I don't wanna see no lips of all the lips you've ever kissed
I just wanna be your No 1
I don't need no one to warm me I don't care who came before me
I just wanna be your No 1
All that happened yesterday is now a part of history
Let me be your destiny let's do what's right for you and me
I don't wanna try and undo all the wrong somebody done you
I just wanna be your No 1
My whole world revolves around you life began the day I found you
I just wanna be your No 1
Let's not spend no time discussin' anything that don't mean nothin'
I just wanna be your No 1
Take me in your arms turn out the light lock the door
And I won't even wonder if somebody had a key before
I don't wanna solve no mist'ry yesterday belongs to hist'ry
I just wanna be your No 1 No 1 I just wanna be your No 1
I don't wanna see no lips of all the lips you've ever kissed
I just wanna be your No 1
I don't need no one to warm me I don't care who came before me
I just wanna be your No 1
All that happened yesterday is now a part of history
Let me be your destiny let's do what's right for you and me
I don't wanna try and undo all the wrong somebody done you
I just wanna be your No 1
[ ac.guitar ]
My whole world revolves around you life began the day I found you
I just wanna be your No 1
Let's not spend no time discussin' anything that don't mean nothin'
I just wanna be your No 1
Take me in your arms turn out the light lock the door
And I won't even wonder if somebody had a key before
I don't wanna solve no mist'ry yesterday belongs to hist'ry
I just wanna be your No 1 No 1 I just wanna be your No 1
A lot of these cats out here be fakin' 'em
When it come to makin' love
But you and me baby, this is real
And that's why it's number one
Sex that we're having here girl, ooh
This is, this is number one
Sex that we're having here, girl, ooh
(You better ask somebody)
Can't nobody do it like us
Can't nobody mix, chop, and screw it like us
All over the living room, hittin' it like us
In the middle of the night wake up the building like us
And it's okay if you wanna brag, the sex so good
Go and pat yourself on the back, and 'em haters
They gon' hate, but we just gon' keep blowing up
'Cause girl, they gon' hate anyway
You are now rocking with the best
I'll make you forget about the rest
Having sex with you is like making hits
Girl, we got egos, they can't tell us
That we ain't the shit and no
I'm in your mix like a number one record
And the beat goes on and on
And it don't stop you keep going, from the night on through the day
And I love it when you take me down and make me say
Number one
Sex that we're having here, girl, ooh
This is, this is number one
Sex that we're having here girl, ooh, Keri
You know you stay at the top spot
When you're breaking me down just like a chop shop, hey
Cutting like some blades on a caddy
That's how you're working me, daddy
Every time you put that on my womb
You are now rocking with the best
I'll make you forget about your ex
This one here's a race where you don't wanna come first
I know what I'm doing, ain't no need to rehearse, yeah
A lot of dudes just be going nowhere fast
But you be steady cruising like you want it to last
That's how you made me a chocoholic
And right now my body's callin'
I gotta know how, you got the know how
Baby, you the champ of all that goes down
If your dick was a gun, it was stone cold
With my R&B; thug when I bang, bang
You know Kells and Keri hook up like that
You make it number one
Number one
Sex that we're having here girl, ooh
This is, this is number one
Sex that we're having here, girl, ooh
Hands down you the best, ain't no competition
You and me, in this bed, just what I was wishin'
Them other girls was cool, but it's somethin' they was missin'
And I don't call them back ever since we hit it in the kitchen
That night at my home, trench coat, nothin' on
Your sex got me gone, went straight to my dome
And I love it, girl, I love it, ooh, I love it, girl, I love it
Girl, there's somethin' about you that thrills me
That's why after we lay, you get to know the real me, yeah
And it don't stop, you keep going from the night on through the day
And I love it when you take me down and make me say
Number one
Sex that we're having here, girl, ooh
This is this is number one
Sex that we're having here, girl, ooh
Girl, I vow that I would do anything to pleasure you
All I wanna do is make this last
I'll kiss you up, I'll kiss you down, be real quiet, or making sounds
Take it slow, or take it fast
And woo and wee and you and me havin' fun
And when it's over in the morning, I'll say gracias, baby
Before you go I'll scream, "Damelo!"
Number one
This is, this is number one
You were conceived at the right time everything about you blows my mind
Thought I'd been in love before now I just got my foot in that door now
There's never been anyone like you for me
All the rest have been two's and three's
Darling from now on and on and on you're gonna be number one
Number one in my book and now in my life
Number one and yoy're still by my side
Number one is ways I've never known before number one someone I love so
[ sax ]
Since you've come along life's been a joy
That's a turn around for this ol' boy
Over me and next to none you're gonna be number one
Over me and next to none you're gonna be number one
[Kevin McCall:]
I wanna wake up baby
And see u sharing my bed
U roll over start smiling
Girl I'ma cook u breakfast
Yeah I gotta say u got my heart
And your my answer when I'm reaching for the stars (oh)
I don't need nobody else but u
[Chorus: Chris Brown]
I'm a let u play babe
Music in the car
Shawty your my favorite song
Your my baby
Kissing on your neck and don't even need permission cause your body saying yes
And u know that I want it (girl!)
So just let me get it girl
When it all said and done
I'ma make u number one, one, one yea
I'ma make u number one, one, one
I'm a make u number............
When it's all said and done
I'm a make u number one.
[Chris Brown:]
Lady
Come here girl
I don't wanna share this with nobody
Your amazing
The perfect picture
And ain't nobody got your sexy body
And something that things u do
That make me wanna stay with u
Ain't no other way to say it
Girl I just love u
[Chorus: Chris Brown]
I'ma let play babe
Music in the car
Shawty your my favorite song
Your my baby
Kissing on your neck and don't even need permission cause your body sayin yes
And u know that I want it (girl!)
So just let me get it girl
When it all said and done
I'ma make u number one, one, one yea
I'ma make u number one, one, one
I'm a make u number............
When it's all said and done
I'm a make u number one.
[Kevin McCall:]
This is for my number one
She the reason that I wake up
For one
One more chance to make u believe I'm the one!
She need up in her life
That's the perfect plan to help me get her
For sure...
Yea yea! [x3]
When it's all said and done
I'm a make u number one! one, one yea [x3]
I'm a make it...
Uh, uh, uh
I just gotta bring it to they attention, dirty, that's all
You better watch who you talkin' 'bout
Runnin' your mouth like you know me
You gon' fuck around and show
Why the "Show Me" get called the "Show Me"
Why one-on-one, you can't hold me if your last name was Haynes
Only way you wear me out is stitch my name on your pants
No resident of France but you swear I'm from Paris
Hundred-six karats, total? Naw, that's per wrist
Trying to compurr this, my chain to yo' chain
I'm like Sprint or Motorola, no service, out of your range
You out of your brains, thinkin' I'ma shout out your name
You gotta come up with better ways than that to catch your fame
All that pressure you applyin' it's time to ease off
Before I hit you from the blindside takin' your sleeves off
As much as we's floss, still hard to please boss
Don't be lyin', bitchin' and cryin', suck it up as a loss
'Cause your, acts is wack, your whole label is wack
And matter fact, eh, eh, eh, eh, a-hold that
I am number one, no matter if you like it
Here, take it, sit down and write it
I am number one
Now, let me ask you, man
What does it take to be number one?
Two is not a winner and three nobody remembers, hey
What does it take to be number one?
Do you like it when I shake it for ya, daddy? Move it all around?
Let you get a peep before it touches the ground?
Hell yeah, ma, I love a girl that's willin' to learn
Willin' to get in the driver's seat and willin' to turn
And not concerned about that he say, she say, did he say
What I think he said? Squash that, he probably got that off eBay
Or some, Internet access, some website chat line
Mad 'cause I got mine, oh, don't wind up on the flat line
Oh, if my uncle could see me now
If he could see how many rappers wanna be me now
Straight emulatin' my style right to the "Down Down"
Can't leave out the store, now better wait 'til they calm down
I got hella shorties, comin' askin', "Yo, where the party?"
Oh Lordy, I'd like to continue to act naughty
Mixing Cris' and Bacardi, got me thinkin' fo' sho'
I'm not a man of many words but there's one thing I know, pimp
I am number one, no matter if you like it
Here, take it, sit down and write it
I am number one
And tell me now dirty, now, let me ask you, man
What does it take to be number one?
Two is not a winner and three nobody remembers, hey
What does it take to be number one?
Check it, uhh, check, yo
Aiyo, I'm tired of people judgin' what's real hip-hop
Half the time you be them niggaz who fuckin' album flop
You know, boat done sank and it ain't left the dock
C'mon, mad 'cause I'm hot, he just mad 'cause he not
You ain't gotta gimme my props, just gimme the yachts
Gimme my rocks and keep my fans comin' in flocks
'Til you top the Superbowl, keep your mouth on lock
I'm awake
I'm cocky on the mic but I'm humble in real life
Taking nothin' for granted, blessin' everything on my life
Trying to see a new light at the top of the roof
Baby, name not Sigel but I speak the truth
I heat the booth, Nelly actin' so uncouth
Top down shirt off in the coupe, spreadin' the loot
With my family and friends, and my closest of kin
And I'll do it again if it means I'ma win, dirty
I am number one
No matter if you like it
Here, take it sit down and write it
I-I-I, number one
'Cause two is not a winner and three nobody remembers
Number one
Got to be a winner--trophy winner
Get to hold your head up high up!
Number one!
Got to be a winner--trophy winner
Get to hold your head up high up!
Number one!
Number one
Number one
Honey tell me--
When your working day is done--
Were you reaching for the high rung--
Reaching to be number one?
