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Bring Me to Life
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For other uses, see Bring Me to Life (disambiguation).
"Bring Me to Life"
Single by Evanescence featuring Paul McCoy
from the album Fallen
B-side
"Farther Away"
"Missing"
Released
April 22, 2003 (2003-04-22)
Format
CD
DVD
digital download
Recorded
2002 (2002) (Ocean Studios, Burbank, California, USA)
Genre
Nu metal
gothic metal
rap rock
Length
3:56 (album version)
Label
Wind-up
Songwriter(s)
Amy Lee
Benjamin Moody
David Hodges
Producer(s)
Dave Fortman
Evanescence singles chronology
"Bring Me to Life"
(2003) "Going Under"
(2003)
"Bring Me to Life"
(2003) "Going Under"
(2003)
Music video
"Bring Me to Life" on YouTube
"Bring Me to Life" is a song by American rock band Evanescence recorded for their debut studio album Fallen (2003). Wind-up released it as the lead single from the album on April 22, 2003. The track was written by group members Amy Lee, Ben Moody, and David Hodges and produced by Dave Fortman. It also features uncredited guest vocals from Paul McCoy of the band 12 Stones. "Bring Me to Life" is a nu metal, gothic metal and rap rock song. According to Lee, "Bring Me to Life" has several meanings and inspirations; its subjects are an incident in a restaurant, open-mindedness, and waking up to the things which are missing in the protagonist's life. Lee later revealed that the song was inspired by her long-time friend and husband Josh Hartzler.
Critical response to the song was mostly positive, with critics praising the melody of the song, Lee's vocals and their accompaniment by McCoy. Following the inclusion of "Bring Me to Life" on the Daredevil soundtrack the song became a commercial and critical success, topping the charts in Australia, the United Kingdom and Italy. It charted in the top ten in more than fifteen countries including the United States, Argentina, Germany and New Zealand. "Bring Me to Life" was certified platinum by the Recording Industry Association of America (RIAA) and twice platinum by the Australian Recording Industry Association (ARIA). The lyrics of the song have been interpreted as a call for new life in Jesus Christ, which helped the song to chart on the Christian rock charts.
The band won in the category for Best Hard Rock Performance at the 46th Grammy Awards where the song was also nominated for Best Rock Song. The accompanying music video was directed by Philipp Stölzl; it shows Lee singing and climbing on a skyscraper while having nightmares in her bedroom. "Bring Me to Life" was part of the set list during the Fallen and The Open Door Tour. Many artists recorded cover versions of the song, including the classical singer Katherine Jenkins and American pianist, John Tesh. The song was also used on several television shows.
Contents
[hide]
1 Background and release
2 Recording and composition
3 Reception and accolades
4 Chart performance
5 Music video
6 Live performances
7 2017 re-work
8 Cover versions and usage in media
8.1 Katherine Jenkins version
9 Credits and personnel
10 Track listing
11 Charts
11.1 Weekly charts
11.2 Year-end charts
11.3 Decade-end charts
12 Certifications
13 See also
14 References
15 External links
Background and release[edit]
"Since we released [the song] on Daredevil it went all over the world, whether they wanted it to or not, so we had fans in countries we had never been to because they had the soundtrack and they heard it on the radio. So, it started blowing up all over the world and then we had a reason to tour all over the world. And that's how the whole international thing happened this early. Which is awesome."
—Amy Lee talking about the release and the worldwide success of the song.[1]
According to Amy Lee, the song has several meanings, the first being an incident at a restaurant. During an interview from a tour stop in Tulsa she told The Boston Phoenix: "I was inspired to write it when someone said something to me — I didn’t know him, and I thought he might be clairvoyant.[...] I was in a relationship and I was completely unhappy. But I was hiding it. I was being completely abused and I was trying to cover it up; I wouldn’t even admit it to myself. So then I had spoken maybe 10 or 15 words to this guy, who was a friend of a friend. We were waiting for everyone else to show up, and we went into a restaurant and got a table. And he looked at me and said, ‘Are you happy?’ And I felt my heart leap, and I was like, he totally knows what I’m thinking. And I lied, I said I was fine. Anyway, he's not really clairvoyant. But he is a sociology major."[2] Lee said in a VH1 interview: "Open-mindedness. It's about waking up to all the things you've been missing for so long. One day someone said something that made my heart race for a second and I realized that for months I'd been numb, just going through the motions of life."[3] During an interview with Blender, Lee claimed that she wrote "Bring Me to Life" about her longtime friend, Josh Hartzler, whom she married in 2007.[4]
"Bring Me to Life" was released on April 22, 2003; it was the first single from the band's debut album, Fallen. Wind-up Entertainment president/CEO Ed Vetri, revealed that when the label was pushing the song to the radio, owners stated "We don't play pianos and chicks on rock radio."[5] However, when "Bring Me to Life" was released on the Daredevil soundtrack, listeners demanded air play for the song.[5] The single includes "Farther Away" as a B-side. The first pressing of the Australian single contained the track "Missing" as a B-side,[6] but this was omitted from later pressings and later released as a bonus track on the band's first live album, Anywhere but Home.[7] An acoustic version was recorded and released on the "Bring Me to Life" DVD. Several other versions of the track have been released, such as remixes, acoustic and altered versions.
Recording and composition[edit]
Critics noted that "Bring Me to Life" had a sound similar to songs by American rock band Linkin Park.
