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Austrian Empire
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This article is about the realms of the Habsburgs between 1804 and 1867. For the Habsburg realms more generally, see Habsburg Monarchy. For the Austrian Empire after the compromise of 1867, see Austria-Hungary.
Austrian Empire
Kaisertum Österreich (German)
State1 of the Holy Roman Empire
(1804–1806)
State1 of the German Confederation
(1815–1866)
1804–1867
Flag
Imperial Coat of arms
Anthem
Gott erhalte Franz den Kaiser
"God Save Emperor Francis"
The Austrian Empire in 1815.
Capital Vienna
Languages German, Hungarian, Czech, Slovak, Polish, Ruthenian, Slovene, Croatian, Serbian, Romanian, Italian, Ukrainian
Religion Roman Catholic
Government Absolute monarchy
Emperor
• 1804–1835 Francis I
• 1835–1848 Ferdinand I
• 1848–1867 Franz Joseph I
Minister-President
• 1821–1848 Metternich (first)
• 1867 Beust (last)
Legislature Imperial Council
• Upper house Herrenhaus
• Lower house Abgeordnetenhaus
Historical era Modern era
• Proclamation 11 August 1804
• Dissolution of the Holy Roman Empire 6 August 1806
• Congress of Vienna 8 June 1815
• Constitution adopted 20 October 1860
• Austro-Prussian War 14 June 1866
• Peace of Prague 23 August 1866
• Compromise of 1867 30 March 1867
Area
• 1804 698,700 km2 (269,800 sq mi)
• 1918 681,727 km2 (263,216 sq mi)
Population
• 1804 est. 21,200,000
Density 30/km2 (79/sq mi)
• 1918 est. 52,000,000
Density 76/km2 (198/sq mi)
Currency Thaler,
(1804–1857)
Vereinsthaler
(1857–1867)
Preceded by Succeeded by
Holy Roman Empire
Habsburg Monarchy
Austria-Hungary
Today part of
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Austria
Croatia
Czech Republic
Hungary
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Slovenia
Ukraine
1Territories of Austria and Bohemia only.
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The Austrian Empire (Austrian German: Kaiserthum Oesterreich, modern spelling Kaisertum Österreich) was a Central European multinational great power in 1804 to 1867 created by proclamation out of the realms of the Habsburgs. It was the third most populous empire after Russia and France, as well as the largest and strongest[dubious – discuss] country in the German Confederation. Geographically, it was the second largest empire in Europe after the Russian Empire (621,538 square kilometres [239,977 sq mi]). Proclaimed in response to the First French Empire, it overlapped with the Holy Roman Empire until the latter's dissolution in 1806. The Ausgleich of 1867 elevated Hungary's status. It became a separate entity from the Empire entirely, joining with it in the dual monarchy of Austria-Hungary.
Contents
[hide]
1 History
1.1 Foundation
1.2 Metternich era
1.3 Revolutions of 1848
1.4 The Bach years
1.5 After 1859
2 Foreign policy
3 Constituent lands
4 Gallery
5 See also
6 References
7 Further reading
8 External links
History[edit]
Foundation[edit]
See also: Imperial and Royal Army during the Napoleonic Wars
Changes shaping the nature of the Holy Roman Empire took place during conferences in Rastatt (1797–1799) and Regensburg (1801–1803). On 24 March 1803, the Imperial Recess (German: Reichsdeputationshauptschluss) was declared, which reduced the number of ecclesiastical states from 81 to only 3 and the free imperial cities from 51 to 6. This measure was aimed at replacing the old constitution of the Holy Roman Empire, but the actual consequence of the Imperial Recess was the end of the empire. Taking this significant change into consideration, the German Emperor Francis II created the title Emperor of Austria, for himself and his successors.
In 1804 the Holy Roman Emperor Francis II, who was also ruler of the lands of the Habsburg Monarchy, founded the Empire of Austria, in which all his lands were included. In doing so he created a formal overarching structure for the Habsburg Monarchy, which had functioned as a composite monarchy for about three hundred years. He did so because he foresaw either the end of the Holy Roman Empire, or the eventual accession as Holy Roman Emperor of Napoleon, who had earlier that year adopted the title of an Emperor of the French; Francis II eventually abandoned the title of German-Roman Emperor later in 1806. To safeguard his dynasty's imperial status he adopted the additional hereditary title of Emperor of Austria. Apart from now being included in a new "Kaiserthum", the workings of the overarching structure and the status of its component lands at first stayed much the same as they had been under the composite monarchy that existed before 1804. This was especially demonstrated by the status of the Kingdom of Hungary, a country that had never been a part of the Holy Roman Empire and which had always been considered a separate realm—a status that was affirmed by Article X, which was added to Hungary's constitution in 1790 during the phase of the composite monarchy and described the state as a Regnum Independens. Hungary's affairs remained administered by its own institutions (King and Diet) as they had been beforehand. Thus under the new arrangements no Imperial institutions were involved in its internal government.[1][2][3]
The fall and dissolution of the Holy Roman Empire was accelerated by French intervention in the Empire in September 1805. On 20 October 1805, an Austrian army led by general Karl Mack von Leiberich was defeated by French armies near the town of Ulm. The French victory resulted in the capture of 20,000 Austrian soldiers and many cannons. Napoleon's army won another victory at Austerlitz on 2 December 1805. Francis was forced into negotiations with the French from 4 to 6 December 1805, which concluded with an armistice on 6 December 1805.
The French victories encouraged rulers of certain imperial territories to assert their formal independence from the Empire. On 10 December 1805, the prince-elector Duke of Bavaria proclaimed himself King, followed by the elector Duke of Württemberg on 11 December. Finally, on 12 December, the Margrave of Baden was given the title of Grand Duke. In addition, each of these new countries signed a treaty with France and became French allies. The Treaty of Pressburg between France and Austria, signed in Pressburg (today Bratislava, Slovakia) on 26 December, enlarged the territory of Napoleon's German allies at the expense of defeated Austria.
Francis II agreed to the humiliating Treaty of Pressburg (26 December 1805), which in practice meant the dissolution of the long-lived Holy Roman Empire and a reorganization under a Napoleonic imprint of the German territories lost in the process into a precursor state of what became modern Germany, those possessions nominally having been part of the Holy Roman Empire within the present boundaries of Germany, as well as other measures weakening Austria and the Habsburgs in other ways. Certain Austrian holdings in Germany were passed to French allies—the King of Bavaria, the King of Württemberg and the Elector of Baden. Austrian claims on those German states were renounced without exception.
On 12 July 1806, the Confederation of the Rhine was established, comprising 16 sovereigns and countries. This confederation, under French influence, put an end to the Holy Roman Empire. On 6 August 1806, even Francis recognized the new state of things and proclaimed the dissolution of the Holy Roman Empire, as he did not want Napoleon to succeed him. This action was unrecognized by George III of the United Kingdom who was also the Elector of Hanover and had also lost his German territories around Hanover to Napoleon. His claims were later settled by the creation of the Kingdom of Hanover which was held by George's British heirs until Queen Victoria's accession, when it split into the British and Hanoverian royal families.