You get a car
You want a boat
You want an eenie-meenie-miney miney-moe
Oh there must be more to living
Than a mortgage and a lawn to mow
Sweaty work
And lucky breaks
And blood and tears is all it takes
To be a winner!
People cheer
And people gasp
People want your autograph
When you're a winner!
Run, run, run, run
Let's see you run
We'll be betting by the starting gun!
Shall we shower you with flowers
Or shall we shun ya
When your race is run?
Will we shower you with flowers
Or will we shun ya
When your race is run?
Will they shower you with flowers
Or will they shun ya
When your race is run?
Got to be a winner--trophy winner
Get to hold your head up high up!
Number one!
Here it comes again out of the rain
Seems to have a new kind of same
Been playin' on a simple ride
Sign comes alive and speaks the mind
It turns to me and it turns to gold
It turns to see a fast lane slow
It's been away too long
It's been away I'm gone
East coast and on
To the west star
Lookin' out I thought I saw it blink
Coming on to me like a silver eye
Pick it up and tune it on in
Head on out to a western starland
It's been a man and gone
Now it's singing a song
Like a western star
It's going my way
Looking out I'm back in time to stay
Into the eastern sign away
It comes alive thru, through and clearer
A ghost arrives to, to your mirror
You've been away too long
It's been way too long
Eastern star is on
A disappearer
Each time when one more year was over
You refused to hear heaven's bell sounds
And the hapiness in your heart's been set lower
You're searching for friends
But no one seemed to be 'round
You merely should think of the good times
'Cos there are so many ways you can go
Take a look at yourself
You're still very young
And big aims always take very long
Now it's time for hapiness
Stay hard and trust your fate
Don't forget you're something else
You'll never be to late
Trust your father's mighty spell
You'll never be alone
Fate will always turn out well
And you'll be number one
Shout at the world don't care what they say
'Cos your life is now, here and today
Luck is there, ev'rywhere
Go on reap it's goods, that's the way
You wanna have truth relief from your pain
But life takes it's tool again and again
Don't fear the night
Your future is pay
And the tracks to your aims are laid
Now it's time for hapiness
Stay hard and trust your fate
Don't forget you're something else
You'll never be to late
Trust your father's mighty spell
You'll never be alone
Fate will always turn out well
And you'll be number one
Now it's time for hapiness
Don't forget you're something else
Trust your father's mighty spell
Words & Music: D. Hall
Old girlfriend she come walkin down the street
When I saw her it was like seeing a stranger
But even if I try to work it up no emotions are there
That's when I realise what you are to me
And how much I really care
Number One
You're Number One with me
Blast from the Past say ";Why don't you call me anymore
It's been too long and some nights I need you so.";
But even if I tried to work it up no emotions are there
And I realised what you are to me
And how much I really care
Number One
You're Number One with me
Written by Tommy Shaw
Lead Vocals by Tommy Shaw
You can't be still
You're such a nervous fellow
Like a yo-yo
Up and down
Take this little pill
And life will be so mellow
You'll feel the world
Start slowing down around
Who's that rushing out the door
Who's not taking any more
Who's been down this road before
Without you
You tell me who's number one
Who's not here
Who's having fun
Who's the one who cares this much
About you
You won't feel the pain
You won't mind the rain
You can be happy all the time
All the time
One dose twice a day
The world will go away
You'll be smiling through
The worst of times
Who's that rushing out the door
Who's not taking any more
Who's been down this road before
Without you
You tell me who's number one
Who's not here
Who's having fun
Who's the one
Who knows so much about you
I believe I belive
There's something more
I believe it's just beyond the door
I believe there's something more
I believe it's just
Beyond the door
I believe there's something
Better out there
Wanna leave this world
So far behind
I can see your face there
In my mind
I believe there's something
Better our there
Who's that rushing
Who's not taking
Who's been down this
You tell me who's
Who's not here who's
Who's the one who
Something better
Something better
Something better
Something better
Something better
You sound truly heartbroken
You can do it. You're a pro
Agony from every pore. And such control
The orchestra swoops and the drum samples roll
You hold the high scream into the key change for the outro
It's another number one
And that's exactly where you're comin' from
But can you play me a song
For the deliberate loser
Like an Olympic ice skater you've put in the hours
Learned the routines and the high scoring loops
And even before you sing the sweet opening line
You're know that you're scorin at least 5.9
Here come the flowers
I saw them gathered all around you
Hangin' on your every word
You were telling them you're masterplan
World Domination
... any way you can
Don't you ever wonder if this will to win is a weakness?
Don't you ever wonder...
I've been told many times before
To think of number one
When I do, I guess it's true
I think I'm having fun
But lately all I ever do is think of you
And now I know it's true
No matter what you do, you're my number one
You're my number one
Every time I see your face
I'm all choked up inside
When I'm far away from you
I almost wanna hide
But lately all I ever do is think of you
And now I know it's true
No matter what you do, you're my number one
You're my number one
No more will you be hurt
So stick with me and I'll stick with you
When it's time for a kiss
Now I know just what to do
We belong to the world we belong to the wind
We are the spirit of the competition's end
Turning hours into days burning muscles feel the pain
The heart and soul of discipline my friends
We are sending you a challenge it's very clear
We came to win that is why we are here
Demanding to be tested, tested by the best
Not to be forgotten like all the rest
The time has come all the training done
The muscle and the blood will come to pay
Let the game begin hear the starting gun
Play from the heart today we will overcome
When the game is over all the counting's done
We were born to win number 1
Today is the day all the training through
We have come for the number one not the number two
Let the contest begin play hard fight to win
Immortality victory and fame
The time has come all the training done
The muscle and the blood will come to pay
Let the game begin hear the starting gun
Play from the heart today we will overcome
When the game is over all the counting's done
We were born to win number 1
Today is the day all the training through
We have come for the number one not the number two
Let the contest begin play hard fight to win
Immortality victory and fame
Let the game begin hear the starting gun
Play from the heart today we will overcome
When the game is over all the counting's done
Hey you pretty one,
The night has just begun
Hey you pretty face,
Tell your name to everyone
You stand there all alone
Love is a pleasure dome
See them go , see their joy
Happy girls and lucky boys
And I am dying for you
And I am dying for you
Sharp hips, pelvic bones
I melt like an ice cream cone
Blue hair like the sea
What about you and me?
I creep , crawl into the night
I feel like a parasite
There's no doubt in my mind
She'll give me the turn around
But I am smiling at you
And I am keeping my cool
Saturday night, lucky strike
Nothing else on my mind
Go now, it is time, try out your favourite line
"where do you live", ? "where're you from?"
"You must be twenty one"
Play it well, play it tough
If deaf and dumb and blind with love
I am blind with love
I am blind with love..
I am dying for you, I am dying for you
Take me... home, take me ...home, take me ...home
(would you care to save my soul? would you dare to take
control?
would you dare? would you dare?)
Take me home, take me home, take me home
Hey you pretty one, the night has just begun
Hey you pretty face, you're my number one
written by Lee Aaron, John Albani & Joe Lynn Turner
running time - 3:52
©1987 Jolt Music/Colgems/Abovewater/Pondwater
Baby baby you' been hurt before
Walked out on love an' ya closed the door
Sometimes forever sometimes just one night
It don' always have to work out right..
Well I know what you're goin' through
Cuz I've been there before
Give me a chance to change your attitude
An' you'll be back for more, you'll be back for more
(I.. know, you.. know)
I'm gonna be your number one
(Some.. day, one.. way)
I'm gonna be your.. number one
Baby baby it's no use to hide
I can see the passion, in your eyes..
Don't think twice honey just let go
There's so much of you I wanna know
You say that you've been hurt inside
Well I've felt the same way too
But tonight could be our lucky night
Oh baby can ya feel it, I can feel it too
(I.. know, you.. know)
I'm gonna be your number one
(Some.. day, one.. way)
I'm gonna be your, number one
(I.. know, you.. know)
I'm gonna be your number one
(Some.. day, one.. way)
I'm gonna be your, number one
Don't throw away this chance
It could be sweet.. romance
Give me a sign let me know
Here we go
Oh.. (I.. know, you.. know)
I'm gonna be your number one
(Some.. day, one.. way)
I'm gonna be your, number one
(I.. know, you.. know)
When it's me an' you aw baby..
(Some.. day, one.. way)
Yeah yeah yeah yeah..
Uh huh.., come on
(I.. know) come on (you.. know)
Well I'm gonna be your, number one....
(Some.. day, one.. way)
I'm gonna be your number one....
(I.. know, you.. know)
I'm gonna be your number one....
Each time when one more year was over
You refused to hear heavven's bells sound
And the happiness in you heart's been set lower
You were searching for friends but no one seemed to be 'round
You merely should think of the good times
'Cos there are so many ways you can go
Take a look at yourself, you're still very young
And big aims always take very long
Now it's time for happiness, stay hard and trust your fate
Don't forget you're something else you'll never be too late
Trust your fathers' mighty spell you'll never be alone
Fate will always turn out well and you'll be number one
Shout at the world don't care what they say
'Cos your life is now, here and today
Luck is there, ev'rywhere
Go on, reap its goods, that's the way
You wanna have truth, relief from your pain
But life takes its toll again and again
Don't fear the night--your future is paid
And the tracks to your aims are laid
Now it's time. . .
I wanna hold you baby
I wanna hold you
Never be lonely with me by your side
Say that you want me baby
I got the things you've needed to get by
I wish you love me too
This time you promise and look into my eyes
I can give you lovin' baby
Show me the way to make you feel all right
Falling in love to you
I wanna be your number one
Nobody else tonight
You gonna be my crazy love
I'll never let you down
Don't wanna loose you
I know you'll never gonna break my heart
Say that you want me baby
I got the things you've needed to get by
Falling in love again
I wanna be your number one
Nobody else tonight
You gonna be my crazy love
I'll never let you down
I wanna be your number one
Nobody else tonight
You gonna be my crazy love
I'll never let you down
I wanna be your number one
La la la la la la
I wanna be your number one
La la la la la
I wanna be your number one
Nobody else tonight
You gonna be my crazy love
I'll never let you down
I wanna be your number one
Nobody else tonight
You gonna be my crazy love
I'll never let you down
"Ay Foxx, we just livin' our life right?"