"Bring Me to Life" was written by Amy Lee, Ben Moody and David Hodges for their first studio album Fallen.[8] Recording work for Fallen started at Ocean Studios in Burbank, California, where most of "Bring Me to Life" was recorded, prior to full album production.[9] The song was mixed by Jay Baumgardner in his studio, NRG Recording Studios in North Hollywood, on an SSL 9000 J.[9] A 22-piece string section was recorded in Seattle by Mark Curry.[9] "Bring Me to Life" was mixed at the Newman Scoring Stage and Bolero Studios, both in Los Angeles.[9] The orchestra parts were arranged by David Hodges and David Campbell.[9] During an interview, Lee recalled that during the recording process of the song it was said to her that the song must feature male vocals: "It was presented to me as, 'You're a girl singing in a rock band, there's nothing else like that out there, nobody's going to listen to you. You need a guy to come in and sing back-up for it to be successful.'"[10]
According to the sheet music published by Alfred Music Publishing on the website Musicnotes.com, "Bring Me to Life" is set in common time and performed in a moderate tempo of 95 beats per minute. It is written in the key of E minor and Lee's vocal range for the song runs from the low note of A3 to the high note of D5.[11] In the song, 12 Stones vocalist Paul McCoy sings the lines "Wake me up/ I can't wake up/ Save me!" in a rap style.[12][13] The St. Petersburg Times' Brian Orloff called the song a "boffo hit" in which Lee sang the lines "'Call my name and save me from the dark' over surging guitars."[1] Ann Powers from the Milwaukee Journal Sentinel wrote: "'Bring Me to Life,' with its lyrical drama and crunchy guitars, branded the band as overdone nu-metal."[14] Blender writer Nick Catucci called the song a "crossover goth-metal smash".[15] Kristi Turnquist of The Oregonian called the song a power ballad.[16]
Rolling Stone's Kirk Miller wrote that: "...thanks to the song's digital beats, clean metal-guitar riffs, scattered piano lines and all-too-familiar mix of rapping and singing", "it was similar to Linkin Park's material.[17] Nick Catucci of The Village Voice found "...piano tinkles, Lee's breathless keen, dramatic pauses, guitars like clouds of locusts, [and] 12 Stones singer Paul McCoy's passing-12-kidney-stones guest vocals."[18] Vik Bansal of musicOMH compared Evanescence's own song "Going Under" with "Bring Me to Life", noting their similarity to Linkin Park's material.[19] Lee said, during an interview with MTV News: "Basically, we go through life every day, kind of doing the same thing, going through the motions, and nothing fazes us for the most part. Then one day something happens that wakes [you] up and makes [you] realize that there's more to life than just feeling nothing, feeling numb. It's as if [you've] never felt before and just realized there's this whole world of emotion or meaning that [you've] never seen before. It's just like, 'Wow, I've been asleep all this time.'"[20]
Reception and accolades[edit]
AllMusic's Johnny Loftus called the song "flawless".[21] According to Sarah Rodman of The Boston Globe, the song "...is a mix of Lee's ethereal soprano, piano interludes, and layers of serrated guitar crunch that conjure visions of Sarah McLachlan fronting Godsmack."[22] In his review of Evanescence's second studio album, The Open Door, Brendan Butler of Cinema Blend compared "Sweet Sacrifice" (2007) with "Bring Me to Life" calling them "...radio-friendly songs."[23] Jason Nahrung of The Courier-Mail called the song "...an ear-grabber".[24] Adrien Bengrad of the website PopMatters said that Lee and McCoy made "Bring Me to Life" sound "...like a love song between a Lilith Fair girl and an Ozzfest dude."[25] Blair R. Fischer from MTV News called the song a "...ubiquitous rap-rock confection".[12] Kelefa Sanneh of The New York Times said that "Bring Me to Life" "...floats like a butterfly, stings like a bee and then hits like a brick."[26] Richard Harrington from The Washington Post called "Bring Me to Life" a "...crunching metallic" song which helped the band to win a Grammy Award.[27] Joe D'Angelo called it an "...unrelenting paean that begins as hauntingly delicate" and that "Lee's vocals soar above the whole sludgy mixture to keep it from sinking into tired mediocrity."[20]
Ann Powers from the Milwaukee Journal Sentinel called the song a "...mix of voluptuous singing and metallic guitar (the latter enhanced by guest vocalist Paul McCoy's rap-rock declamations)".[14] Bryan Reeseman of Mix wrote that the song was a "...grandiose and moody single" which features a "...dramatic trade-off" between Lee and McCoy.[9] While reviewing Evanescence's second studio album, Don Kaye of Blabbermouth.net praised the songs on The Open Door saying that they lacked "...the annoying faux-rapping that was a key component of the band's first big hit, 'Bring Me To Life' (here's hoping that more rock bands feel less pressure to include some sort of hip-hop nod on their records)."[28] David Peschek of The Guardian said: "Take away the identikit rock riffs and Bring Me to Life could be a Britney Spears song, or one of those cheesily portentous techno-pop mini-symphonies for the Gatecrasher kids."[29] Nick Catucci of The Village Voice compared the song with works by American rock band Creed, and said that it sounds like "church-burning, brain-eating European dark metal."[18] John Hood of the Miami New Times called "Bring Me to Life" a "... huge, heavy, and mightily histrionic" song while complimenting McCoy's "... rap-infused gruff" and Lee's soaring voice.[30]