Metternich era[edit]
Prince of Schwarzenberg and the monarchs of Russia, Austria and Prussia after the battle of Leipzig, 1813
Klemens von Metternich became Foreign Minister in 1809. He also held the post of Chancellor of State from 1821 until 1848, under both Francis I and his son Ferdinand I. The period of 1815-1848 is also referred to as the "Age of Metternich".[4] During this period, Metternich controlled the Habsburg Monarchy's foreign policy. He also had a major influence in European politics. He was known for his strong conservative views and approach in politics. Metternich's policies were strongly against revolution and liberalism.[5] In his opinion, liberalism was a form of legalized revolution.[6] Metternich believed that absolute monarchy was the only proper system of government.[4] This notion influenced his anti-revolutionary policy to ensure the continuation of the Habsburg monarchy in Europe. Metternich was a practitioner of balance-of-power diplomacy.[7] His foreign policy aimed to maintain international political equilibrium to preserve the Habsburgs' power and influence in international affairs. Following the Napoleonic Wars, Metternich was the chief architect of the Congress of Vienna in 1815.[7] The Austrian Empire was the main beneficiary from the Congress of Vienna and it established an alliance with Britain, Prussia, and Russia forming the Quadruple Alliance.[5] The Austrian Empire also gained new territories from the Congress of Vienna, and its influence expanded to the north through the German Confederation and also into Italy.[5] Due to the Congress of Vienna in 1815, Austria was the leading member of the German Confederation.[8] Following the Congress, the major European powers agreed to meet and discuss resolutions in the event of future disputes or revolutions. Because of Metternich's main role in the architecture of the Congress, these meetings are also referred to as the "Metternich congress" or "Metternich system". While Metternich was the Austrian foreign minister, other congresses would meet to resolve European foreign affairs. These included the Congresses of Aix-la-Chapelle (1818), Carlsbad (1819), Troppau (1820), Laibach (1821), and Verona (1822).[4] The Metternich congresses aimed to maintain the political equilibrium among the European powers and prevent revolutionary efforts. These meetings also aimed to resolve foreign issues and disputes without resorting to violence. By means of these meetings and by allying the Austrian Empire with other European powers whose monarchs had a similar interest in preserving conservative political direction, Metternich was able to establish the Austrian Empire's influence on European politics. Also, because Metternich used the fear of revolutions among European powers, which he also shared, he was able to establish security and predominance of the Habsburgs in Europe.[5]
Under Metternich, nationalist revolts in Austrian north Italy and the German states were forcibly crushed. At home, he pursued a similar policy to suppress revolutionary and liberal ideals. He employed the Carlsbad Decrees of 1819, which used strict censorship of education, press and speech to repress revolutionary and liberal concepts.[4] Metternich also used a wide-ranging spy network to dampen down unrest.
Metternich operated very freely with regard to foreign policy under Emperor Francis I's reign. Francis died in 1835. This date marks the decline of Metternich's influence in the Austrian Empire. Francis' heir was his son Ferdinand I, but he suffered from an intellectual disability.[5] Ferdinand's accession preserved the Habsburg dynastic succession, but he was not capable of ruling.[5] The leadership of the Austrian Empire was transferred to a state council composed of Metternich, Francis I's brother Archduke Louis, and Count Franz Anton Kolowrat, who later became the first Minister-President of the Austrian Empire. The liberal Revolutions of 1848 in the Austrian Empire forced Metternich's resignation. Metternich is remembered for his success in maintaining the status quo and the Habsburg influence in international affairs.[4] No Habsburg foreign minister following Metternich held a similar position within the empire for such a long time nor held such a vast influence on European foreign affairs.[5]
Historians often remember the Metternich era as a period of stagnation: the Austrian Empire fought no wars nor did it undergo any radical internal reforms.[9] However, it was also thought of as period of economic growth and prosperity in the Austrian Empire.[9] The population of Austria rose to 37.5 million by 1843. Urban expansion also occurred and the population of Vienna reached 400,000. During the Metternich era, the Austrian Empire also maintained a stable economy and reached an almost balanced budget, despite having a major deficit following the Napoleonic Wars.[10]
Revolutions of 1848[edit]
Main article: Revolutions of 1848 in the Austrian Empire
Battle of Komárom during the Hungarian Revolution, 1849
From March 1848 through November 1849, the Empire was threatened by revolutionary movements, most of which were of a nationalist character. Besides that, liberal and even socialist currents resisted the empire's longstanding conservatism. Ultimately, the revolutions failed, in part because the various revolutionaries had conflicting goals.
The Bach years[edit]
After the death of Prince Felix of Schwarzenberg in 1852, the Minister of the Interior Baron Alexander von Bach largely dictated policy in Austria and Hungary. Bach centralized administrative authority for the Austrian Empire, but he also endorsed reactionary policies that reduced freedom of the press and abandoned public trials. He later represented the Absolutist (or Klerikalabsolutist) direction, which culminated in the concordat of August 1855 that gave the Roman Catholic Church control over education and family life. This period in the history of the Austrian Empire would become known as the era of neo-absolutism, or Bach's absolutism.
The pillars of the so-called Bach system (Bachsches System) were, in the words of Adolf Fischhof, four "armies": a standing army of soldiers, a sitting army of office holders, a kneeling army of priests and a fawning army of sneaks.[citation needed] Prisons were full of political prisoners: for example during his administration, Czech nationalist journalist and writer Karel Havlíček Borovský was forcibly expatriated (1851–1855) to Brixen. This exile undermined Borovský's health and he died soon afterwards. This affair earned Bach a very bad reputation amongst Czechs and subsequently led to the strengthening of the Czech national movement.
However his relaxed ideological views (apart from the neo-absolutism) led to a great rise in the 1850s of economic freedom. Under him the internal customs duties were abolished, and peasants were emancipated from their feudal obligations.[11]
The Austrian Emperor Franz Joseph among his troops at Solferino, 1859
In her capacity as leader of the German Confederation, Austria participated with volunteers in the First War of Schleswig (1848 to 1850).[8]
Sardinia allied itself with France for the conquest of Lombardy–Venetia. Austria was defeated in the 1859 armed conflict. The Treaties of Villafranca and Zürich removed Lombardy, except for the part east of the Mincio river, the so-called Mantovano.[12]
After 1859[edit]
The Constitution of 1861 created a House of Lords (Herrenhaus) and a House of Deputies (Abgeordnetenhaus). But most nationalities of the monarchy remained dissatisfied.
After the second war with Denmark in 1864, Holstein came under Austrian, Schleswig and Lauenburg under Prussian administration. But the internal difficulties continued.[13] Diets replaced the parliament in 17 provinces, the Hungarians pressed for autonomy, and Venetia was attracted by the now unified Italy.
After Austria was defeated in the Austro-Prussian War of 1866 and the German Confederation was dissolved, the Austro-Hungarian Compromise of 1867 was adopted. By this act, the Kingdom of Hungary and the Empire of Austria as two separate entities joined together on an equal basis to form the Dual Monarchy of Austria-Hungary.
It should be noted that the frequent abbreviation K.u.K. (Kaiserliche und Königliche, "Imperial and Royal") does not refer to that dual monarchy but originated in 1745, when the "royal" part referred to the Apostolic Kingdom of Hungary.[citation needed]
Foreign policy[edit]
Metternich alongside Wellington, Talleyrand and other European diplomats at the Congress of Vienna, 1815
The Napoleonic Wars dominated Austrian foreign policy from 1804 to 1815. The Austrian army was one of the most formidable forces the French had to face. After Prussia signed a peace treaty with France on 5 April 1795, Austria was forced to carry the main burden of war with Napoleonic France for almost ten years. This severely overburdened the Austrian economy, making the war greatly unpopular. Emperor Francis II therefore refused to join any further war against Napoleon for a long time. On the other hand, Francis II continued to intrigue for the possibility of revenge against France, entering into a secret military agreement with the Russian Empire in November 1804. This convention was to assure mutual cooperation in the case of a new war against France.[14]
Austrian unwillingness to join the Third Coalition was overcome by British subsidies, but the Austrians withdrew from the war yet again after a decisive defeat at the Battle of Austerlitz. Although the Austrian budget suffered from wartime expenditures and its international position was significantly undermined, the humiliating Treaty of Pressburg provided plenty of time to strengthen the army and economy. Moreover, the ambitious Archduke Charles and Johann Philipp von Stadion never abandoned the goal of further war with France.