4 and 3 and 2 and 1
4 and 3 and 2 and 1
"Weezy, Jus Blaze"
Now everybody let's get dumb, dumb de dumb
Dumb du dumb de dumb
Da dumb da, de dum, dum da dum de dum
Let me introduce myself, they call me Mr. Foxx
Known for making ladies scream and jumpin' out they socks
Yes, it's all real
(Real)
I'm king of the hill
(Hill)
Call [unverified] pack them up and ship another mil
Told ya last time but I swear ya'll must not understand me
Girl, come home with me and let me introduce you
To my Grammy family like encore Oscar aunt Emmy
Acting like ya'll got many got that kinda guap
You gotta wheel it with a semi baby
Get your friends inside with me
Common girl, just ride with me
Plenty of girls that wish they could be standin'
On the side of me, I can see the look up in your eyes
But the lookin' at your thighs, lips and hips
Make a [unverified] naturize
Girl, the cash flow within my crew is rising to the top
Like a highway robbery we doin' 90 in the drop
Let's go to the strip, baby, then go home and strip, baby
Bounce it like them drums on this blaze shit, baby
Girl, just say the word, can we can break out like the pox?
But you got 4 seconds for I'm right up out the spot like
4 and 3 and 2 and 1
4 and 3 and 2 and 1
'Cause you know I'm number one
Girl, you know I'm number one
Baby, you know I'm number one
That's right, I said I'm number
Now everybody let's get
Now everybody let's get dumb, dumb de dumb
Dumb du dumb de dumb
Da dumb da, de dum, dum da dum de dum
Err body know the name, they call me Mr. Foxx
Swagger on a millie, got the stuntin' game on lock
Got them hundred dollar bills, I don't rain, girl, I hurricane
Glory or dollywood, we don't need to know your name
Yup girl, shake it for me, yep girl, take it for me
My private jet it be waitin', you can bring a friend and hey
See the diamonds on me, they be shining like a star
I see how you watchin' me posted up at the bar
We can leave the club and git it right
We can do it all night long, have you singing
Baby, this my song, it's a number one performer
You gotta be my supporter, we you want
You know I can get it for ya
(Yup)
This goes out to all you haters, yeah, whoever doubt me
I'm a boss, I'm a player, got nothin' to say about me
Let's go hit the strip, baby, then go home and strip, baby
Bounce it like them drums on this blaze shit, baby
Girl, just say the work, we can break out like the pox
But you got 4 more seconds for I'm right up out the spot like
4 and 3 and 2 and 1
4 and 3 and 2 and 1
'Cause you know I'm number one
Girl, you know I'm number one
Baby, you know I'm number one
That's right, I said I'm number
Now everybody let's get
Now everybody let's get dumb, dumb de dumb
Dumb du dumb de dumb
Da dumb da, de dum, dum da dum de dum
Ah em, they call me Mr. Carter, I fly over water
In my own charter, baby, I can turn you on like a phone charger
Baby, I can hit it like a muthafuckin' dodger
If you want a soulja baby, I can be your seargent
And girl, if your gaye, umm, I can be your Marvin
I like hot grits and toast in the mornin'
I hope you turn into a ghost in the mornin'
I pop you up like chicken pox
Shout out to my nigga Jamie Foxx
We tighter than some sticky socks
I be in slickest drop, listenin' to some Iggy pop
And I'm from the dirty, I say fuck the broom and a mop
He's so sweet make her wanna eat the candy store
1 2 3 4
Let's go hit the strip, baby, then go home and strip, baby
Foxx and Lil Wayne on this blaze shit, baby
Girl, just say the word 'n we can break out like the pox
Plus you got 4 mins for I'm right up out the spot
4 and 3 and 2 and 1
4 and 3 and 2 and 1
'Cause you know I'm number one
Girl, you know I'm number one
Baby, you know I'm number one
That's right, I said I'm number
Now everybody let's get
Now everybody let's get dumb, dumb de dumb
Dumb du dumb de dumb
Da dumb da, de dum, dum da dum de dum
Now brains and emotions have never been friends.
If you ask my opinion it always depends.
Better hang onto what you've got.
Better hand onto what you've got.
Now love and confusion have always been true.
I hate to break the illusion but what can you do.
Better hang onto what you've got.
Better hand onto what you've got.
You had a girl you'd give anything for
one more chance.
But you threw it away!
You've got yourself to blame.
But you threw it away!
You've got yourself!...
Now I've never been one for giving advice
In a strange situation don't start throwing dice.
Better hang onto what you've got.
Better hang onto what you've got.
You had a girl you'd give anything for
one more chance.
But you threw it away!
You've got yourself to blame.
But you threw it away!
You've got yourself! Come on!
You had a girl that you'd give
anything for one more
You had a girl you'd give anything for
one more chance.
But you threw it away!
You've got yourself to blame.
But you threw it away!
You've got yourself!
You've got yourself to blame!
You've got yourself!
You've got yourself to blame!
Ooh I promise not to do it again
I promise not to do it
You can't say I don't love you
Just because I cheat on you
Cuz you can't see all I do
To keep you from knowing the things I do
Like erase my phone
And keep it out of town
I keep it strapped up when I sleep around
Well I should have known one day you'd find out
But you can't go and leave me now
You know that I love you
There's no one above you
I said it the last time
But this is the last time
Don't make me over
Cuz I can be faithful
Baby you're my number one
You're my number one
Now who is she?
What's her name?
You don't need to know about everything
We fight about this
We fight about that
You hang up the phone and call me right back
Well I'll never be something I'm not
Please don't throw away what we've got
Cuz we've been together for way too long
I was playing around but I'm coming home
You know that I love you (know that I love you)
There's no one above you (no one above you)
I said it the last time (hey, hey)
But this is the last time
Don't make me over (don't leave me baby)
Cuz I can be faithful (you know I try)
Baby you're my number one (baby)
You're my number one
I keep you laced up so you aint gotta borrow nothing
From them broke ass friends who be bargain hunting
They say they shop on eBay --baby why is they frontin'?
They be on the internet but they never cop nothin'
I keep you in Girl what is those on your toes?
And your neck staying froze off that rose colored gold
I suppose you was told by them hoes I was cheatin'
Thinkin' my heart don't got nothing to do with my penis
He got a mind of his own and he just be seeing shit
And I don't wanna cheat but I don't be saying shit
I try to jack off he ask me who is you playin' wit?
But I know he love you he told me you was his favorite
You know that I love you (know that I love you)
There's no one above you (above you)
I said it the last time (said it the last time)
But this is the last time (hey hey hey yeah)
Don't make me over (don't leave me baby)
Cuz I can be faithful (you know I try)
Baby you're my number one (oh baby)
You're my number one
You're making it hard for me
You're messing up everything
You tell me I gotta leave
Say we over
You saw that she came over
Came in the Range Rover
Left with a hangover
Say we over
I promise I won't cheat
I promise I won't lie
I promise I'll act right
Say we over
You can't tell me
I can't have you
I can't have that
We aint over
Hey, it aint over baby
We aint over
Oh you don't need to go it's not over
We aint over
Oh...
We aint over
Fuk'n love fags man
So... er.. so... so what fags you got man? What you smokin' then?
I got fukin', I got Marlboro lights man, they come, look, in they're own fukin' box look
That's gold on it, I like a gold...
Lyrical devastation, across the nation
Safe as fuk and that's no exaggeration
The beats keep rockin' and the base'll hum
Get down fuk'n Embassy Number 1
I came round your house, to borrow some towels
I smoked a John Player and it loosened my bowels
Like a bullet from a smoking gun
Fcukin' ten. Embassy Number 1.
Suckers to the side, I know you hate, My B & H
Mike fcukin' loves it.
Smokin' fcukin' fags is really really great
Chuffin on the reg, having a laugh with your mates
Cheap fags made by some bloke in Albuquerque
I'll smoke Embassy Regal, sometimes even a Berkeley
I'm never gonna stop, I loves 'em too much to quit
Best fag o'the day in the morning, taking a shit
And having a cup of tea and reading the Sun
Despite the chills when your bum gravy starts to run
10 Reg I fcukin' loves it
It's great to smoke a Regal when you're taking a shit
Or with my nan in a council flat
My girlfriend can smoke fags in her twat
I fu'ked her in the arse then she sucked my dick
I spunked on her face, she had shit on her lips
She's a bit mad and she drinks loads of cider
She'll show you her tits for under a fiver
Suckers to the side, I know you hate, My B & H
You're gonna get yours
Suckers to the side, I know you hate, My B & H
You're gonna get yours
You get duty paid, they come in celophane
Loving duty free when you're on the fcukin' plane
To Morocco, the Algarve or in a tent at Blan...?
Just make sure you bring me back a fcukin' carton
I got an 80-a-day habit, smoking these cigarettes
Twat, shit, c*nting, bollocks, fuk me I do have Tourettes
They're really quite pricey you'd have to agree
But I love smoking them with the GLC
I do things that are highly illegal
See me in McDonalds smoking on a Regal
I got a suitcase and a cabin chair
Selling fags down John Frost square
I wear a tracksuit, I look so fly
I goes down the Spar, I busy 20 Sky
Sovereign, Silk Cut or Malboro Red
Remember Kids, don't smoke in bed
Ten Embassy Number One
Ten Embassy Number One
Two pound forty can get you a surprise
A packet of ten Silk Cut King Size
By 'em from the co-op, or even the Spar
Smoking 40 tabs off yer head at Zanzibar
Then on to the Slowboat for some fried duck
Trying to speak Chinese when I'm all puckered up
Didn't pay for it so I started to run
Still smoking a fcukin' Embassy Number One.