"Bring Me to Life" won a Grammy Award for Best Hard Rock Performance at the 46th Grammy Awards.[31][32][33] The song was nominated in the category for Best Rock Song at the same event but lost to "Seven Nation Army" by The White Stripes. "Bring Me to Life" won an award for Choice Music Rock Track at the Teen Choice Awards in 2004.[34] At the 2003 MTV Video Music Awards the band was nominated in the category for Best New Artist for "Bring Me to Life".[35] The song was nominated at the 2003 MTV Europe Music Awards for Best Song.[36][37] At the 14th annual Billboard Music Awards, it won the award for Soundtrack Single of the Year.[38] The song ranked number 69 on VH1's 100 Greatest Songs of the 2000s.[39]
Chart performance[edit]
"Bring Me to Life" peaked within the top 10 of more than 15 countries, and within the top 20 of several other countries, making it the band's most successful single to date. It was certified Platinum in 2003 for selling more than one million copies in the United States.[5] It topped the Billboard Alternative Songs and Pop 100 charts and peaked at number five on the Billboard Hot 100.[40] It also peaked at number four on the Adult Pop Songs chart. The song initially peaked within the Christian rock charts as well, because its lyrics were interpreted as a call for new life in Jesus Christ by several listeners.[41][42] "Bring Me To Life" charted at number 73 on Billboard's Best of the 2000s Rock Songs Chart, the only song by a female-led band on that chart.[43] The song topped the charts of Australia, Belgium, Italy and the United Kingdom. It peaked within the top 5 of Austria, Canada, France, Ireland, Germany, New Zealand, Norway, Netherlands, and Sweden. On the ARIA Singles Chart, "Bring Me to Life" peaked at number one where it stayed for six weeks.[44]
"Bring Me to Life" charted within the top 20 of every other country of its release. In the United Kingdom, the song spent four weeks at the top of the in the UK Singles Chart, which in turn helped Fallen peak at the top of the UK Albums Chart.[45][46] The song also topped the European Hot 100 chart.[47] On June 4, 2011, the song returned to the top of the UK Rock & Metal Singles Chart, eight years after its original release, remaining at number one for two weeks, on June 11, 2011 to June 25, 2011. It fell to number two, remaining there for three weeks, and on July 17, 2011, "Bring Me to Life" returned to number one again and remained there for three weeks. The song remained within the top 10 into October 2011.[48] As of June 2013[update], the song has sold more than 615,500 copies in the United Kingdom.[49]
Music video[edit]
The accompanying music video for "Bring Me to Life" was directed by Philipp Stölzl.[50][51] After the success of the video, Lee received some film offers.[52] Talking about the video, Stölzl said: "On the one hand, it brings out the most catchy part of the song, the bridge, the duet with the male and female vocals. On the other hand, it reflects the ['Daredevil'] soundtrack background of the song. I did not know if I would have to use a stunt double for most of the angles, which would have restricted me a lot, but then it turned out that Amy did everything herself, hanging on Paul's arm for hours without getting tired. In the end, she is the one who made that shot strong."[50]
The video begins with Amy Lee dressed in a grey nightgown, barefoot and asleep in a bed within a building, dreaming of falling through the air below a skyscraper. As the chorus begins, the band and Paul McCoy are performing in another room as Lee awakens and makes her way to the window. Lee exits the room out of the window and proceeds to climb up the side of the building with the wind blowing her hair and dress until she reaches the window of the room where the band is performing. During the bridge, McCoy notices Lee and opens the window, which causes her to lose her balance, and she grabs the ledge she was previously standing on. Throughout the bridge and final chorus, McCoy unsuccessfully attempts to pull Lee up, and she falls from his grasp down the building. However, she is then shown asleep in her bed again.
Ann Powers from the Milwaukee Journal Sentinel wrote: "You might not immediately recognize Amy Lee's name, but you would know her if she plummeted past you from the top floor of a tenement building" and: "That's how anyone with basic cable first saw the singer for the band Evanescence, in the video for the song "Bring Me to Life": falling backward in slow motion, her hair unfolding like a long black veil as she headed for hard pavement below."[14] According to Joe D'Angelo of MTV News, Lee's "...teetering on a ledge" in the video shows a "...distressed and emotionally wrought heroine."[53] Corey Moss of MTV wrote: "...certainly as intense as a superhero movie, the sequence also gives a nice visual to the song's most memorable lyric, 'Save me.'"[50] MTV's Gil Kaufman wrote that "...singer Amy Lee dreams that she has super Spidey powers, climbs up the outside of a building, spies on her creepy neighbors, then plunges into the abyss"[54] and added, "...even if your boyfriend is a buff rap-rocker guy, he might not be able to save you from falling off a 20-story building to your death. And don't play on ledges in a billowy dress on windy days."[54] John Hood of Miami New Times wrote that the "gothopolis backdrop" used in the video "would make Tim Burton green with envy".[30] The music video for "Bring Me to Life" was nominated at the 2004 MTV Video Music Awards for Best Rock Video.[35]
Live performances[edit]
During the live performances of "Bring Me to Life", McCoy was replaced by John LeCompt.[12][55]