The Austrian Empire in 1812.
Archduke Charles of Austria served as the Head of the Council of War and Commander in Chief of the Austrian army. Endowed with the enlarged powers, he reformed the Austrian Army to preparedness for another war. Johann Philipp von Stadion, the foreign minister, personally hated Napoleon due to an experience of confiscation of his possessions in France by Napoleon. In addition, the third wife of Francis II, Marie Ludovika of Austria-Este, agreed with Stadion's efforts to begin a new war. Klemens Wenzel von Metternich, located in Paris, called for careful advance in the case of the war against France. The defeat of French army at the Battle of Bailén in Spain on 27 July 1808 triggered the war. On 9 April 1809, an Austrian force of 170,000 men attacked Bavaria.[15]
Despite military defeats—especially the Battles of Marengo, Ulm, Austerlitz and Wagram—and consequently lost territory throughout the Revolutionary and Napoleonic Wars (the Treaties of Campo Formio in 1797, Luneville in 1801, Pressburg in 1806, and Schönbrunn in 1809), Austria played a decisive part in the overthrow of Napoleon in the campaigns of 1813–14. It participated (though modestly) in a second invasion of France in 1815, and put an end to Murat's regime in south Italy.
The latter period of Napoleonic Wars featured Metternich exerting a large degree of influence over foreign policy in the Austrian Empire, a matter nominally decided by the Emperor. Metternich initially supported an alliance with France, arranging the marriage between Napoleon and the Francis II's daughter, Marie-Louise; however, by the 1812 campaign, he had realised the inevitability of Napoleon's downfall and took Austria to war against France. Metternich's influence at the Congress of Vienna was remarkable, and he became not only the premier statesman in Europe but virtual ruler of the Empire until 1848—the Year of Revolutions—and the rise of liberalism equated to his political downfall. The result was that the Austrian Empire was seen as one of the great powers after 1815, but also as a reactionary force and an obstacle to national aspirations in Italy and Germany.[16]
Constituent lands[edit]
The Austrian Empire, between 1816 and 1867.
Ethnographic composition of the Austrian Empire (1855).
Crown lands of the Austrian Empire after the 1815 Congress of Vienna, including the local government reorganizations from the Revolutions of 1848 to the 1860 October Diploma:
Archduchy of Austria (Erzherzogtum Österreich)
Lower Austria (Erzherzogtum Österreich unter der Enns)
Upper Austria (Erzherzogtum Österreich ob der Enns)
Duchy of Salzburg (Herzogtum Salzburg), 1815–1850 Salzach District (Salzachkreis) of Upper Austria
Duchy of Styria (Herzogtum Steiermark)
Princely County of Tyrol with Vorarlberg (Gefürstete Grafschaft Tirol mit dem Lande Vorarlberg), subdivided in 1861
Kingdom of Illyria (Königreich Illyrien), subdivided in 1849/1850:
Duchy of Carinthia (Herzogtum Kärnten)
Duchy of Carniola (Herzogtum Krain)
Littoral (Küstenland)
Princely County of Gorizia and Gradisca (Gefürstete Grafschaft Görz und Gradisca)
Imperial Free City of Trieste (Triest)
Margravate of Istria (Markgrafschaft Istrien)
Lands of the Bohemian Crown
Kingdom of Bohemia (Königreich Böhmen)
Margraviate of Moravia (Markgrafschaft Mähren)
Duchy of Silesia (Herzogtum Schlesien)
Kingdom of Galicia and Lodomeria (Königreich Galizien und Lodomerien) with
Duchy of Bukovina (Herzogtum Bukowina), split off in 1850
Kingdom of Dalmatia (Königreich Dalmatien)
Kingdom of Hungary (Königreich Ungarn) (until 1867) with
Kingdom of Croatia (Königreich Kroatien) (until 1867)
Kingdom of Slavonia (Königreich Slawonien) (until 1867)
Kingdom of Lombardy–Venetia (Lombardo-Venezianisches Königreich), lost in 1859/1866
Grand Principality of Transylvania (Großfürstentum Siebenbürgen) (until 1867)
Voivodeship of Serbia and Banat of Temeschwar (Woiwodschaft Serbien und Temescher Banat), from 1849, merged into Hungary and Slavonia in 1860
Serbian Vojvodina, de facto autonomous entity 1848/49, not officially recognized
Banat
Military Frontier (Militärgrenze)
Croatian Military Frontier (Kroatische Militärgrenze)
Slavonian Military Frontier (Slawonische Militärgrenze)
Banat Military Frontier (Banater Militärgrenze)
Transylvanian Military Frontier (Siebenbürger Militärgrenze) merged into Transylvania in 1853
The old Habsburg possessions of Further Austria (in today's France, Germany and Switzerland) had already been lost in the 1805 Peace of Pressburg.
Gallery[edit]
'Hauskrone' of Rudolph II, later Imperial Crown of the Austrian Empire
Crown Jewels of Austria
Growth of the Habsburg Monarchy
Vereinstaler of 1866
Francis I
(r. 1804–1835)
Francis Joseph I
(r. 1848–1916)
See also[edit]
Former countries in Europe after 1815
References[edit]
Jump up ^ Laszlo, Péter (2011), Hungary's Long Nineteenth Century: Constitutional and Democratic Traditions, Koninklijke Brill NV, Leiden, the Netherlands, p. 6, From the perspective of the Court since 1723, regnum Hungariae had been a hereditary province of the dynasty's three main branches on both lines. From the perspective of the ország, Hungary was regnum independens, a separate Land as Article X of 1790 stipulated …….. In 1804 Emperor Franz assumed the title of Emperor of Austria for all the Erblande of the dynasty and for the other Lands, including Hungary. Thus Hungary formally became part of the Empire of Austria. The Court reassured the diet, however, that the assumption of the monarch's new title did not in any sense affect the laws and the constitution of Hungary
Jump up ^ "Vor dem Jahr 1848 is[t] das Kaisertum Österreich verfassungsrechtlich als ein monarchischer Einheitsstaat auf differenziert föderalistischer Grundlage zu sehen, wobei die besondere Stel[l]ung Ungarns im Rahmen dieses Gesamtstaates stets offenkundig war. Eine weitere Differenzierung der föderalistischen Grundlage erfolgte ab 1815 durch die Zugehörigkeit eines teiles des Kaisertums zum Deutschen Bund." "Before 1848 the Austrian Empire can be regarded in constitutional law as a unitary monarchy on a differentiated federalistic basis, whereby the special position of Hungary within the framework of this united state was always evident. A further differentiation of the federalistic position followed from 1815 through the affiliation of a part of the empire to the German federation." Zeilner, Franz (2008), Verfassung, Verfassungsrecht und Lehre des Öffentlichen Rechts in Österreich bis 1848: Eine Darstellung der materiellen und formellen Verfassungssituation und der Lehre des öffentlichen Rechts, Lang, Frankfurt am Main, p. 45
Jump up ^ József Zachar, Austerlitz, 1805. december 2. A három császár csatája – magyar szemmel[permanent dead link], In: Eszmék, forradalmak, háborúk. Vadász Sándor 80 éves, ELTE, Budapest, 2010 p. 557
^ Jump up to: a b c d e Sked, Alan. The Decline and Fall of the Habsburg Empire, 1815-1918. London: Longman, 1989. Print.