Wave your fags in the air like you just don't care
You can afters cos I love to share
White-tipped Marlboro Lights, going out, having fights
Go to France for the day, selling fags in the night
This girl let me touch her chicken wings
When i gave her a box of 200 SuperKings
Like a bishop having sex with a nun
Fcukin' Ten Embassy Number One
Suckers to the side, I know you hate, My B & H
You're gonna get yours
Suckers to the side, I know you hate, My B & H
You're gonna get yours
Buying tens and twenties to have in my joints
And getting slippers for my nan with the Focus points
Inhale, exhale, put it out, have another ciggie
Driving around listening to the Snoop, or a bit o' Biggie
Fags are great, they're really fcukin' fun
Regal, Marlboro or fcukin' Embassy Number One
Chain gang crew two thousand and two
Ten Bensons are wicked when you're smacked out on Glue
Embassy Number One
Embassy Number One
Embassy Number One
Embassy Number One
Suckers to the side, I know you hate, My B & H
You're gonna get yours
Suckers to the side, I know you hate, My B & H
She... my number one
She... my number one
Yeah, you're my number one one one one one
[Chorus:]
Girl you know you're my number one
And I do anything for you oh oh
'Cause you're the hottest girl I know ooh ooh
And I will never let you go
You're my number one one one
What a girl I'm in love her with
Take her home or hit the clubs with
She my homie she... on me
Ooh number one, the only one
She so priceless like a movie star
She bet in a tight dress
She kill them girl like... ooh
[Chorus:]
Girl you know you're my number one
And I do anything for you oh oh
'Cause you're the hottest girl I know ooh ooh
And I will never let you go
You're my number one one one
Number one ooh yeah yeah
Number one ooh
You make me feel I wanna quit and then get up
Yeah live the life just like a prince and I'm a...
I'm done with all this pimpin pimpin
I'm a ready ready keep it steady steady
I make this... you're the one you're my portrait
I bet already one... to...
'Cause I don't want no sexualness no more
[Chorus:]
Girl you know you're my number one
And I do anything for you oh oh
'Cause you're the hottest girl I know ooh ooh
And I will never let you go
You're my number one one one
Number one ooh yeah yeah
Number one ooh
Ain't no other girl on the... pretty down she
... love we all so she... for me
Sophisticated... drive me crazy
She's my number one man I like
Make them other girls look like and I try
All over the world me girl for fly
[Chorus:]
Girl you know you're my number one
And I do anything for you oh oh
'Cause you're the hottest girl I know ooh ooh
And I will never let you go
You're my number one one one
Number one ooh yeah yeah
I saw my boyfriend hanging with this girl that I hate
He didn't have to tell why last night he was late
I can't believe what you tell me
Your lies have come undone
Now I'm living on the run looking out for number one
I took a ride to the city
Had to get out of this place
I just can't stand the pity
When the tears fall down my face
I used to think it was over
But its only just begun
Now I'm living on the run looking out for number one
One day you'll see me but only when your dreaming
One day you'll say I was the one
Hitched a ride on a Greyhound
Stashed away on a train
Bought a ticket for the subway
Playin' guitar in the rain
I wanna follow the rivers to an island in the sun
Now I'm living on the run looking out for number one
One day you'll see me but only when your dreaming
One day you'll say I was the one
Late at night
Too tired to fight
I just might think about him
Right now I'm
Feeling fine
I'm better off without him yea!
One day you'll see me but only when your dreaming
One day you'll say I was the one
I know that one day you'll see me
I'll haunt you when your dreaming
One day you'll say I was the one
Ah uh uh oh
Ah uh uh oh
Ah uh uh oh
Ah uh uh oh (na na naii)
Ah uh uh oh
Ah uh uh oh (Tinchy Stryder)
Ah uh uh oh (N dubz)
Ah uh uh oh (yo)
It was nothing but a quick think
Kids games, kiss chase, just a quick fling
Now I'm hoping you never go missing
Now I'm telling you, you can hold this ring, watch how it glistens
It was done as quick as the wind blows
Didn't think I would ever be involved
So I even wrote a song called 'don't go'
Now it's just you and me on a love row
Dappy like dino us two tip toes duck dive get low
And now I care less about who knows
Now we're deep in way past intro dappy explain yo
[Hook:]
See never did I think a boy like me would be in need
When all I really wanted was to have some fun
Now I'm losing my head, I'm telling you one thing
You're number one
[Chorus:]
See I don't understand how you're number one
When it was just a fling before now, you're the one
See all I did was blink twice,
From my homie to my only
Number one
Ah uh uh oh
Ah uh uh oh
Ah uh uh oh
Ah uh uh oh
I never thought I'd get here
Never thought I would care
Cause I was always looking out for me
I was being selfish, I couldn't see
All I want was right in front of me
But baby I've changed
Cause you got me tamed
You're my number one now priority
[Hook:]
See never did I think a boy like me would be in need
When all I really wanted was to have some fun
Now I'm losing my head, I'm telling you one thing
You're number one
[Chorus:]
See I don't understand how you're number one
When it was just a fling before now, you're the one
See all I did was blink twice,
From my homie to my only
Number one
You lift me off the ground
I always want you around
I ain't gonna let nothing get in the way
I'll never let nothing get in the way
You lift me off the ground
I always want you around
I ain't gonna let nothing get in the way
I'll never let nothing get in the way
Trust me when I say
I ain't never gonna let nothing get in the way
Cause we was always cool as freinds back in
The day
It's funny how you changed it's got me going
Insane
See you ain't like the rest you run in your own lane
You are number one
[Chorus:]
See I don't understand how you're number one
When it was just a fling before now, you're the one
See all I did was blink twice,
From my homie to my only
Number one
You're number one you're in the race
You're a leader
Girl you're out of this world I can't see ya
And now you got a place in my heart
It's funny how you actually went
From my homie to my only
[Vers 1]
When the fate is on our side
When the finish is near
you rise up to the sky
A part of him is born to ride
to be the best - to pass the last
Fast as hell - he will give his life
he will do everything to win and
to be No. 1, to be No. 1.
[Bridge 1]
He's ready now
soon the race will begin for him
His life's passing by in front his eyes
No one knows what's going on in his mind
But I know and he know's
that he might burn and will not return
[Refrain 1]
No turning back
,cause the race is all you need
Don't try to stop him
he loves to take the risk
No turning back
,cause the winner's inside you
Don't try to stop him
Let his dream become real this time
[Solo]
To be No. 1, to be No. 1.
[Bridge 1]
He's ready now
soon the race will begin for him
His life's passing by in front his eyes
No one knows what's going on in his mind
But I know and he know's
that he might burn and will not return
[Refrain 2]
No turning back
,cause the race is all you need
Don't try to stop him
he loves to take the risk
No turning back
,cause the winner's inside you
Don't try to stop him
Let his dream become real this time
Refrain 3
No turning back
,cause the race is all you need
Don't try to stop him
Let his dream become real this time
I am a gambler
I am Fortune's son
I am the first mate of the NCC-1701D
Well I had an encounter at Farpoint Station
With a little touch of constipation
While I was waiting to come aboard and meet my crew
But when the captain arrived I got this feeling inside
That there was something that I needed to do
And it's true
That when I got to my quarters there was something missing
I didn't have a pot to piss in
But I was too proud to ask an ensign where to go
And so I flashed with a smile and held it in for awhile
And tried not to let it show
But you know
CHORUS:
I asked the ship's computer
I checked the technical guide
But there are no bathrooms on the Enterprise
I've been here seven days
And I can't wait anymore
Pretty soon I'm gonna boldly go where no one's ever gone before
I can't sit down, I'm in some condition
How'd Kirk survive on a five year mission?
This new assignment is getting harder to endure
Cause I ain't feeling so great and I'm putting on lots of weight
I couldn't make it through a three hour tour
That's for sure
And now I've gained twenty pounds and I grew a beard
How could I shave without a bathroom mirror?