Evanescence performed "Bring Me to Life" as part of the set-lists of the Fallen and The Open Door tours. The band performed the song on August 13, 2003 in Chicago during their Nintendo Fusion Tour. During the performance, former Evanescence guitarist John LeCompt replaced McCoy during the song.[12] According to Blair R. Fischer: "The guitarist did an adequate job imitating McCoy while he laid down the song's fiery, Iron Maiden-esque riff."[12] The band performed "Bring Me to Life" in Wantagh, New York on July 23, 2004. According to Joe D'Angelo from MTV News: "the massive popularity of the song was a smart set-list assembly that helped the crowd respond in kind."[56] A live performance from the tour filmed at Le Zénith in Paris is included on the band's live album Anywhere but Home. The live recording contains a piano and vocal solo before the song's intro and features John LeCompt performing guest vocals.[57] The song was performed on November 21, 2007 at WaMu Theater.[58]
Evanescence performed "Bring Me to Life" at the Webster Hall in New York City in September 2003.[26] During the performance, Lee wore an Alice in Wonderland dress covered with scrawled words, including the words Dirty, Useless, Psycho and Slut.[26] She explained her reasons for wearing the dress. On her previous visit to New York City, Lee had met a DJ from the radio station K-Rock, who had made what she called horrible comments about the pleasure he had derived from the picture of her face on the cover of Fallen.[26] She had felt too ashamed to say anything, so she decided to respond through the dress, which represented something innocent that had been tainted.[26] The band performed "Bring Me to Life" during their concert at The Great Saltair on October 25, 2006. Lee wore red and black, with a skirt.[59] She was called a magnet of the night by the Deseret News' reviewer Larry D. Curtis.[59] Other performances of the song were in Magna, Utah in October 2006,[60] and the Air Canada Centre in January 2007.[61] The band also played the song at a secret gig in New York City on November 4, 2009.[62] During their concert at War Memorial Auditorium in Nashville, Tennessee on August 17, 2011, Evanescence performed "Bring Me to Life" to promote their third album, Evanescence.[63] They also performed the song during the 2011 Rock in Rio festival on October 2, 2011.[64] While reviewing a concert by the band, Caroline Sullivan wrote "Slowly raising her arms during Bring Me to Life's thunderous, strobe-lit fade-out, she's missing only a chariot."[65]
2017 re-work[edit]
"Bring Me to Life (Synthesis)"
Single by Evanescence
from the album Synthesis
Released
August 18, 2017 (2017-08-18)
Format
digital download
Genre
Orchestral
Electronica
In 2017, a rearranged version of the song was recorded for the band's fourth studio album Synthesis. The new version was made available for digital download and streaming on August 18, 2017; it was also made available for instant download for concertgoers who purchased tickets for the band's Synthesis Tour.[66] The Synthesis version of "Bring Me to Life" is a stripped-down one, as it replaces the drums and the guitars from the original version with a strings arrangement accompanied by crashing cymbals, "tension-building" timpani drums and various electronic elements throughout.[67][68] Several critics have described its new arrangement as "dramatic", with Billboard's Sadie Bell calling it "just as rich" as the original and Rolling Stone's Brittany Spanos calling it a "cinematic take".[67][69] Lee has described the song as "new" to her again due to the fact that she incorporated musical elements and vocals which she had "heard in [her] head" since its release.[69]
Cover versions and usage in media[edit]
Mixtery used up-beat samplings of the song in a hit also titled "Bring Me to Life" featuring Nigerian Eurodance artist Eddy Wata.[70] American pianist John Tesh released an instrumental version of the song on his albums A Deeper Faith, Vol. 2 (2003) and A Passionate Life (2007).[71][72] In 2003, Kidz Bop Kids covered the song on their fourth studio album, Kidz Bop 4. In 2008, black metal band Wykked Wytch covered the song and produced an accompanying music video. Their version was digitally released in October of that year on iTunes Store.[73] In 2010, German band Gregorian released a cover version of the song on their album Dark Side of the Chant.[74]
"Bring Me to Life" was included in the games Rock Band,[75] Rock Band Unplugged, Band Hero, DLC for SingStar,[76] and Fight Girl Battle World.[77] The song was used during the Calgary Flames' run in the 2004 Stanley Cup playoffs.[78] The song served as the official theme song of the WWE pay-per-view event No Way Out (2003).
Katherine Jenkins version[edit]
"Bring Me to Life"
Single by Katherine Jenkins
from the album Believe
Released
October 23, 2009 (2009-10-23)
Format
Digital download
Length
3:46
Label
Warner Bros.
Songwriter(s)
Lee
Moody
Hodges
Producer(s)
David Foster
Katherine Jenkins singles chronology
"I Believe"
(2009) "Bring Me to Life"
(2009) "Angel"
(2009)
"I Believe"
(2009) "Bring Me to Life"
(2009) "Angel"
(2009)
Welsh classical singer Katherine Jenkins recorded a cover version of "Bring Me to Life" on her 2009 album Believe.[79] Jenkins said: "I'd mentioned that I wanted to try Evanescence's Bring Me to Life and David [Foster] said 'you can't sing that'. I came out there questioning my vocal abilities. I'm just not used to being told that. I went home that night and I just thought to myself 'you have to pull yourself together, he's worked with so many incredible artists you have to step up the plate.' I did talk myself round and I went in there the next day on a mission. It's good to be pushed sometimes – and I proved him wrong!"[80] Jenkins decided to change the guitar-led and percussive original version and instead, "make it more orchestral with the percussion coming from the strings."[81] Alfred Hickling of The Guardian gave a mixed review of Jenkins' cover, calling it "histrionic."[82] However, a writer of BBC Online chose her version of the song as a highlight on the album.[81] On October 23, 2009, the song was available for digital download as the second single from Believe.[83] On November 23, 2011, Jenkins sang the song live at the Leicester Square station in London.[84]
Track listing[83]
Digital download
No.
