toll plaza , DE 1 widens to six lanes and comes to a southbound exit and northbound entrance providing access to US 13 in St. Georges . The freeway turns northwest and crosses the Chesapeake and Delaware Canal on the cable @-@ stayed Chesapeake and Delaware Canal Bridge . The highway passes through a mix of fields and residential subdivisions and curves north to come to a diamond interchange with US 13 and DE 72 to the west of Delaware City . At this point , US 13 becomes concurrent with DE 1 , with the freeway running through farmland and passing over Norfolk Southern 's Reybold Running Track railroad line and DE 7 to the west of the Delaware City Refinery . US 13 and DE 1 continue concurrent to Tybouts Corner , where DE 1 splits at an interchange to continue as a freeway and US 13 heads northeast as a surface divided highway . Within this interchange is the northern terminus of DE 71 , which southbound DE 1 has a direct ramp to . Past Tybouts Corner , DE 1 narrows to four lanes and travels north past residential subdivisions , passing over Norfolk Southern 's New Castle Secondary before coming to the US 40 interchange in Bear . The highway continues north and reaches an interchange with DE 273 in Christiana . The freeway runs through wooded areas and crosses the Christina River before it comes to an interchange with DE 7 that serves the Christiana Mall to the east of the road . At this point , DE 7 joins DE 1 on the freeway , passing to the west of the mall before coming to a modified cloverleaf interchange with I @-@ 95 ( Delaware Turnpike ) that has flyover ramps from between northbound DE 1 / DE 7 and northbound I @-@ 95 and between southbound I @-@ 95 and southbound DE 1 / DE 7 . Past I @-@ 95 , the freeway heads through commercial areas before it comes to an interchange with DE 58 . At this point , DE 1 and the freeway end while DE 7 continues north as a divided surface road .
DE 1 has an annual average daily traffic count ranging from a high of 97 @,@ 964 vehicles at the US 40 interchange to a low of 11 @,@ 539 vehicles at the northern boundary of Fenwick Island . The entire length of DE 1 is part of the National Highway System .
= = Tolls = =
As of August 1 , 2014 , DelDOT charges a total of $ 2 on weekdays ( $ 6 on weekends ) for the entire 51 @-@ mile ( 82 km ) length of the Korean War Veterans Memorial Highway portion of DE 1 , with mainline toll plazas at Dover and Biddles Corner which each charge $ 1 on weekdays ( $ 3 on weekends ) . Weekend tolls are in effect from 7 : 00 pm Friday until 11 : 00 pm Sunday . In addition , DelDOT charges a $ 0 @.@ 50 toll at exit 104 for US 13 in North Dover ( southbound off , northbound on ) and exit 142 for DE 896 in Boyds Corner ( northbound off , southbound on ) , and a $ 0 @.@ 25 toll at exit 114 for US 13 in South Smyrna ( southbound off , northbound on ) . Tolls may be paid with cash or E @-@ ZPass . A discount is available for motorists with E @-@ ZPass exiting northbound and entering southbound at exits 104 and 114 north of the Dover toll plaza as well as entering northbound and exiting southbound at exit 142 south of the Biddles Corner toll plaza . This discount is $ 0 @.@ 50 at exits 104 and 142 and $ 0 @.@ 25 at exit 114 . There is also a frequent user plan in which E @-@ ZPass users who make at least 30 trips in 30 days receive a 50 % discount on tolls .
Tolls at the Dover and Biddles Corner mainline toll plazas were originally $ 1 the whole week . On October 1 , 2007 , tolls on weekends were increased to $ 2 in order to fund statewide transportation projects . Commercial vehicle tolls also increased by $ 1 on weekdays and $ 2 on weekends at this time . On August 1 , 2014 , the weekend tolls at Dover and Biddles Corner increased to $ 3 in order to again provide funding to transportation projects across the state .
= = History = =
= = = South of Dover = = =
The portion of DE 1 between Milford and Little Heaven was initially built as part of the DuPont Highway , a highway that spanned the state from Selbyville to Wilmington . The highway was proposed as a modern road that was part of a philanthropic measure . This roadway was planned to improve travel and bring economic development to Kent and Sussex counties . The DuPont Highway was to be modeled after the great boulevards of Europe and was to have a 200 @-@ foot ( 61 m ) wide right @-@ of @-@ way consisting of a 40 @-@ foot ( 12 m ) wide roadway for automobiles flanked by dual trolley lines , 30 @-@ foot ( 9 @.@ 1 m ) wide roadways for heavy vehicles , 15 @-@ foot ( 4 @.@ 6 m ) wide unpaved roadways for horses , and sidewalks . Utilities were to be buried underground below the horse roadways . The highway was also to include agricultural experimental stations and monuments for future surveying . Trolley revenues would help pay for the construction of the roadway . After portions of the DuPont Highway were built , these portions were planned to be turned over to the state at no charge .