If I don't get some relief I'm gonna split my skin
Cause I'm as round as a globe and if I don't launch a probe
Soon I'll weigh enough to be my own twin
My transporter twin
I wake up in the morning
Ready to get it on
I'm going about my business
Watch me while I go
It's all about me
(No it's not about you)
I got to believe
(I got to get through)
I gotta do me
(I'm good on my own)
The feeling's so free
(It's making me strong, oh oh)
I can't run out of time here
I won't get left behind
I was booked to rise here
So I'm staying on my grind
(I love what I do and I'm doing just fine)
My destiny is calling
And it won't pass me by
I'ma do me for me
Watch me while I do succeed, oooh
I'm gotta be my one and only
One and only
I'll be my own number one
I'll be my number one
I'll put me first, like you don't do
No second place,
No number two
There's only room for one
I'll be my number one
Oh, oh, oh, oh, oh
When nine to five is over
I'm working on my frame
I got to stay in shape now
No half stepping in my lane
I'm so fly
(I'm a beautiful queen)
I'm going for the sky
(It's within my reach)
Love me or leave me
(Pain me or choose me)
I'ma survive
(Even if you lose me)
Yeah (oh)
You had so many chances
To be on my side
Through root of circumstances
You threw in at fly
(I've been through fire
And wind and rain)
I know that I'ma lose it
But I won't go insane
Pressing on with all my might
I can see the end in sight
I'm gotta be my one and only
One and only
I'll be my own number one
I'll be my number one
I'll put me first, like you don't do
No second place,
No number two
There's only room for one
I'll be my number one
Oh, oh, oh, oh, oh
I'm running and I'm running
(Ohohoh, ohohoh, oh, oh)
I won't be beat, I won this
Yeah, yeah, yeah, yeah, yeah
(Ohohoh, oh oh)
I am a champion
There's only room for one
Victory is all I'll see
So no dream, it's a reality
I'm gotta be my one and only
One and only
I'll be my own number one
I'll be my number one
I'll put me first, like you don't do
No second place,
No number two
There's only room for one
I'll be my number one
Oh, oh, oh, oh, oh
I'm gotta be my one and only
One and only
I'll be my own number one
I'll be my number one
I'll put me first, like you don't do
No second place,
No number two
There's only room for one
I'll be my number one
Oh, oh, oh, oh, oh
I'm gotta be my one and only
One and only
I'll be my own number one
I'll be my number one
I'll put me first, like you don't do
No second place,
No number two
There's only room for one
I'll be my number one
Number one, number one
(Number one, number one)
You're my number one
(You're my number one)
You're my second to none
(You're my second to none)
Number one, number one
(Number one, number one)
One and one makes two
And I'll look after you
Number one, number one
(Number one, number one)
You're my number one
(You're my number one, ooh)
When I fell for you
I didn't need a shove
Now that we are two
It all adds up to love, to love
Number one, number one
(Number one, number one)
You're my number one
(You're my number one)
You're my second to none
(You're my second to none)
Number one, number one
(Number one, number one)
One and one makes two
And I'll look after you
Number one, number one
(Number one, number one)
You're my number one
(You're my number one, ooh)
My teacher couldn't teach me
And I had no time for school
No one there could reach me
But baby, I'm no fool, no fool
Number one, number one
(Number one, number one)
You're my number one
(You're my number one)
You're my second to none
(You're my second to none)
Number one, number one
(Number one, number one)
One and one makes two
And I'll look after you
Number one, number one
(Number one, number one)
You're my number one
(You're my number one, ooh)
I'm on a million dollar trip
And it's making me sick
Infected and tired
I'm in need for help
I'm in need for help
In need for trust
In need for love
In need for lust
Yeah
Get me up, help me out yeah
All the things I did was for you
Yeah you
Yeah you
Get me up help me out
Get me up help me out
All the things I did was for you
All my energy is lost
I think I've used it all too much
I'm pale and I'm sore
you're lookin' out for fun
(fun)
get your satisfaction
(you crazy)
ready for emotion
(are you ready for lovin'?)
here comes your number one
(hey)
let me be your lover
(you kiddin')
got to ride the tiger
(gimme now)
gimme your lovin'
touch my body baby
tell me what you can do for me
(boy, you're lookin' crazy with your hot desire)
got my mind on fire
with the flame of your fantasy
(really got me baby)
burnin' for a non stop lovin'
turn me on with your love
baby you're number one
(it's got to be just you and me baby you're number one)
don't you leave me alone
baby you're number one
(got to believe you're in too deep baby you're number
one)
turn me on with your love
baby you're number one
(it's got to be just you and me baby you're number one)
don't you leave me alone
baby you're number one
(got to believe you're in too deep baby you're number
one)
baby you're my number one
you take me up and down
(boy)
girl you got me runnin'
(you crazy)
it's a game you're playin'
(are you ready to play it?)
you turn my head around
(now)
keep me under pressure
(you get it)
you're the one I wanted
(baby please)
cry for your lovin'
touch my body baby
tell me what you can do for me
(boy, you're lookin' crazy with your hot desire)
got my mind on fire
with the flame of your fantasy
(really got me baby)
burnin' for a non stop lovin'
turn me on with your love
baby you're number one
(it's got to be just you and me baby you're number one)
don't you leave me alone
baby you're number one
(got to believe you're in too deep baby you're number
one)
turn me on with your love
baby you're number one
(it's got to be just you and me baby you're number one)
don't you leave me alone
baby you're number one
(got to believe you're in too deep baby you're number
one)
baby you're my number one
(boy, you're lookin' crazy with your hot desire)
(really got me baby)
burnin' for a non stop lovin'
number one
number one
number one
(it's got to be just you and me baby you're number one)
(got to believe you're in too deep baby you're number
one)
baby you're my number one
got my mind on fire
with the flame of your fantasy
(really got me baby)
burnin' for a non stop lovin'
turn me on with your love
baby you're number one
(it's got to be just you and me baby you're number one)
don't you leave me alone
baby you're number one
(got to believe you're in too deep baby you're number
one)
turn me on with your love
baby you're number one
(it's got to be just you and me baby you're number one)
don't you leave me alone
baby you're number one
(got to believe you're in too deep baby you're number
one)
Since I can remember
I've been dreaming
Dreams have been
Loved by everyone
I was a girl
In my own world
The only friends I had
Then were my family
I've heard people's
Eyes were never gleaming
Laughter is the first step to success
Never the less
I couldn't waste
And told them one day
You'll be idolise in me
Number one, number one
I am gonna touch the same as
Number one
Am gonna be a star
Number one, number one
Top of and below all the chances
Number one
Am gonna raise your heart
I dance and loose maybe illusion
You don't have loose
If you don't win
I'll have a song
A beautiful song
Before the bird will
Sing it with me
Wont be long
Number one, number one
I am gonna touch the same as
Number one
Am gonna be a star
Number one, number one
Top of and below all the chances
Number one
Am gonna raise your heart
Number one, number one
I am gonna touch the same as
Number one
You'd like to know you'd like to know you'd like to know you
You'd like to say you like to say you like to say you
You like to think you like to think you like to think you
You'd like to know you'd like to know you'd like to know
Who do you think you're fooling
You're number one, number one
My number one
You're on your own you're on your own you're on your own you
You're pulling through you're pulling through you're pulling through you
You think you can you think you can you think you can you
tastes so fucking good
tastes so fucking good
tastes so fucking good
tastes so fucking good
Hey, I used to be the one but now IÅ number two
I used to be like you
IÅ right about your arrogance
You bait me like IÅ ignorant
IÅ l trade you blow for blow, but
I canÅ remember whoÅ the victim
I hate you more than anything
Your slit makes it me have to feed
One flick to twitch and capture me
sink your hook and take me over
Hey, I used to be the one
but now IÅ number two
I used to be just like you
so fucking good
Hey how could I be number one
when IÅ stuck in your number two
Life used to be so good
Hey, IÅ caught up in your treblehook
just when I think I can get away
your hook it tastes so good
so fucking good tastes so fucking good
I thrash to make my getaway
I think I made a big mistake
set deep and swallow all the way
you stepped on my face you stepped on my head
Get back your smell comes over me
my blood excites so easily
I taste again and again and again
your sickness takes me over
so fucking good
Hey how could I be number one
when IÅ stuck in your number two
Life used to be so good
Hey, IÅ caught up in your treblehook
just when I think I can get away
your hook it tastes so good
Hey how could I be number one
how could I be number one
how could I be number one
tastes so fucking good tastes so fucking good tastes so fucking good tastes
so fucking good
[Hayley]
hello, is everybody watching
before, i get this party started
you know, you wanna be invited
step right up and get a taste of what your biting (get a taste of sikowitz!)
[Tara]
feel the groove
when we move on the center
get it right every night
'cause we're ment't'!
[both]
when it all goes down
i need to tell ya!
[both]
you're gonna love me
you're gonna tell me that your ready to go
I'm already there look up in the air
'cause I'm the star of the show
I'm number one baby
always number one baby
so forget what you heard
this is my world!
[Hayley]
my world revolves around me
[Tara]
oh! oh! so forget what you heard this is my world!
[Hayley]
my world revolves around me
[Tara]
my world!
[both]
You tell me what to do? You enforce some one else's
rules. Take pride in what I do? Not likely if I do it for
you. Such an important man, puppet to those who feed your
pocket, kissing their asses doesn't make you any less
expendable. Spineless, back stabbing, don't act like you
are doing me a favor. Two faced-bottom-feeder, threaten
me with my security but the problem is I don't give a
fuck. You would do anything to get yourself ahead, but
you will never touch what they make off us, so run along
now with your tail between your legs, sell it all out for
an extra dollar an hour. This is my time, you buy it from
She's my number one
That's my number one
She's my number one
That's my number one
Second place could never try to replace
[Verse 1:]
My baby's so fine,
Every time I see her I lose my mind
And she going to have my heart until the end of time
Ain't nobody messing with the love we share
Cause she's so smooth
Never catch her stunting on them other dudes
I love it when she's with me cause she's the truth
She's everything I like, my perfect prototype
That's why I tell the world that she's my
[Chorus:]
She's my number one, that's my number one
She the only broad that got me turning in my place, shawty
She's my number one, that's my number one
Apple of my eye and I know she keep it right for me
She keep it tight for me, and she's my everything
Shawty's a ten plus one more ten, you gotta love it [? ]
She's my number one, that's my number one
Second place could never try to replace my number one
[Verse 2:]
I'd be insane, to ever play around
Cause her loves no game
Everybody's talking, saying I done changed
They don't know a thing about the way we vibe?