Title
Length
1. "Bring Me to Life" 3:46
2. "Bring Me to Life (Almighty Club Mix)" 7:03
3. "Bring Me to Life (Almighty Club Radio Mix)" 3:07
Weekly charts
Chart (2009)
Peak
position
Germany (Official German Charts)[85] 46
UK Singles (Official Charts Company)[86] 74
Credits and personnel[edit]
Credits are adapted from Fallen liner notes.[8]
Amy Lee – writing, keyboards, vocals
Ben Moody – writing, producing, guitars, percussion
David Hodges – writing, keyboards, string arrangements
Josh Freese – drums
Dave Fortman – producing
Francesco DiCosmo – bass guitar
David Campbell – additional string arrangements
Graeme Revell – string arrangements, orchestral conduction
Track listing[edit]
International CD single (April 7, 2003)[87]
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
International CD Maxi (April 14, 2003)[87]
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
"Farther Away" – 3:58
"Bring Me to Life" (music video) – 4:14
Australian CD Single
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
"Farther Away" – 3:58
"Missing" – 4:15
French CD single
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
Subsequent pressings single (June 24, 2003)[88]
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
"Farther Away" – 3:58
"Bring Me to Life" (music video) – 4:14
International DVD (June 2, 2003)[89]
"Bring Me to Life" (video)
"Bring Me to Life"
"Bring Me to Life" (live acoustic version)
"My Immortal" (Live acoustic version)
"Interview footage
UK cassette single
"Bring Me to Life" – 3:56
"Farther Away" – 3:58
"Bring Me to Life" (Bliss Mix) – 3:59
Charts[edit]
Weekly charts[edit]
Chart (2003)
Peak
position
Australia (ARIA)[87]
1
Austria (Ö3 Austria Top 40)[90]
3
Belgium (Ultratop 50 Flanders)[91]
7
Belgium (Ultratop 50 Wallonia)[92]
2
Brazilian Singles Chart (ABPD)[93]
2
Denmark (Tracklisten)[94]
2
Europe (European Hot 100 Singles)[47]
1
Finland (Suomen virallinen lista)[95]
11
France (SNEP)[96]
5
Germany (Official German Charts)[97]
2
Greece (IFPI Greece)[98]
3
Ireland (IRMA)[99]
2
Italy (FIMI)[100]
1
Netherlands (Dutch Top 40)[101]
6
New Zealand (Recorded Music NZ)[102]
3
Norway (VG-lista)[103]
2
Poland (Polish Airplay Charts)[104]
4
Romania (Romanian Top 100)[105]
11
Spain (PROMUSICAE)
11
Sweden (Sverigetopplistan)[106]
2
Switzerland (Schweizer Hitparade)[107]
6
UK Singles (Official Charts Company)[108]
1
UK Rock (Official Charts Company)[109]
1
US Billboard Hot 100[40]
5
US Adult Top 40 (Billboard)[110]
4
US Alternative Songs (Billboard)[111]
1
US Mainstream Rock (Billboard)[112]
11
US Mainstream Top 40 (Billboard)[113]
1
Chart (2004–06)
Peak
position
Canada (Canadian Singles Chart)[114]
3
US Digital Songs (Billboard)[115]
35
Year-end charts[edit]
Chart (2003)
Position
Australian Singles Chart[44]
6
Australian Rock Singles Chart[44]
1
Austrian Singles Chart[116]
22
Belgian Singles Chart (Flanders)[117]
30
Belgian Singles Chart (Wallonia)[118]
11
Dutch Top 40[119]
52
Irish Singles Chart[120]
20
Italian Singles Chart[121]
4
New Zealand Singles Chart[122]
22
Swedish Singles Chart[123]
5
Swiss Singles Chart[124]
13
UK Singles Chart[125]
11
US Billboard Hot 100[126]
10
US Alternative Songs[127]
8
US Mainstream Rock Tracks[128]
39
US Mainstream Top 40[129]
5
Decade-end charts[edit]
Chart (2000–09)
Position
Australian Singles Chart[130][131]
59
US Alternative Songs[132]
26
US Rock Songs[133]
73
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[134]
2× Platinum 140,000^
France (SNEP)[135]
Gold 250,000*
Germany (BVMI)[136]
Platinum 300,000^
Greece (IFPI Greece)[98]
Gold 10,000^
Italy (FIMI)[137]
Platinum 50,000*
Switzerland (IFPI Switzerland)[138]
Gold 20,000^
United Kingdom (BPI)[139]
Platinum 615,000[49]
United States (RIAA)[140]
Platinum 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
See also[edit]
Book: Fallen
List of number-one singles of 2003 (Australia)
List of number-one hits of 2003 (Italy)
List of UK Singles Chart number ones of the 2000s
List of Billboard number-one alternative singles of the 2000s
List of Billboard Mainstream Top 40 number-one songs of 2003
List of UK Rock Chart number-one singles of 2003
List of UK Rock Chart number-one singles of 2011
References[edit]
^ Jump up to: a b Orloff, Brian (May 13, 2004). "Weekend:'Music is my therapy'". St. Petersburg Times. Archived from the original on October 20, 2012. Retrieved August 3, 2011.
Jump up ^ Carioli, Carly (September 12, 2003). "Amy Lee on bringing Evanescence's 'Bring Me to Life' to life". The Phoenix. Archived from the original on December 26, 2008. Retrieved February 27, 2007.
Jump up ^ Kaufman, Gil (May 29, 2003). "Evanescence: Fallen To the Top". VH1. Archived from the original on August 24, 2007. Retrieved June 30, 2013.
Jump up ^ Eells, Josh (October 2006). "Amy Lee: Back in Black". Blender. Archived from the original on September 6, 2007. Retrieved June 29, 2013.
^ Jump up to: a b c Titus, Christa (October 11, 2011). "Evanescence Returns to an Altered Rock Landscape". Billboard. p. 1. Archived from the original on June 21, 2013. Retrieved October 12, 2011.
Jump up ^ "Bring Me to Life / Farther Away / Missing [Single, Maxi, Import]". Amazon.com. Retrieved August 15, 2011.
Jump up ^ "Anywhere But Home (Live)". Amazon.com. Retrieved August 15, 2011.
^ Jump up to: a b Fallen (liner notes). Evanescence. Wind-up Records. 2006.
^ Jump up to: a b c d e f Reeseman, Bryan (August 1, 2003). "In The Recording Studio With Evanescence: Recording Fallen". Mix. Archived from the original on August 5, 2011. Retrieved August 6, 2011.
Jump up ^ Baker, Trevor (November 22, 2007). "Female rock stars not wanted in the UK. Apparently". The Guardian. Archived from the original on October 6, 2014. Retrieved November 14, 2011.