^ Jump up to: a b c d e f g Jelavich, Barbara. The Habsburg Empire in European Affairs: 1814-1918. Chicago: Rand Mcnally, 1969. Print.
Jump up ^ Tuncer, Huner. "Metternich and the Modern Era." ARTS-CULTURE -. Daily News, 6 Sept. 1996. Web. 24 Mar. 2015.
^ Jump up to: a b Sofka, James R. "Metternich's Theory of European Order: A Political Agenda for 'Perpetual Peace'." The Review of Politics 60.01 (1998): 115. Web.
^ Jump up to: a b Handbook of Austria and Lombardy-Venetia Cancellations on the Postage Stamp Issues 1850–1864, by Edwin MUELLER, 1961.
^ Jump up to: a b Crankshaw, Edward. The Fall of the House of Habsburg. New York: Viking, 1963. Print.
Jump up ^ "History of Austria, Austria in the Age of Metternich." History of Austria, Austria in the Age of Metternich. N.p., n.d. Web. 24 Mar. 2015.
Jump up ^ Gilman, D. C.; Peck, H. T.; Colby, F. M., eds. (1905). "Bach, Alexander, Baron". New International Encyclopedia (1st ed.). New York: Dodd, Mead.
Jump up ^ Mueller 1961, Historical Data, p.H5.
Jump up ^ Mueller 1961, p.H6.
Jump up ^ Gunther Rothenberg, Napoleon's great adversaries: the Archduke Charles and the Austrian army, 1792-1814 (Indiana UP, 1982).
Jump up ^ Robert Goetz, 1805, Austerlitz: Napoleon and the Destruction of the Third Coalition (2005).
Jump up ^ Josephine Bunch Stearns, The Role of Metternich in Undermining Napoleon (University of Illinois Press, 1948).
Further reading[edit]
Bassett, Richard. For God and Kaiser: The Imperial Austrian Army, 1619-1918 (2016).
Evans, R. J. W. (2006). Austria, Hungary, and the Habsburgs: Essays on Central Europe, c. 1683–1867. online
Judson, Pieter M. The Habsburg Empire: A New History (2016) excerpt
Kann, Robert A. (1980). A History of the Habsburg Empire, 1526–1918 (2nd ed.).
Kissinger, Henry (1955). The World Restored: Metternich, Castlereagh, and the Problems of Peace, 1812–22.
Okey, Robin (2002). The Habsburg Monarchy, C.1765-1918: From Enlightenment to Eclipse. excerpt and text search
Rothenberg, Gunther E. (1976). "Nobility and Military Careers: The Habsburg Officer Corps, 1740–1914". Military Affairs. 40 (4): 182–186. JSTOR 1986702. doi:10.2307/1986702.
Rothenberg, Gunther E. (1968). "The Austrian Army in the Age of Metternich". Journal of Modern History. 40 (2): 155–165. JSTOR 1876727. doi:10.1086/240187.
Sked, Alan (2008). Metternich and Austria: An Evaluation.
Sked, Alan (2001). The Decline and Fall of the Habsburg Empire, 1815–1918 (2nd ed.).
Taylor, A.J.P. (1941). The Habsburg Monarchy, 1809–1918: A History of the Austrian Empire and Austria-Hungary. excerpt and text search
External links[edit]
Wikimedia Commons has media related to Austrian Empire.
Austrian Army during the Napoleonic Wars
The empire of Austria ; its rise and present power (Third millennium library)
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VIAF: 265182984
SUDOC: 031505961
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text:
One (U2 song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"One"
Single by U2
from the album Achtung Baby
B-side
"Lady With the Spinning Head (UV1)"
Released
24 February 1992
Format
CD single
cassette
7" single
12" maxi
Recorded
October 1990 – September 1991
Studio
Hansa Ton Studios in Berlin, Elsinore in Dalkey, Dublin, and Windmill Lane Studios in Dublin
Genre
Rock
Length
4:36
Label
Island
Songwriter(s)
U2 (music)
Bono (lyrics)
Producer(s)
Daniel Lanois with Brian Eno
U2 singles chronology
"Mysterious Ways"
(1991) "One"
(1992) "Even Better Than the Real Thing"
(1992)
"Mysterious Ways"
(1991) "One"
(1992) "Even Better Than the Real Thing"
(1992)
Achtung Baby track listing
"Even Better Than the Real Thing"
(2) "One"
(3) "Until the End of the World"
(4)
Music video
"One" on YouTube
Audio sample
file
help
"One" is a song by Irish rock band U2. It is the third track from their 1991 album Achtung Baby, and it was released as the record's third single in February 1992. During the album's recording sessions at Hansa Studios in Berlin, conflict arose between the band members over the direction of U2's sound and the quality of their material. Tensions almost prompted the band to break up until they achieved a breakthrough with the improvisation of "One"; the song was written after the band members were inspired by a chord progression that guitarist the Edge was playing in the studio. The lyrics, written by lead singer Bono, were inspired by the band members' fractured relationships and the German reunification. Although the lyrics ostensibly describe "disunity", they have been interpreted in other ways.
"One" was released as a benefit single, with proceeds going towards AIDS research. The song topped the Irish Singles Charts and US Billboard Album Rock Tracks and Modern Rock Tracks charts, and it peaked at number seven on the UK Singles Chart and number ten on the Billboard Hot 100. In promotion of the song, the band filmed several music videos, although they were not pleased until a third was created.
The song was acclaimed by critics upon its release, and it has since been featured in polls of the greatest songs of all time. U2 has performed "One" at most of their tour concerts since the song's live debut in 1992, and it has appeared in many of the band's concert films. In a live setting, "One" is often used by the group to promote human rights or social justice causes, and the song lends its namesake to Bono's charitable organisation, the ONE Campaign. In 2005, U2 re-recorded the song as part of a duet with R&B recording artist Mary J. Blige on her album The Breakthrough.
Contents
[hide]
1 Writing and recording
2 Composition
3 Release
3.1 Music videos
4 Reception
5 Legacy
6 Live performances
7 Track listings
8 Credits and personnel
9 Charts
9.1 Weekly charts
9.2 with Mary J. Blige
10 Mica Paris version
10.1 Track listing
10.2 Credits and personnel
10.3 Charts
11 Covers
12 See also
13 References
13.1 Footnotes
13.2 Bibliography
14 External links
Writing and recording[edit]
In October 1990, U2 arrived in Berlin on the eve of German reunification to begin the recording sessions for Achtung Baby at Hansa Studios.[1] Expecting to be inspired by a "New Europe" and the reuniting city, the band instead found the mood to be bleak and soon conflict arose over their musical direction and the quality of their material. While bassist Adam Clayton and drummer Larry Mullen, Jr. preferred a sound similar to U2's previous work, vocalist Bono and guitarist the Edge were inspired by European industrial and electronic dance music of the time and were advocating a change.[1] The band also had difficulty developing demos and musical ideas into completed songs.[1] Bono and the Edge believed the lack of progress was the fault of the band, while Clayton and Mullen Jr. believed the problem was the quality of the songs.[1] Mullen said he "thought this might be the end" of the band.[1]
"At the instant we were recording it, I got a very strong sense of its power. We were all playing together in the big recording room, a huge, eerie ballroom full of ghosts of the war, and everything fell into place. It was a reassuring moment, when everyone finally went, 'oh great, this album has started.' It's the reason you're in a band – when the spirit descends upon you and you create something truly affecting. 'One' is an incredibly moving piece. It hits straight into the heart."