Cause it's so real
And I don't need to speak because she knows the deal
She got me going crazy, girl I'm so for real
You're just my type, my perfect prototype
Go and tell the world that she's my
[Chorus:]
She's my number one, that's my number one
She the only broad that got me turning in my place, shawty
She's my number one, that's my number one
Apple of my eye and I know she keep it right for me
She keep it tight for me, and she's my everything
Shawty's a ten plus one more ten, you gotta love it
She's my number one, that's my number one
Second place could never try to replace my number one
[Bridge:]
If you look in my heart, you'll find her
If you search my soul, you'll feel her
She be the one that satisfy my fantasies
She's my little baby, I could never play her
She's on another level, up with all the majors
No, not my number three
No, not my number two
I'm telling you, she's my number everything
She's my number one, that's my number one
She the only broad that got me turning in my place, shawty
She's my number one, that's my number one
Apple of my eye and I know she keep it right for me
She keep it tight for me, and she's my everything
Shawty's a ten plus one more ten, you gotta love it
She's my number one, that's my number one
[Feat. Jay Rock]
[Hook:]
They think I'm doing this just for fun
I'm going in, I wanna be number one
Two's a bad look and one I want
I'm such a G, I wanna be number one
They think I'm doing this just for fun
I'm going in, I wanna be number one
Two's a bad look and one I want
I'm such a G, I wanna be number one
[Verse 1: Laws]
Ay, I don't want the responsibility
I'm saving a dying culture from all the philistines
And still it seems I'm a have to be the party stopper
They say that once you in the zone, then it's hard to stop [x3]
[X2]
I'm a A class, ahead of my peers
I'm near the next weight class, I'm aiming for them harder boxers
I used to live in debt, now I resurrect the game
Till we all the living dead, deadly as a cigarette
Smoking all the Nicorette's, poking out ya shirt sleeve
These are my trophies, I deserve these
I bet my life savings if you heard me before your current favorite rapper
You dissing 'em and you encourage me
Despite my proper way of speaking, I'm feeling prejudice currently
'Cause Laws brown like MIRF so I gotta be number one off my etiquette
Parade with confetti through the land of the confederates
[Hook]
[Verse 2: Jay Rock]
Look, I'm number one, zero don't count
Dracula when I bite into this bitch, you see the blood come
I'm on one, you whack rappers are on two
Motherfucker yeah I said it so what you gon' do?
My city, I'm the one in the town
I'm the king, matter of fact, I'm loving the crown
Nigga is top dog, we the best is the pound
West Coast motherfucker, know you loving the sound
Now number one that I am, hit your town
Take your bitch down up in the hot air
You see some ranches, know that I pull my bulls out
Keep heavy metal like Uncle Jesse from Full House
A train on tracks, I'm heavy on fire,
I'm too dope for y'all so don't try it
I ain't the one to be dissing, if I'm the one that you dissing
You gonna be missing with them vicious, nigga I'm the one
[Hook]
[Verse 3: Laws]
I want my mama watching TV and seeing me dressed up
Living out my dreams, looking so clean in my pressed tux
And to make it happen, I'll keep on beating the rest up
Overeating like I'm dreaming of being the next pun
Or is it the first Laws rather be a trendsetter
Thinking you a boss 'cause you people steady spend cheddar
The way you fake cats steady put on an act
I'm a have to put on a mask and be rap's V for Vendetta
You so scary that you scare me to sleep
My voice high, making any comparisons is weak
The second after I drop, I hope your carelessness will cease
'Cause you'll have to run it back and start comparing them to me
I wonder if you got a friend that's not enibriated
I'm the best period, your plans just got abbreviated
For anybody that does not know me as Laws
You were conceived at the right time
Everything about you blows my mind
Thought I'd been in love before now
But I just got my foot in that door now
There's never been anyone like you for me
All the rest have been twos and threes
Darling, from now on and on, and on
You gonna be number one
Number one in my book and now in my life
Number one in looks here from my sight
Number one in ways I've never known, no
The number one woman I love so
Since you've come along life's been a joy
And that's a turn around for this old boy
Yes, all to me and next to none
You gotta be number one
All to me and next to none
You smell like a flower
That hasn't been invented
You gave me a camera
So I could take your picture
I met the girl of my dreams
Down in new orleans
You smell like a flower
That hasn't been invented
You gave me a camera
So I could take your picture
I met the girl of my dreams
She's down in new orleans
You say you wanna be down
I?ve seen you run with every fool in town
What I see needs to be heard
I?m the kinda cat who always gets his bird
Don?t have to travel too far
I see you bumping in my motorcar
And I know you like what you see
Come on my plane and take a ride with me
Say you want me
I know you do
How can I get through to you
I wanna be, wanna be your number one
(Oh yeah, oh yeah yeah)
I wanna be, wanna be your number one
(Oh yeah, oh yeah yeah)
Please don?t play hard to get
(Don?t go playing, girl)
You want the best
You ain?t seen nothing yet
'Cause I always get what I want
(And you know it, girl)
And I want you and me
Making lots of fun
Say you want me
I know it's true
How can I get through to you
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
It?s all I really want, girl
All I really need
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
I wanna be, wanna be your number one
(Oh, yeah, oh, yeah, yeah)
I wanna be your number one
I wanna be your number one
I wanna be your number one
I wanna be your number one
You are the number on my mind
I gotta be number one all the time
So why don?t you take ride with me in my car
You don?t have to travel too far, no
To the ends of the night
And everything you want
You know its gonna leave a scar
you're gonna bring the mad looks down
and I am, I am, I am, the one to show you
You're gonna make it right
you're gonna stain the bad things good
We're gonna take off
and never break up
and it won't end, won't end pretty
It's been a day and I forget
the things you fail to see
So what, I like to fight, it makes it harder
The city takes us in
and I'm the one that's going to end
I am, the one, the one, the one to show you
We're gonna take off
and never break up
and it won't end, won't end pretty
We're gonna take off
and never break up
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This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article. |
The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (September 2008) |
A billboard (sometimes also called a hoarding in the UK and many other parts of the world) is a large outdoor advertising structure (a billing board), typically found in high traffic areas such as alongside busy roads. Billboards present large advertisements to passing pedestrians and drivers. Typically showing large, ostensibly witty slogans, and distinctive visuals, billboards are highly visible in the top designated market areas. Bulletins are the largest, most impactful standard-size billboards. Located primarily on major highways, expressways or principal arterials, they command high-density consumer exposure (mostly to vehicular traffic). Bulletins afford greatest visibility due not only to their size, but because they allow creative "customizing" through extensions and embellishments.
Posters are the other common form of billboard advertising, located chiefly in commercial and industrial areas on primary and secondary arterial roads. Posters are a smaller format than bulletins and are viewed principally by residents and commuter traffic, with some pedestrian exposure.
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Almost all these billboards were painted in large studios. The image was projected on the series of panels that made up the billboard, then "pounced" on the board, marking the outlines of the figures or objects. Then, using oil paints, the artists would actually use large brushes to paint the image. Once the panels were installed using large hydraulic booms on trucks, the artists would go up on the installed billboard and touch up the edges between the panels. These large, painted billboards were especially popular in Los Angeles where historic firms such as Foster & Kleiser and Pacific Outdoor Advertising dominated the industry. Eventually, these painted billboards gave way to graphic reproduction, but hand-painted billboards are still in use in some areas where only a single board or two is required. The "Sunset Strip" in Los Angeles is one area where hand-painted billboards can still be found, usually to advertise upcoming films or albums in the heart of the entertainment industry.
Billboard advertisements are designed to catch a person's attention and create a memorable impression very quickly, leaving the reader thinking about the advertisement after they have driven past it. They have to be readable in a very short time because they are usually read while being passed at high speeds. Thus there are usually only a few words, in large print, and a humorous or arresting image in brilliant color.
Some billboard designs spill outside the actual space given to them by the billboard, with parts of figures hanging off the billboard edges or jutting out of the billboard in three dimensions. An example in the United States around the turn of the 21st century were the Chick-fil-A billboards (a chicken sandwich fast food chain), which had three-dimensional cow figures in the act of painting the billboards with misspelled anti-beef slogans such as "frendz don't let frendz eat beef."
The first "scented billboard," an outdoor sign emitting the odors of black pepper and charcoal to suggest a grilled steak, was erected on NC 150 near Mooresville, North Carolina by the Bloom grocery chain. The sign depicted a giant cube of beef being pierced by a large fork that extended to the ground. The scents were emitted between 7–10 a.m. and 4– to 7 pm from May 28, 2010 through June 18, 2010.[1]
A digital billboard is a billboard that is created from computer programs and software. Digital billboards can be designed to display running text, display several different displays from the same company, and even exist to provide several companies a certain slot of time during the day. Because of the versatility and increased potential revenue for these signs, they are likely to become the standard for the future.
Some companies that create the intelligence behind digital billboards are Four Winds Interactive, Scala, and Helius.
An inflatable billboard is an inflatable framework with an attached banner ad. Most of them famously appear near sports events or exhibitions. Inflatable billboards can be installed nearly everywhere standing free. They are secured with counter weights and tensioning ropes.[citation needed]
Some billboards are not used only for advertising ends; they can be multi-purpose, meaning that they can have more than one function. So, an advertising sign can integrate its main purpose with telecommunications antenna and/or public lighting support. Usually the structure has a steel pole with a coupling flange on the above-fitted advertising billboard structure that can contain telecommunications antennas. The lighting power supply cables and any possible antennas are placed inside of the structure and fastened on appropriate steel wires.
Other types of billboards include the Billboard bicycle, which is a billboard attached to the back of a bicycle or the largest mobile billboard, a special advertising trailer to hoist big banners. Mechanical billboards are billboards that display three different billboards at diffent times, because the three advertisements are attached to a conveyor that rolls around inside the billboard. There is also such thing as a three-dimensional billboard, such as the ones at Piccadilly Circus, London, although this type of billboard is arguably mistaken for a simple advertising sign.