Jump up ^ "Evanescence – Bring Me To Life Sheet Music (Digital Download)". Musicnotes.com. Retrieved August 2, 2011.
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External links[edit]
Lyrics of this song at MetroLyrics
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Peace of Westphalia
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Peace of Westphalia
Treaties of Osnabrück and Münster
The Ratification of the Treaty of Münster, 15 May 1648 (1648) by Gerard ter Borch
Type
Peace treaty
Drafted
1646–1648
Signed
15 May – 24 October 1648
Location
Osnabrück and Münster, Westphalia, Holy Roman Empire
Parties
109
The Peace of Westphalia (German: Westfälischer Friede) was a series of peace treaties signed between May and October 1648 in the Westphalian cities of Osnabrück and Münster, largely ending the European wars of religion. The treaties of Westphalia brought to a close a calamitous period of European history which caused the deaths of approximately eight million people.[1] Scholars have identified Westphalia as the beginning of the modern international system, based on the concept of Westphalian sovereignty.
The negotiation process was lengthy and complex. Talks took place in two different cities, as each side wanted to meet on territory under its own control. A total of 109 delegations arrived to represent the belligerent states, but not all delegations were present at the same time. Three treaties were signed to end each of the overlapping wars: the Peace of Münster, the Treaty of Münster, and the Treaty of Osnabrück. These treaties ended the Thirty Years' War (1618–1648) in the Holy Roman Empire, with the Habsburgs and their Catholic allies on one side, battling the Protestant powers (Sweden, Denmark, Dutch, and Holy Roman principalities) allied with France (Catholic but anti-Habsburg). The treaties also ended the Eighty Years' War (1568–1648) between Spain and the Dutch Republic, with Spain formally recognising the independence of the Dutch.
The Peace of Westphalia established the precedent of peace established by diplomatic congress. A new system of political order arose in central Europe, based upon peaceful coexistence among sovereign states. Inter-state aggression was to be held in check by a balance of power, and a norm was established against interference in another state's domestic affairs. As European influence spread across the globe, these Westphalian principles, especially the concept of sovereign states, became central to international law and to the prevailing world order.[2]
Contents
1 Locations
2 Delegations
3 Treaties
4 Results
4.1 Internal political boundaries
4.2 Tenets
4.3 Territorial adjustments
5 Legacy
5.1 Westphalian sovereignty
6 See also
7 References
8 Further reading
9 External links
Locations[edit]
Peace negotiations between France and the Habsburgs began in Cologne in 1641. These negotiations were initially blocked by Cardinal Richelieu of France, who insisted on the inclusion of all his allies, whether fully sovereign countries or states within the Holy Roman Empire.[3] In Hamburg and Lübeck, Sweden and the Holy Roman Empire negotiated the Treaty of Hamburg with the intervention of Richelieu.[4] The Holy Roman Empire and Sweden declared the preparations of Cologne and the Treaty of Hamburg to be preliminaries of an overall peace agreement.
Dutch envoy Adriaan Pauw enters Münster around 1646 for the peace negotiations
The main peace negotiations took place in Westphalia, in the neighboring cities of Münster and Osnabrück. Both cities were maintained as neutral and demilitarized zones for the negotiations.
In Münster, negotiations took place between the Holy Roman Empire and France, as well as between the Dutch Republic and Spain.[5] Münster had been, since its re-Catholicisation in 1535, a strictly mono-denominational community. It housed the Chapter of the Prince-Bishopric of Münster. Only Roman Catholic worship was permitted, while Calvinism and Lutheranism were prohibited.
Sweden preferred to negotiate with the Holy Roman Empire in Osnabrück, controlled by the Protestant forces. Osnabrück was a bidenominational Lutheran and Catholic city, with two Lutheran churches and two Catholic churches. The city council was exclusively Lutheran, and the burghers mostly so, but the city also housed the Catholic Chapter of the Prince-Bishopric of Osnabrück and had many other Catholic inhabitants. Osnabrück had been subjugated by troops of the Catholic League from 1628–33 and then taken by Lutheran Sweden.[4]
Delegations[edit]
Sebastian Dadler undated medal (1648), Christina of Sweden, portrait with feathered helmet r. Obverse
The reverse of this medal: Christina of Sweden as Minerva standing l., holding an olive branch in her l. arm, and grasping the tree of knowledge with her r. hand.
The peace negotiations had no exact beginning and ending, because the 109 delegations never met in a plenary session. Instead, various delegations arrived between 1643–46 and left between 1647–49. The largest number of diplomats were present between January 1646 and July 1647.
Delegations had been sent by 16 European states, 66 Imperial States representing the interests of 140 Imperial States, and 27 interest groups representing 38 groups.[6]
The French delegation was headed by Henri II d'Orléans, Duke of Longueville and further comprised the diplomats Claude d'Avaux and Abel Servien.
The Swedish delegation was headed by Count Johan Oxenstierna and was assisted by Baron Johan Adler Salvius.
The Imperial delegation was headed by Count Maximilian von Trautmansdorff. His aides were:
In Münster, Johann Ludwig von Nassau-Hadamar and Isaak Volmar.
In Osnabrück, Johann Maximilian von Lamberg and Reichshofrat Johann Krane.
Philip IV of Spain was represented by two delegations:
The Spanish delegation was headed by Gaspar de Bracamonte y Guzmán, and notably included the diplomats and writers Diego de Saavedra Fajardo, and Bernardino de Rebolledo.
The Franche Comté and the Spanish Netherlands were represented by Antoine Brun.
The papal nuncio in Cologne, Fabio Chigi, and
the Venetian envoy Alvise Contarini acted as mediators.