—The Edge, on the recording of "One"[1]
"There was melancholy about it but there was also strength. One is not about oneness, it's about difference. It's not the old hippie idea of 'let's all live together.' It is a much more punk rock concept. It's anti-romantic: 'we are one but not the same. We get to carry each other.' It's a reminder that we have no choice. I'm still disappointed when people hear the chorus line as 'got to' rather than 'we get to carry each other.' Like it or not, the only way out of here is if I give you a leg up the wall and you pull me after you. There's something very unromantic about that. The song is a bit twisted, which is why I could never figure out why people wanted it at their weddings. I have certainly meet a hundred people who've had it at their weddings. I tell them, 'Are you mad? It's a song about splitting up.'"
—Bono, on the recording of "One"[2]

Ultimately, a breakthrough in the sessions was achieved. While jamming on a song called "Sick Puppy"—an early version of "Mysterious Ways"—the band tried different chord progressions for the bridge.[1][3] The jam stopped and the Edge tried playing them alone on an acoustic guitar, as "everyone was trying to decide if they were any good."[3] At the suggestion of producer Daniel Lanois, the Edge played two separate sections sequentially. The band liked the way it flowed and decided to try and play it together. Speaking of the improvisation, the Edge said, "suddenly something very powerful [was] happening in the room."[3] He added, "Everyone recognized it was a special piece. It was like we'd caught a glimpse of what the song could be."[4] Soon afterwards, the band had developed the piece of music into "One".[1][5] Bono recalls that "the melody, the structure—the whole thing was done in 15 minutes".[6] He also stated that the lyrics "just fell out of the sky, a gift"; the concept was inspired by the band members' fracturing relationships,[7] the German reunification,[8] and Bono's scepticism of the hippie idea of "oneness". Bono later sent a note to the Dalai Lama declining an invitation to a festival called Oneness, incorporating a line from the song: "One—but not the same".[1] The song's writing inspired the band and changed their outlook on the recording sessions. Mullen Jr. said the song reaffirmed the band's "blank page approach" to recording and reassured the band that all was not lost.[1]
Following the song's initial improvisation, tapes of the recording sessions were delivered to assisting producer Brian Eno to gather his input;[6] Eno spent extended periods of time away from the sessions before visiting to review songs, and he believed that distancing himself from the work allowed him to provide the band with a fresh perspective on their material each time he rejoined them.[9] The band were rather anxious about the quality of their material, but when Eno arrived in Berlin, they were surprised to hear that he liked most of the tapes.[6] However, as Bono recalls, Eno said, "There's just one song I really despise, and that's 'One'."[6] Eno felt that they needed to deconstruct the song.[6]
The band returned to Dublin in 1991 to record at the "Elsinore" mansion on the Dalkey coastline.[10] The band continued to work on the song there, adding various overdubs, but not finding a mix they were satisfied with.[6] The Edge thought that they had the foundation for the song, but that it needed "foreground".[6] Eno interceded, explaining to the group that "One" was among the sessions' tracks in which "The song has gone, whatever it is you liked about this song is not there anymore", and that the track had "disappeared under layers of overdubs".[9] He created his own mix, which gave the band a better idea of an arrangement they liked.[6] Eno wanted the band to remove the melancholy elements of the song and persuaded them to remove the acoustic guitar from the song.[1] He also worked with Lanois and the Edge to "undermine the 'too beautiful' feeling", which is why they added the "crying guitar parts that have an aggression to them".[1]
Flood, the sessions' engineer, was unconvinced by the song's mix, saying he "was the nagging doubter. I always felt it was a bit straight, until we did the final mix."[6] The final mix was completed at Windmill Lane Studios in September 1991 on the last night of the album's recording sessions,[6][10] when some last minute additions were made. Bono did not like a line in the vocals and spent most of the day re-recording it.[6] Later, after the song's mix had just been completed by the production team, the Edge came up with a guitar part he wanted to add to the song's end near the lyric "Love is a temple".[6][10] After convincing the production team to allow the addition, the Edge played the part once and had it mixed in ten minutes later.[10]
Composition[edit]
"One" is a rock ballad played in a 4/4 time signature at a tempo of 91 beats per minute. The verse follows a chord progression of Am–D–Fmaj7–G while the chorus follows C–Am–Fmaj7–C.[11]
Bono described the song's theme as such: "It is a song about coming together, but it's not the old hippie idea of 'Let's all live together.' It is, in fact, the opposite. It's saying, We are one, but we're not the same. It's not saying we even want to get along, but that we have to get along together in this world if it is to survive. It's a reminder that we have no choice".[12] The Edge described it on one level as a "bitter, twisted, vitriolic conversation between two people who've been through some nasty, heavy stuff".[13] On another level, he suggested that the line "we get to carry each other" introduces "grace" to the song and that the wording "get to" (instead of "got to") is essential, as it suggests that it is a privilege to help one another, not an obligation.[13] The band have been told by many fans that they played the song at their weddings, prompting Bono to respond, "Are you mad? It's about splitting up!"[13] There was some speculation that the song described a conversation between a father and his HIV-positive gay son, based on the connection of the song to David Wojnarowicz, a gay artist who died of AIDS.[14]
Release[edit]
"One" was released as the album's third single in February 1992 as a benefit single, with all of the band's royalties being donated to different AIDS research organisations for each country in which the single was released.[15][16] The group's manager Paul McGuinness commented on their decision: "The band feels that [AIDS] is the most pressing issue of the day, and we really have to focus people's attention to the AIDS plague that has been with us for 10 years."[15] To promote safe sex, U2 sold condoms bearing the album title Achtung Baby at their Zoo TV Tour concerts.[16] The cover of the single release is a photograph by David Wojnarowicz. The photograph depicts buffaloes falling off a cliff after being chased by Native American hunters.[16] The single's liner notes explain that Wojnarowicz "identifies himself and ourselves with the buffalo, pushed into the unknown by forces we cannot control or even understand".[17]
The single reached number seven in the UK Singles Chart, number ten in the US Billboard Hot 100, and number one on the US Album Rock Tracks[18] and Modern Rock Tracks charts.[19]
Music videos[edit]
Three music videos were created for "One". The first, directed by Anton Corbijn, was filmed in Berlin and features the band members performing at Hansa Studios interspersed with footage of Trabants (an East German automobile they became fond of as a symbol for a changing Europe) and shots of them dressed in drag. Bono explained that the idea to crossdress "had been based on the idea that if U2 can't do this, we've got to do it!", and it was fostered by the group's experiences dressing in drag for the Carnival of Santa Cruz de Tenerife.[20] However, the band pulled the video, fearing the single's status as an AIDS benefit would result in critics finding AIDS-related interpretations of the video. The Edge explained, "We didn't want to be involved in putting back the AIDS issue into the realm of sexuality... It wasn't worth the risk of people imagining we were saying something about the AIDS issue through the drag footage, which was totally not what we were trying to say."[21]
The second video was directed by Mark Pellington. It comprises images of blooming flowers, the title word in several languages, and slow-motion footage of buffaloes running, leading up to Wojnarowicz's "Falling Buffalo" photograph. Much like for the first video, the band did not believe Pellington's video would be good for promoting the single.[22]
The group filmed a third video in an attempt to appeal to a broader audience. It was directed by Rattle and Hum director Phil Joanou and was primarily filmed in early March 1992 at Nell's, a Manhattan nightclub.[22][23] The video depicts Bono sitting at a table smoking a cheroot and drinking beer, interspersed with footage of the band performing in concert.[23] While Bono was filmed, the rest of the band, along with models and transvestites, attended a party in the basement, awaiting their turns to be filmed. However, they were never called to the set and by 3 a.m., they realised that the video was to focus on Bono.[24]
Reception[edit]
In 1994, a fan wrote the song's lyrics on the sidewalk leading up to Windmill Lane Studios in blue chalk.