Some of the most prominent billboards are alongside highways; since passing drivers typically have little to occupy their attention, the impact of the billboard is greater. Billboards are often drivers' primary method of finding lodging, food, and fuel on unfamiliar highways. There were approximately 450,000 billboards on United States highways as of 1991[citation needed]. Somewhere between 5,000 and 15,000 are erected each year. In Europe billboards are a major component and source of income in urban street furniture concepts.
An interesting use of billboards unique to highways was the Burma-Shave advertisements between 1925 and 1963, which had 4- or 5-part messages stretched across multiple signs, keeping the reader hooked by the promise of a punchline at the end. This example is in the National Museum of American History at the Smithsonian Institution:
These sort of multi-sign advertisements are no longer common, though they are not extinct. One example, advertising for the NCAA, depicts a basketball player aiming a shot on one billboard; on the next one, 90 yards (82 meters) away, is the basket. Another example is the numerous billboards advertising the roadside attraction South of the Border near Dillon, SC, stretching along I-95 for many states.
Many cities have high densities of billboards, especially in places where there is a lot of pedestrian traffic—Times Square in New York City is a good example. Because of the lack of space in cities, these billboards are painted or hung on the sides of buildings and sometimes are free-standing billboards hanging above buildings. Billboards on the sides of buildings create different stylistic opportunities, with artwork that incorporates features of the building into the design, such as using windows as eyes, or for gigantic frescoes that adorn the entire building.
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Many groups such as Scenic America have complained that billboards on highways cause excessive clearing of trees and intrude on the surrounding landscape, with billboards' bright colors, lights and large fonts making it difficult to focus on anything else, making them a form of visual pollution. Other groups believe that billboards and advertising in general contribute negatively to the mental climate of a culture by promoting products as providing feelings of completeness, wellness and popularity to motivate purchase. One focal point for this sentiment would be the magazine AdBusters, which will often showcase politically motivated billboard and other advertising vandalism, called culture jamming.
In 2000, rooftops in Athens had grown so thick with billboards that it was difficult to see its famous architecture. In preparation for the 2004 Summer Olympics, the city embarked on a successful four-year project demolishing the majority of rooftop billboards to beautify the city for the tourists the games will bring, overcoming resistance from advertisers and building owners. Most of these billboards were illegal, but had been ignored up to then.
In 2007, São Paulo, Brazil instituted a billboard ban because there were no viable regulations of the billboard industry. Today, São Paulo, Brazil, is working with outdoor companies in the region to rebuild the outdoor infrastructure in a way that will reflect the vibrant business climate of the city while adopting good regulations to control growth.
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In the United States, many cities tried to put laws into effect to ban billboards as early as 1909 (California Supreme Court, Varney & Green vs. Williams) but the First Amendment has made these attempts difficult. A San Diego law championed by Pete Wilson in 1971 cited traffic safety and driver distraction as the reason for the billboard ban, but was narrowly overturned by the Supreme Court in 1981, in part because it banned non-commercial as well as commercial billboards.
Billboards have long been accused of being distracting to drivers and causing accidents. However, this may not necessarily be true, as a study by researchers at the University of North Carolina showed. Released in June 2001, the researchers prepared a thorough report on driver distraction for the AAA Foundation for Traffic Safety. This study said: "The search appears to suggest that some items—such as CB radios, billboards, and temperature controls—are not significant distractions."
Traffic safety experts have studied the relationship between outdoor advertising and traffic accidents since the 1950s, finding no authoritative or scientific evidence that billboards are linked to traffic accidents. However, many of these studies were funded by the Outdoor Advertising Association of America, which has led to accusations of bias. The methodology used in certain studies is also questionable.
The U.S. Department of Transportation, State Department of Transportation and property/casualty insurance companies statistics on fatal accidents indicate no correlation between billboards and traffic accidents. A broad sampling of law enforcement agencies across the country found no evidence to suggest that motor vehicle accidents were caused by billboards. Property and casualty insurance companies have conducted detailed studies of traffic accident records and conclude no correlation between billboards and traffic accidents.
However, studies based on correlations between traffic accidents and billboards face the problem of under-reporting: drivers are unwilling to admit responsibility for a crash, so will not admit to being distracted at a crucial moment. Even given this limitation, some studies have found higher crash rates in the vicinity of advertising using variable message signs[2] or electronic billboards.[3]
It is possible that advertising signs in rural areas reduce driver boredom, which many believe is a contribution to highway safety. On the other hand, drivers may fixate on a billboard which unexpectedly appears in a monotonous landscape, and drive straight into it (a phenomenon known as "highway hypnosis").[4]
Surveys of drivers and road users show that the lighting provided by billboards provide security and visibility to many motorists. The Federal Highway Administration (FHWA) went on record (Federal Register, March 5, 1999) stating that the agency agrees that appropriately regulated billboards do not compromise highway safety. It should be noted that this statement was made before the release of the FHWA report Research review of potential safety effects of electronic billboards on driver attention and distraction[3] in 2001. What level of regulation is appropriate for billboards in different areas is still under discussion by road safety experts around the world.
In 1964, the negative impact of the over-proliferation of signage was abundantly evident in Houston, Texas, and it motivated Lady Bird Johnson to ask her husband to create a law. At the same time the outdoor advertising industry was becoming aware that excessive signs, some literally one in front of the other, was bad for business.
In 1965, the Highway Beautification Act was signed into law. The act applied only to "Federal Aid Primary" and "Defense" highways and limited billboards to commercial and industrial zones created by states and municipalities. It required each state to set standards based on "customary use" for the size, lighting and spacing of billboards, and prohibited city and state governments from removing billboards without paying compensation to the owner. The act requires states to maintain "effective control" of billboards or lose 5% of their federal highway dollars.
The act also required the screening of junk yards adjacent to regulated highways.
Around major holidays, volunteer groups erected highway signs offering free coffee at the next rest stop. These were specifically exempted from the limits in the act.
Currently, four states—Vermont, Alaska, Hawaii, and Maine—have prohibited billboards. Vermont's law went into effect in 1968,[5] Hawaii's law went into effect in 1927,[6] Maine's law went into effect in 1979,[7] and Alaska's law went into effect upon its achievement of statehood in 1959.
In the UK, billboards are controlled as adverts as part of the planning system. To display an illegal advert (that is, without planning permission) is a criminal offence with a fine of up to £2500 per offence (per poster). All of the large UK outdoor advertisers such as CBS Outdoor, JCDecaux, Clear Channel, Titan and Primesight have numerous convictions for such crimes.[8][9]
In Toronto, Canada, a municipal tax on billboards was implemented in April 2010. A portion of the tax will go to help fund arts programs in the city.[10]
Many signs advertise local restaurants and shops in the coming miles, and are crucial to drawing business in small towns. One example is Wall Drug, which in 1931 erected billboards advertising "free ice water" and the town of Wall, South Dakota was essentially built around the 20,000 customers per day those billboards brought in (as of 1981). Some signs were placed at great distances, with slogans such as "only 827 miles to Wall Drug, with FREE ice water." In some areas the signs were so dense that one almost immediately followed the last. This situation changed after the Highway Beautification Act was passed; the proliferation of Wall Drug billboards is sometimes cited as one of the reasons the bill was passed. After the passage of the act, other states (such as Oregon[11]) embarked on highway beautification efforts.
Billoard advertising in underground stations, especially, is perhaps a place where they find a greater degree of acceptability and may assist in maintaining a neat, vibrant and safe atmosphere if not too distracting. Museum Station, Sydney has mounted restored 1940's billboard panels along the platforms that are in keeping with its heritage listing.
Billboards are also used to advertise national or global brands, particularly in more densely populated urban areas. According to the Outdoor Advertising Association of America, the top three companies advertising on billboards as of 2009 were McDonald's, Verizon Long Distance and Pepsi. A large number of wireless phone companies, movie companies, car manufacturers and banks are high on the list as well.
Prior to 1999, billboards were a major venue of cigarette advertising; 10% of Michigan billboards advertise alcohol and tobacco, according to the Detroit Free Press.[12] This is particularly true in countries where tobacco advertisements are not allowed in other media. For example, in the US, tobacco advertising was banned on radio and television in 1971, leaving billboards and magazines as some of the last places tobacco could be advertised. Billboards made the news in America when, in the tobacco settlement of 1999, all cigarette billboards were replaced with anti-smoking messages.[citation needed] In a parody of the Marlboro Man, some billboards depicted cowboys riding on ranches with slogans like "Bob, I miss my lung."
Likely the best-known of the tobacco advertising boards were those for "Mail Pouch" chewing tobacco in the United States during the first half of the 20th century (pictured above). The company agreed to paint two or three sides of a farmer's barn any color he chose in exchange for painting their advertisement on the one or two sides of the structure facing the road. The company has long since abandoned this form of advertising, and none of these advertisements have been painted in many years, but some remain visible on rural highways.
Not all billboards are used for advertising products and services—non-profit groups and government agencies use them to communicate with the public. In 1999 an anonymous person created the God Speaks billboard campaign in Florida "to get people thinking about God", with witty statements signed by God. "Don't make me come down there", "We need to talk" and "Tell the children that I love them" were parts of the campaign, which was picked up by the Outdoor Advertising Association of America and continues today on billboards across the country.
South of Olympia, Washington is the privately owned Uncle Sam billboard. It features conservative, sometimes inflammatory messages, changed on a regular basis. Chehalis farmer Al Hamilton first started the board during the Johnson era, when the government was trying to make him remove his billboards along Interstate 5. He had erected the signs after he lost a legal battle to prevent the building of the freeway across his land. Numerous legal and illegal attempts to remove the Uncle Sam billboard have failed, and it is now in its third location.[14] One message, attacking a nearby liberal arts college, was photographed, made into a postcard and is sold in the College Bookstore.