Various Imperial States of the Holy Roman Empire also sent delegations.
Brandenburg sent several representatives, including Vollmar.
The Dutch Republic sent a delegation of six, including two delegates from the province of Holland (Adriaan Pauw) and Willem Ripperda from one of the other provinces;[7] two provinces were absent.
The Swiss Confederacy was represented by Johann Rudolf Wettstein.
Treaties[edit]
Three separate treaties constituted the peace settlement.
The Peace of Münster[8] was signed by the Dutch Republic and the Kingdom of Spain on 30 January 1648, and was ratified in Münster on 15 May 1648.
Two complementary treaties were signed on 24 October 1648:
The Treaty of Münster (Instrumentum Pacis Monasteriensis, IPM),[9] between the Holy Roman Emperor and France, along with their respective allies
The Treaty of Osnabrück (Instrumentum Pacis Osnabrugensis, IPO),[10] between the Holy Roman Empire and Sweden, along with their respective allies.
Results[edit]
Internal political boundaries[edit]
A map of 1884 showing European borders in 1648.
Holy Roman Empire in 1648.
The power asserted by Ferdinand III was stripped from him and returned to the rulers of the Imperial States. The rulers of the Imperial States could henceforth choose their own official religions. Catholics and Protestants were redefined as equal before the law, and Calvinism was given legal recognition as an official religion.[11][12] The independence of the Dutch Republic, which practiced religious toleration, also provided a safe haven for European Jews.[13]
The Holy See was very displeased at the settlement, with Pope Innocent X calling it "null, void, invalid, iniquitous, unjust, damnable, reprobate, inane, empty of meaning and effect for all time" in the bull Zelo Domus Dei.[14][15]
Tenets[edit]
The main tenets of the Peace of Westphalia were:
All parties would recognize the Peace of Augsburg of 1555, in which each prince would have the right to determine the religion of his own state (the principle of cuius regio, eius religio). The options were Catholicism, Lutheranism, and now Calvinism.[11][12]
Christians living in principalities where their denomination was not the established church were guaranteed the right to practice their faith in private, as well as in public during allotted hours.[16]
General recognition of the exclusive sovereignty of each party over its lands, people, and agents abroad, and responsibility for the warlike acts of any of its citizens or agents. Issuance of unrestricted letters of marque and reprisal to privateers was forbidden.
Territorial adjustments[edit]
Switzerland was formally recognised as independent from the Holy Roman Empire, after decades of de facto independence.
The Dutch Republic, which had declared its independence from Spain in 1581, was formally recognised as an independent state.
France retained the Bishoprics of Metz, Toul and Verdun near Lorraine, received the cities of the Décapole in Alsace (except for Strasbourg, the Bishopric of Strasbourg, and Mulhouse) and the city of Pignerol near the Spanish Duchy of Milan.
Sweden received an indemnity of five million thalers, which it used primarily to pay its troops.[17] Sweden further received Western Pomerania (henceforth Swedish Pomerania), Wismar, and the Prince-Bishoprics of Bremen and Verden as hereditary fiefs, thus gaining a seat and vote in the Imperial Diet as well as in the Upper Saxon, Lower Saxon and Westphalian circle diets (Kreistag).[18] However, the wording of the treaties was ambiguous:
To escape incorporation into Swedish Bremen-Verden, the city of Bremen had claimed Imperial immediacy. The emperor had granted this request and separated the city from the surrounding Bishopric of Bremen. Sweden launched the Swedish-Bremen wars in 1653/54 in a failed attempt to take the city.[19]
The treaty did not decide the Swedish-Brandenburgian border in the Duchy of Pomerania. At Osnabrück, both Sweden and Brandenburg had claimed the whole duchy, which had been under Swedish control since 1630 despite legal claims of Brandenburgian succession. While the parties settled for a border in 1653, the underlying conflict continued.[20]
The treaty ruled that the Dukes of Mecklenburg, owing their re-investiture to the Swedes, cede Wismar and the Mecklenburgian port tolls. While Sweden understood this to include the tolls of all Mecklenburgian ports, the Mecklenburgian dukes as well as the emperor understood this to refer to Wismar only.[20]
Wildeshausen, a petty exclave of Bremen-Verden and fragile basis for Sweden's seat in the Westphalian circle diet, was also claimed by the Bishopric of Münster.[20]
Bavaria retained the Palatinate's vote in the Electoral College of the Holy Roman Empire, which it was granted by the imperial ban on the Elector Palatine Frederick V in 1623. The Prince Palatine, Frederick's son, was given a new, eighth electoral vote.
The Palatinate was divided between the re-established Elector Palatine Charles Louis (son and heir of Frederick V) and Elector-Duke Maximilian of Bavaria, and thus between the Protestants and Catholics. Charles Louis obtained the Lower Palatinate, along the Rhine, while Maximilian kept the Upper Palatinate, to the north of Bavaria.
Brandenburg-Prussia received Farther Pomerania, and the Bishoprics of Magdeburg, Halberstadt, Kammin, and Minden.
The succession to the Jülich-Cleves-Berg, whose last duke had died in 1609, was clarified. Jülich, Berg, and Ravenstein were given to the Count Palatine of Neuburg, while Cleves, Mark, and Ravensberg went to Brandenburg.
The Prince-Bishopric of Osnabrück would alternate between Catholic and Lutheran bishops, with the Protestant bishops chosen from the cadets of the House of Brunswick-Lüneburg.
Barriers to trade and commerce erected during the war were abolished, and "a degree" of free navigation was guaranteed on the Rhine.[21]
Legacy[edit]
The treaties did not entirely end conflicts arising out of the Thirty Years' War. Fighting continued between France and Spain until the Treaty of the Pyrenees in 1659. The Dutch-Portuguese War had begun during the Spanish occupation of Portugal, as part of the Eighty Years' War, and went on until 1663. Nevertheless, the Peace of Westphalia did settle many outstanding European issues of the time.