After the release of Achtung Baby, critics praised "One". In its review of the album, Entertainment Weekly called the song "biting and unprecedentedly emotional" and opined that its "extravagant stylings and wild emotings [...] put it among Bono's most dramatic moments on record".[25] In its review of the album, Rolling Stone called the song a "radiant ballad", noting that "Few bands can marshal such sublime power, but it's just one of the many moments on Achtung Baby when we're reminded why, before these guys were the butt of cynical jokes, they were rock & roll heroes—as they still are."[26] Niall Stokes of Hot Press gave an enthusiastic review of the song, calling it one of the album's tracks "whose potency defies equivocations". Stokes said the song, both upon initial and repeated listens, "seems transcendent, a magnificent synthesis of elements, words and music, rhythm, instrumentation arrangement and intonation combine to create something that speaks a language beyond logic, the definitive language of emotional truth". He said the melody was reminiscent of Led Zeppelin and the vocals evoked memories of Al Green and the Rolling Stones circa "Sympathy for the Devil". Stokes could not single out what made the song so "utterly inspirational", but said it was "soul music that avoids the obvious cliches of the genre and cuts to the core".[27]
Q called Bono's singing on the song a "quieter moment" that has "never been so persuasively tender".[28] The Chicago Tribune wrote that the song "builds with the stately grandeur of a Roy Orbison ballad" and that Bono's lyric "We're one / But we're not the same" is one of "pithiest insights yet about the contradiction of marriage".[29] The Orlando Sentinel called the track "sorrowful" and compared it to music by the Rolling Stones.[30] Robert Hilburn of the Los Angeles Times called the "disillusioned" track one of the album's high points.[31] Denise Sullivan of Allmusic wrote that the song was "among U2's finest recordings", and she praised its "lyrical simplicity, heart-rending vocal delivery, and evocative instrumentation". She called the Edge's guitar playing "unusually warm and soulful".[32] In the 1992 Pazz & Jop critics' poll in The Village Voice, "One" placed at number eight on the "Best Single" list.[33]
In 1992, Axl Rose told RIP magazine: "I think their song 'One' is one of the greatest songs ever written. Now I can see and understand why people were into U2 years ago."[34]
Legacy[edit]
"'One' [...] is certainly a breakup song. But it's also very much about the duty to stay together, about finding some kind of connection in times of war, fragmentation, plague, poverty and cultural difference. About being too cynical to believe in the hippie version of global oneness, but too much of a believer to reject it."
—Blender
"One" has frequently appeared on lists of the greatest songs. In 2010, Rolling Stone placed the song at number 36 on its list of "The 500 Greatest Songs of All Time", making it the highest-ranked U2 song.[35] In 2003, a special edition issue of Q, titled "1001 Best Songs Ever", named "One" the greatest song of all-time.[36] VH1 ranked the song second on its list of "Greatest Songs of the 90s",[37] and voters in an April 2006 poll on VH1 named the song as having the UK's number-one lyric: "One life, with each other, sisters, brothers".[38] In 2005, Blender ranked the song at number four on its list of "The 500 Greatest Songs Since You Were Born".[4] The following year, readers of Q voted "One" the fifth-greatest song in history.[39] The song subsequently appeared as one of seven U2 songs in the 2006 music reference book 1001 Songs: The Great Songs of All Time and the Artists, Stories, and Secrets.[40] It is included in the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[41]
On 31 December 2006, "One" was announced by BBC Radio 1 to be the thirty-fifth highest-selling single of 2006 in the UK.[42] The collaboration was also nominated for the Grammy Award for Best Pop Collaboration with Vocals in December 2006.
In late 2006, a Bank of America employee sang "One" with lyrics modified to refer to the Bank of America and MBNA merger. The video subsequently became an Internet phenomenon.[43] Universal Music Group, the copyright owner of the song, posted a cease and desist letter directed at Bank of America in the comments section of Stereogum, one of the blogs that posted the video.[44]
Live performances[edit]
Cellphones open as "One" is performed on the Vertigo Tour, Madison Square Garden, 14 October 2005.
"One" made its live debut on 29 February 1992 in Lakeland, Florida on the opening night of the Zoo TV Tour,[45] and it was played at every subsequent show on U2's concert tours until the first show of the Innocence + Experience Tour in Vancouver, where it was not played for the first time in its history. However, the song returned for the following concert, when it was used as the show closer.[46] Zoo TV performances were accompanied by footage from the second music video being displayed on the stage's video screens, with David Wojnarowicz's "Falling Buffalo" photograph appearing at the end of the song.[47]
The song took on an even more emotional meaning at a Popmart Tour show at Mexico City in 1997, as featured on PopMart: Live from Mexico City, where the tearful rendition was dedicated to Michael Hutchence of INXS. Until the second leg of the U2 360° Tour, "One" was played live in the key of A♭ minor, while the recorded version is played a semitone higher. Throughout its history, Bono has often sung the song with an extra verse generally known as "Hear Us Coming", whose lyrics are usually some variation of:
You hear us coming Lord?
You hear us call?
You hear us knocking, knocking at Your door?
You hear us coming, Lord?
You hear us call?
You hear us scratching, will You make me crawl?
It was a nearly-regular feature on the Zoo TV Tour, PopMart, and Elevation Tours, but was sung less often on the Vertigo Tour. The verse made a re-emergence on the 2009 legs of the U2 360° Tour; although it was not a nightly feature, Bono sang it very often, segueing into "Amazing Grace" and from there into "Where the Streets Have No Name" on most of the second leg. "One" has also been played at several benefit concerts, including the 1995 Pavarotti and Friends concert in Modena, the 1997 Tibetan Freedom Concert in New York, the 2003 46664 concert, at Live 8 in 2005, and with Mary J. Blige on Shelter from the Storm: A Concert for the Gulf Coast.
Live performances of the song are also depicted in the concert films Zoo TV: Live from Sydney, U2 Go Home: Live from Slane Castle, Vertigo 2005: Live from Chicago, U2 3D, and U2 360° at the Rose Bowl.
Track listings[edit]
The single was released on various formats including 7-inch, 12-inch, cassette, and CD. All releases featured "Lady with the Spinning Head (UV1)" as a B-side track. Some releases also included "Satellite of Love" or both "Satellite of Love" and the "Night and Day" remix.
No.