Westphalian sovereignty[edit]
Main article: Westphalian sovereignty
Scholars of international relations have identified the Peace of Westphalia as the origin of principles crucial to modern international relations, including the inviolability of borders and non-interference in the domestic affairs of sovereign states. This system became known in the literature as Westphalian sovereignty.[2] Although scholars have challenged the association with the Peace of Westphalia, the debate is still structured around the concept of Westphalian sovereignty.
See also[edit]
Europe portal
Military history portal
Eighty Years' War
Freedom of religion
History of Sweden, 1648–1700
List of treaties
Peace of Augsburg
Peace of Münster
Thirty Years' War
Westphalian sovereignty
References[edit]
Jump up ^ Clodfelter, Michael (2017). Warfare and Armed Conflicts: A Statistical Encyclopedia of Casualty and Other Figures, 1492–2015. McFarland. p. 40. ISBN 978-0786474707.
^ Jump up to: a b Henry Kissinger (2014). "Introduction and Chpt 1". World Order: Reflections on the Character of Nations and the Course of History. Allen Lane. ISBN 0241004268.
Jump up ^ Croxton, Derek (2013). Westphalia: The Last Christian Peace. Palgrave. ISBN 9781137333322.
^ Jump up to: a b Schiller, Frederick. "The Thirty Years War, Complete".
Jump up ^ Konrad Repgen, 'Negotiating the Peace of Westphalia: A Survey with an Examination of the Major Problems', In: 1648: War and Peace in Europe: 3 vols. (Catalogue of the 26th exhibition of the Council of Europe, on the Peace of Westphalia), Klaus Bußmann and Heinz Schilling (eds.) on behalf of the Veranstaltungsgesellschaft 350 Jahre Westfälischer Friede, Münster and Osnabrück: no publ., 1998, 'Essay Volume 1: Politics, Religion, Law and Society', pp. 355–72, here pp. 355 seq.
Jump up ^ Konrad Repgen, 'Negotiating the Peace of Westphalia: A Survey with an Examination of the Major Problems', In: 1648: War and Peace in Europe: 3 vols. (Catalogue of the 26th exhibition of the Council of Europe, on the Peace of Westphalia), Klaus Bußmann and Heinz Schilling (eds.) on behalf of the Veranstaltungsgesellschaft 350 Jahre Westfälischer Friede, Münster and Osnabrück: no publ., 1998, 'Essay Volume 1: Politics, Religion, Law and Society', pp. 355–72, here p. 356.
Jump up ^ Sonnino, Paul (30 June 2009). Mazarin's Quest: The Congress of Westphalia and the Coming of the Fronde. Harvard University Press. ISBN 9780674043862.
Jump up ^ "Original text in Dutch National Archives". beeldbank.nationaalarchief.nl.
Jump up ^ "Digital German text Treaty of Münster". lwl.org.
Jump up ^ "Digital German text Treaty of Osnabrück". lwl.org. Retrieved 13 May 2017.
^ Jump up to: a b Treaty of Münster 1648
^ Jump up to: a b Barro, R. J. & McCleary, R. M. "Which Countries have State Religions?" (PDF). University of Chicago. p. 5. Retrieved 7 November 2006.
Jump up ^ "This day, Mary 15, in Jewish history". Cleveland Jewish News.
Jump up ^ Psalms 69:9, "For the zeal of thine house hath eaten me up, and the reproaches of them that reproached thee are fallen upon me."
Jump up ^ Larry Jay Diamond; Marc F. Plattner; Philip J. Costopoulo (2005). World religions and democracy. p. 103.
Jump up ^ Section 28
Jump up ^ Böhme, Klaus-R (2001). "Die sicherheitspolitische Lage Schwedens nach dem Westfälischen Frieden". In Hacker, Hans-Joachim. Der Westfälische Frieden von 1648: Wende in der Geschichte des Ostseeraums (in German). Kovač. p. 35. ISBN 3-8300-0500-8.
Jump up ^ Böhme (2001), p. 36.
Jump up ^ Böhme (2001), p. 37.
^ Jump up to: a b c Böhme (2001), p. 38.
Jump up ^ Gross, Leo (1948). "The Peace of Westphalia, 1648–1948". American Journal of International Law. 42 (1): 20–41 [p. 25]. doi:10.2307/2193560.
Further reading[edit]
Croxton, Derek, and Anuschka Tischer. The Peace of Westphalia: A Historical Dictionary (Greenwood Publishing Group, 2002).
Croxton, Derek (1999). "The Peace of Westphalia of 1648 and the Origins of Sovereignty". International History Review. 21 (3): 569–591. doi:10.1080/07075332.1999.9640869.
Mowat, R. B. History of European Diplomacy, 1451–1789 (1928) pp 104–14 online
Schmidt, Sebastian (2011). "To Order the Minds of Scholars: The Discourse of the Peace of Westphalia in International Relations Literature1". International Studies Quarterly. 55 (3): 601–623. doi:10.1111/j.1468-2478.2011.00667.x. Historiography.
External links[edit]
Wikimedia Commons has media related to Peace of Westphalia.
Wikisource has the text of a 1911 Encyclopædia Britannica article about Peace of Westphalia.
Texts of the Westphalian Treaties (in German) (full text in Latin, with translations to German, English, French, Italian, Swedish, and Spanish)
Treaty of Münster (full text, English translation)
Peace Treaty of Osnabrück (full text, German translation)
Peace Treaty of Münster (full text, German translation)
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