Title
Lyrics
Music
Producer
Length
1. "One" Bono U2
Daniel Lanois
Brian Eno
4:36
2. "Lady with the Spinning Head (UV1)" Bono U2
Paul Barrett
3:54
3. "Satellite of Love" Lou Reed Reed The Edge and Barrett 4:00
4. "Night and Day" (Steel String remix) Cole Porter Porter The Edge and Barrett 7:00
Credits and personnel[edit]
U2[48]
Bono – vocals
The Edge – guitar
Adam Clayton – bass guitar
Larry Mullen Jr. – drums, percussion
Additional performers[48]
Brian Eno – additional keyboards
Daniel Lanois – additional guitar
Technical[48]
Production – Daniel Lanois with Brian Eno
Engineering – Flood
Additional engineering – Robbie Adams
Engineering assistance – Shannon Strong
Mixing – Flood
Mixing assistance – Shannon Strong
Charts[edit]
Weekly charts[edit]
Chart (1992)
Peak
Position
Australian ARIA Singles Chart[49] 4
Canada Top Singles (RPM)[50] 1
Dutch Mega Top 100[49] 12
French SNEP Singles Chart[49] 13
Irish Singles Chart[51] 1
New Zealand Singles Chart[49] 3
Swiss Singles Top 100[49] 25
UK Singles (Official Charts Company)[52] 7
US Billboard Hot 100[53] 10
US Adult Contemporary (Billboard)[54] 24
US Alternative Songs (Billboard)[55] 1
US Mainstream Rock (Billboard)[56] 1
Year-end chart (1992)
Position
Australian ARIA Singles Chart[57] 91
US Billboard Hot 100[58] 60
Chart (2015)
Peak
position
Poland (Polish Airplay Top 100)[59] 97
with Mary J. Blige[edit]
Chart (2006)
Peak
position
Austrian Singles Chart[60] 1
Belgian (Flanders) Singles Chart[60] 6
Belgian (Wallonia) Singles Chart[61] 10
Czech IFPI Chart 28
Danish Singles Chart[60] 7
Dutch Singles Chart[60] 2
Eurochart Hot 100 3
French SNEP Singles Chart[60] 35
German Singles Chart[60] 6
Irish Singles Chart[51] 2
Italian Singles Chart[61] 2
Norwegian Singles Chart[60] 1
Swedish Singles Chart[60] 27
UK Singles Chart[62] 2
US Billboard Hot 100[18] 86
US Billboard Hot Adult Contemporary Tracks[18] 36
US Billboard Pop 100[18] 64
Mica Paris version[edit]
"One"
Single by Mica Paris
Released
27 March 1995
Format
CD single
12" single
Genre
Downtempo
soul
Length
4:36
Label
Chrysalis
Cooltempo
Songwriter(s)
Bono
Producer(s)
Mike Peden
Paul Oakenfold
Steve Osborne
Ethnic Boyz
Mica Paris singles chronology
"Whisper a Prayer"
(1993) "One"
(1995) "Stay"
(1998)
"Whisper a Prayer"
(1993) "One"
(1995) "Stay"
(1998)
Music video
"One" (Perfecto 7") on YouTube
British soul singer Mica Paris released a cover of "One" in 1995.[63]
Her version debuted and peaked at number twenty-nine on the UK Singles Chart on 8 April 1995. It spent a total of four weeks on the chart.
Track listing[edit]
CD single[64]
No.
Title
Lyrics
Producer
Length
1. "One" Bono
Paul Oakenfold
Steve Osborne
4:30
2. "One" (Original Mix) Bono Mike Peden 4:37
3. "One" (Perfecto Mix) Bono
Paul Oakenfold
Steve Osborne
5:59
4. "One" (Ethnic Boyz Mix) Bono Ethnic Boyz 5:01
5. "One" (Perfecto Dub) Bono
Paul Oakenfold
Steve Osborne
7:48
Vinyl[65]
[show]Side one
No.
Title
Lyrics
Producer
Length
1. "One" (Perfecto Mix) Bono
Paul Oakenfold
Steve Osborne
4:30
2. "One" (Original Mix) Bono Mike Peden 4:37
[show]Side two
No.
Title
Lyrics
Producer
Length
1. "One" (Ethnic Boyz Mix) Bono Ethnic Boyz 5:01
2. "One" (Perfecto Dub) Bono
Paul Oakenfold
Steve Osborne
7:48
Credits and personnel[edit]
Performers[66]
Mica Paris – vocals
Managerial
Executive producer – Ken Grunbaum
Technical and Production
Production – Mike Peden (track 2), Paul Oakenfold and Steve Osbourne (tracks 1,3 and 5), Ethic Boyz (track 4)
Engineering – Paul 'Max' Bloom
Programming – Ollie Dagois
Visuals and Imagery
Photography – Daniela Federici
Image and style – Jamie Rose
Charts[edit]
Chart (1995)
Peak
position
Australia (ARIA)[67]
104
New Zealand (Recorded Music NZ)[68]
50
UK Singles (Official Charts Company)[69]
29
Covers[edit]
"One" has been covered by numerous artists, including Damien Rice, Johnny Cash, Adam Lambert, Howie Day, Joe Cocker, Mica Paris, Warren Haynes, R.E.M., Gregorian, Pearl Jam, Kendall Payne, Shinedown, Vanessa Paradis & Alain Lanty, Cowboy Junkies and the cast of the television series Glee.[70]
Under a supergroup label of Automatic Baby (reflecting the names of then recent releases by both groups), members of R.E.M. and U2 played an acoustic version of the song during a 1993 MTV concert for Bill Clinton.[71]
In 2005, after being invited to join U2 at a New York concert, singer Mary J. Blige performed the song on-stage and received a standing ovation.[citation needed] A recording of the song was later created, with Blige on lead vocals, Bono supplying additional vocals, and the band performing the music. This recording was featured on Mary J. Blige's multi-platinum album The Breakthrough, released in late 2005. It was released as the album's second international single on 3 April 2006. In May 2006, Blige performed the song at the finale of American Idol with finalist Elliott Yamin, ahead of its full release to American radio. It was also used by Fox for its end-of-season montage after game five of the 2006 World Series.
Damien Rice reworked the song for the 2011 tribute album AHK-toong BAY-bi Covered. "I remember seeing the queues on Dublin's Grafton Street: people waiting, sleeping, for the first copies of the new U2 record, as if some famine had hit the soul of the music world," he remarked. "Two decades later, I busked for the homeless with Bono on the same street. We played 'One' and Bono appeared to forget the words, but I didn't – they were as clear to me as the Our Father. Seventeen (Rice's age when Achtung Baby was issued) is such a powerful age, and 'One' is such a powerful song."[72]
See also[edit]
List of covers of U2 songs – One
List of number-one singles of 1992 (Ireland)
List of RPM number-one singles of 1992
List of number-one mainstream rock hits (United States)
List of number-one hits of 2006 (Austria)
List of number-one songs in Norway
Number one modern rock hits of 1992
References[edit]
Footnotes[edit]
^ Jump up to: a b c d e f g h i j k l McCormick 2006, pp. 216, 221.
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^ Jump up to: a b "The 500 Greatest Songs Since You Were Born". Blender (41). October 2005. Retrieved 24 April 2015.
Jump up ^ Flanagan 1996, pp. 6–11.
^ Jump up to: a b c d e f g h i j k l Stokes 2005, pp. 98–100.
Jump up ^ "U2". Legends. Season 1. Episode 6. 11 December 1998. VH1. Maybe it summed up the way we felt as a band, trying to kind of go somewhere, but not being able to at the time.
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^ Jump up to: a b "Eno". Propaganda (16). June 1992.
^ Jump up to: a b c d McCormick 2006, pp. 224–5, 232.
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^ Jump up to: a b c McCormick (2006), pp. 221, 224.
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^ Jump up to: a b Jaeger, Barbara (13 March 1992). "One Small Step for Mankind". The Record.
^ Jump up to: a b c Morse, Steve (28 February 1992). "Yoko Ono's CD set serves up some surprises". The Boston Globe.
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Jump up ^ Pareles, Jon (11 March 1992). "U2 Restyled, With Props and a Nod to the Fringes". The New York Times. p. C17.
^ Jump up to: a b c Achtung Baby (CD booklet). U2. Island Records. 1991.
^ Jump up to: a b c d e "One", in various singles charts Lescharts.com (Retrieved 16 January 2009)
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Jump up ^ "What's On Your Free CD?", Q, December 2011, pp6–7
Bibliography[edit]
Cogan, Višnja (2008), U2: An Irish Phenomenon, New York: Pegasus Books, ISBN 978-1-933648-71-2
Creswell, Toby (2006), 1001 Songs: The Great Songs of All Time and the Artists, Stories, and Secrets, New York: Thunder's Mouth Press, ISBN 1-56025-915-9
Flanagan, Bill (1996), U2 at the End of the World (Paperback ed.), New York: Delta, ISBN 978-0-385-31157-1
McGee, Matt (2008), U2: A Diary, London: Omnibus Press, ISBN 978-1-84772-108-2
Stokes, Niall (2005), U2: Into the Heart: The Stories Behind Every Song, New York: Thunder's Mouth Press, ISBN 1-56025-765-2
McCormick, Neil, ed. (2006), U2 by U2, London: HarperCollins, ISBN 0-00-719668-7
External links[edit]
Lyrics and list of performances at U2.com
Lyrics of this song at MetroLyrics
[show]
v
t
e
Achtung Baby
Tracks
"Zoo Station"
"Even Better Than the Real Thing"
"One"
"Until the End of the World"
"Who's Gonna Ride Your Wild Horses"
"So Cruel"
"The Fly"
"Mysterious Ways"
"Tryin' to Throw Your Arms Around the World"
"Ultraviolet (Light My Way)"
"Acrobat"
"Love Is Blindness"
Related articles
Brian Eno
Daniel Lanois
Flood
Zoo TV Tour
Live from Sydney
Zoo TV Live
From the Sky Down
AHK-toong BAY-bi Covered
Rattle and Hum
Zooropa
[show]
v
t
e
U2 singles discography
1980s
1980
"Another Day"
"11 O'Clock Tick Tock"
"A Day Without Me"
"I Will Follow"
1981
"Fire"
"Gloria"
1982
"A Celebration"
"I Will Follow" (live recorded by Veronica's Countdown)
1983
"New Year's Day"
"Two Hearts Beat as One"
"Sunday Bloody Sunday"
1984
"I Will Follow" (live, from Under a Blood Red Sky)
"Pride (In the Name of Love)"
1985
"The Unforgettable Fire"
1987
"With or Without You"
"I Still Haven't Found What I'm Looking For"
"Where the Streets Have No Name"
"In God's Country"
1988
"One Tree Hill"
"Desire"
"Angel of Harlem"
1989
"When Love Comes to Town" (feat. B.B. King)
"All I Want Is You"
1990s
1991
"The Fly"
"Mysterious Ways"
1992
"One"
"Even Better Than the Real Thing"
"Who's Gonna Ride Your Wild Horses"
1993
"Numb"
"Lemon"
"Stay (Faraway, So Close!)"
1995
"Hold Me, Thrill Me, Kiss Me, Kill Me"
"Miss Sarajevo" (as Passengers)
1997
"Discothèque"
"Staring at the Sun"
"Last Night on Earth"
"Please"
"If God Will Send His Angels"
"Mofo"
1998
"Sweetest Thing"
2000s
2000
"Beautiful Day"
2001
"Stuck in a Moment You Can't Get Out Of"
"Elevation"
"Walk On"
2002
"Electrical Storm"
2004
"Vertigo"
2005
"All Because of You"
"Sometimes You Can't Make It on Your Own"
"City of Blinding Lights"
"Sgt. Pepper's Lonely Hearts Club Band" (live, with Paul McCartney)
2006
"One" (with Mary J. Blige)
"The Saints Are Coming" (feat. Green Day)
2007
"Window in the Skies"
2008
"The Ballad of Ronnie Drew" (with The Dubliners, Kíla, and A Band of Bowsies)
2009
"Get On Your Boots"
"Magnificent"
"I'll Go Crazy If I Don't Go Crazy Tonight"
2010s
2011
"I Will Follow" (live from Glastonbury)
2013
"Ordinary Love"
2014
"Invisible"
"The Miracle (Of Joey Ramone)"
"Every Breaking Wave"
2015
"Song for Someone"
2017
"You're the Best Thing About Me"
[show]
v
t
e
Mary J. Blige singles
Discography
What's the 411?
"You Remind Me"
"Real Love"
"Reminisce"
"Sweet Thing"
"Love No Limit"
"You Don't Have to Worry"
"My Love"
My Life
"Be Happy"
"Mary Jane (All Night Long)"
" I'm Goin' Down"
"You Bring Me Joy"
"I Love You"
Share My World
"Love Is All We Need"
"I Can Love You"
"Everything"
"Missing You"
"Seven Days"
Mary
"As"
"All That I Can Say"
"Deep Inside"
"Your Child"
"Give Me You"
No More Drama
"Family Affair"
"Dance for Me"
"No More Drama"
"Rainy Dayz"
Love & Life
"Love @ 1st Sight"
"Ooh!"
"Not Today"
"Whenever I Say Your Name"
"It's a Wrap"
The Breakthrough
"MJB da MVP"
"Be Without You"
"One"
"Enough Cryin"
"Take Me As I Am"
Reflections (A Retrospective)
"We Ride (I See the Future)"
Growing Pains
"Just Fine"
"Work That"
"Stay Down"
Stronger with Each Tear
"The One"
"I Am"
"Each Tear"
"We Got Hood Love"
My Life II... The Journey Continues (Act 1)
"Ain't Nobody"
"25/8"
"Don't Mind"
"Mr. Wrong"
"Why"
"Love a Woman"
"Someone to Love Me (Naked)"
A Mary Christmas
"Do You Hear What I Hear?"
"This Christmas"
Think Like a Man Too
"Suitcase"
The London Sessions
"Doubt"
"Right Now"
"Therapy "
"Whole Damn Year"
Strength of a Woman
"Thick of It"
"U + Me (Love Lesson)"
"Love Yourself"
Soundtracks
"(You Make Me Feel Like) A Natural Woman"
"Not Gon' Cry"
"Stronger"
"The Living Proof"
Guest appearances
"911"
"Ain't No Way"
"America's Song"
"Bridge over Troubled Water"
"Can't Knock the Hustle"
"Disrespectful"
"F for You"
"Hands"
"I'll Be There for You/You're All I Need to Get By"
"I'm a Hustla (Remix)"
"IfULeave"
"Just Stand Up!"
"Lean on Me"
"Magic Touch (NYC Remix)"
"Now or Never"
"Remember Me"
"Runaway Love"
"Stay with Me (Remix)"
"Touch It (Remix)"
"Wake Up Call (Mark Ronson Remix)"
"What Child Is This"
"Where Is the Love?"
Book
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=One_(U2_song)&oldid=799345049"
Categories:
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Music videos directed by Anton Corbijn
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