The Traffic Audit Bureau for Media Measurement Inc. (TAB) was established in 1933 as a non-profit organization whose historical mission has been to audit the circulation of out-of-home media in the United States. TAB's role has expanded to lead and/or support other major out of home industry research initiatives. Governed by a tripartite board composed of advertisers, agencies and media companies, the TAB acts as an independent auditor for traffic circulation in accordance to guidelines established by its Board of Directors.
Similarly, in Canada, the Canadian Outdoor Measurement Bureau (COMB) was formed in 1965 as a non-profit organization independently operated by representatives composed of advertisers, advertising agencies and members of the Canadian out-of-home advertising industry. COMB is charged with the verification of traffic circulation for the benefit of the industry and its users.
The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (December 2010) |
Early billboards were basically large posters on the sides of buildings, with limited but still appreciable commercial value. As roads and highways multiplied, the billboard business thrived.
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1 | |
---|---|
Cardinal | 1 one |
Ordinal | 1st first |
Numeral system | unary |
Factorization | Failed to parse (Missing texvc executable; please see math/README to configure.): 1 |
Divisors | 1 |
Greek numeral | α' |
Roman numeral | I |
Roman numeral (Unicode) | Ⅰ, ⅰ |
Persian | ١ - یک |
Arabic | ١ |
Ge'ez | ፩ |
Bengali | ১ |
Chinese numeral | 一,弌,壹 |
Korean | 일, 하나 |
Devanāgarī | १ |
Telugu | ೧ |
Tamil | ௧ |
Kannada | ೧ |
Hebrew | א (alef) |
Khmer | ១ |
Thai | ๑ |
counting rod | 𝍠 |
prefixes | mono- /haplo- (from Greek) |
Binary | 1 |
Octal | 1 |
Duodecimal | 1 |
Hexadecimal | 1 |
1 (one; /ˈwʌn/ or UK /ˈwɒn/) is a number, a numeral, and the name of the glyph representing that number. It represents a single entity, the unit of counting or measurement. For example, a line segment of "unit length" is a line segment of length 1.
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One, sometimes referred to as unity, is the integer before two and after zero. One is the first non-zero number in the natural numbers as well as the first odd number in the natural numbers.
Any number multiplied by one is the number, as one is the identity for multiplication. As a result, one is its own factorial, its own square, its own cube, and so on. One is also the empty product, as any number multiplied by one is itself, which produces the same result as multiplying by no numbers at all.
The glyph used today in the Western world to represent the number 1, a vertical line, often with a serif at the top and sometimes a short horizontal line at the bottom, traces its roots back to the Indians, who wrote 1 as a horizontal line, much like the Chinese character 一. The Gupta wrote it as a curved line, and the Nagari sometimes added a small circle on the left (rotated a quarter turn to the right, this 9-look-alike became the present day numeral 1 in the Gujarati and Punjabi scripts). The Nepali also rotated it to the right but kept the circle small.[1] This eventually became the top serif in the modern numeral, but the occasional short horizontal line at the bottom probably originates from similarity with the Roman numeral Failed to parse (Missing texvc executable; please see math/README to configure.): \mathrm{I} . In some European countries (e.g., Germany), the little serif at the top is sometimes extended into a long upstroke, sometimes as long as the vertical line, which can lead to confusion with the glyph for seven in other countries. Where the 1 is written with a long upstroke, the number 7 has a horizontal stroke through the vertical line.
While the shape of the 1 character has an ascender in most modern typefaces, in typefaces with text figures, the character usually is of x-height, as, for example, in .
Many older typewriters do not have a separate symbol for 1 and use the lowercase l instead. It is possible to find cases when the uppercase J is used, while it may be for decorative purposes.
Mathematically, 1 is
One cannot be used as the base of a positional numeral system; sometimes tallying is referred to as "base 1", since only one mark (the tally) is needed, but this is not a positional notation.
The logarithms base 1 are undefined, since the function 1x always equals 1 and so has no unique inverse.
In the real-number system, 1 can be represented in two ways as a recurring decimal: as 1.000... and as 0.999... (q.v.).
Formalizations of the natural numbers have their own representations of 1:
In a multiplicative group or monoid, the identity element is sometimes denoted 1, especially in abelian groups, but e (from the German Einheit, "unity") is more traditional. However, 1 is especially common for the multiplicative identity of a ring, i.e., when an addition and 0 are also present. When such a ring has characteristic n not equal to 0, the element called 1 has the property that n1 = 1n = 0 (where this 0 is the additive identity of the ring). Important examples are general fields.
One is the first figurate number of every kind, such as triangular number, pentagonal number and centered hexagonal number, to name just a few.
In many mathematical and engineering equations, numeric values are typically normalized to fall within the unit interval from 0 to 1, where 1 usually represents the maximum possible value in the range of parameters.
Because of the multiplicative identity, if f(x) is a multiplicative function, then f(1) must equal 1.
It is also the first and second numbers in the Fibonacci sequence and is the first number in many other mathematical sequences. As a matter of convention, Sloane's early Handbook of Integer Sequences added an initial 1 to any sequence that did not already have it and considered these initial 1's in its lexicographic ordering. Sloane's later Encyclopedia of Integer Sequences and its Web counterpart, the On-Line Encyclopedia of Integer Sequences, ignore initial ones in their lexicographic ordering of sequences, because such initial ones often correspond to trivial cases.
One is neither a prime number nor a composite number, but a unit, like -1 and, in the Gaussian integers, i and -i. The fundamental theorem of arithmetic guarantees unique factorization over the integers only up to units (e.g., 4 = 22 = (-1)6×123×22).
The definition of a field requires that 1 must not be equal to 0. Thus, there are no fields of characteristic 1. Nevertheless, abstract algebra can consider the field with one element, which is not a singleton and is not a set at all.
One is the only positive integer divisible by exactly one positive integer (whereas prime numbers are divisible by exactly two positive integers, composite numbers are divisible by more than two positive integers, and zero is divisible by all positive integers). One was formerly considered prime by some mathematicians, using the definition that a prime is divisible only by one and itself. However, this complicates the fundamental theorem of arithmetic, so modern definitions exclude units.
One is one of three possible values of the Möbius function: it takes the value one for square-free integers with an even number of distinct prime factors.
One is the only odd number in the range of Euler's totient function φ(x), in the cases x = 1 and x = 2.
One is the only 1-perfect number (see multiply perfect number).
By definition, 1 is the magnitude or absolute value of a unit vector and a unit matrix (more usually called an identity matrix). Note that the term unit matrix is sometimes used to mean something quite different.
By definition, 1 is the probability of an event that is almost certain to occur.
One is the most common leading digit in many sets of data, a consequence of Benford's law.
The ancient Egyptians represented all fractions (with the exception of 2/3 and 3/4) in terms of sums of fractions with numerator 1 and distinct denominators. For example, Failed to parse (Missing texvc executable; please see math/README to configure.): \frac{2}{5} = \frac{1}{3} + \frac{1}{15} . Such representations are popularly known as Egyptian Fractions or Unit Fractions.
The Generating Function that has all coefficients 1 is given by
Failed to parse (Missing texvc executable; please see math/README to configure.): \frac{1}{1-x} = 1 + x + x^2 + x^3 + \cdots .
This power series converges and has finite value if and only if, Failed to parse (Missing texvc executable; please see math/README to configure.): | x | < 1 .
Multiplication | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 50 | 100 | 1000 | |||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Failed to parse (Missing texvc executable; please see math/README to configure.): 1 \times x | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 50 | 100 | 1000 |
Division | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Failed to parse (Missing texvc executable; please see math/README to configure.): 1 \div x | 1 | 0.5 | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.\overline{3} | 0.25 | 0.2 | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.1\overline{6} | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.\overline{142857} | 0.125 | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.\overline{1} | 0.1 | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.\overline{0}\overline{9} | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.08\overline{3} | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.\overline{076923} | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.0\overline{714285} | Failed to parse (Missing texvc executable; please see math/README to configure.): 0.0\overline{6} | |
Failed to parse (Missing texvc executable; please see math/README to configure.): x \div 1 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 |
Exponentiation | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Failed to parse (Missing texvc executable; please see math/README to configure.): 1 ^ x\, | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | |
Failed to parse (Missing texvc executable; please see math/README to configure.): x ^ 1\, | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 |
In the philosophy of Plotinus and a number of other neoplatonists, The One is the ultimate reality and source of all existence.
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Look up one in Wiktionary, the free dictionary. |
A number is a mathematical object used to count and measure. In mathematics, the definition of number has been extended over the years to include such numbers as zero, negative numbers, rational numbers, irrational numbers, and complex numbers.
Mathematical operations are certain procedures that take one or more numbers as input and produce a number as output. Unary operations take a single input number and produce a single output number. For example, the successor operation adds one to an integer, thus the successor of 4 is 5. Binary operations take two input numbers and produce a single output number. Examples of binary operations include addition, subtraction, multiplication, division, and exponentiation. The study of numerical operations is called arithmetic.
A notational symbol that represents a number is called a numeral. In addition to their use in counting and measuring, numerals are often used for labels (telephone numbers), for ordering (serial numbers), and for codes (e.g., ISBNs).
In common use, the word number can mean the abstract object, the symbol, or the word for the number.
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Different types of numbers are used in many cases. Numbers can be classified into sets, called number systems. (For different methods of expressing numbers with symbols, such as the Roman numerals, see numeral systems.)
Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{N} | Natural | 0, 1, 2, 3, 4, ... or 1, 2, 3, 4, ... |
---|---|---|
Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{Z} | Integers | ..., −5, −4, −3, −2, −1, 0, 1, 2, 3, 4, 5, ... |
- | Positive integers | 1, 2, 3, 4, 5, ... |
Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{Q} | Rational | a⁄b where a and b are integers and b is not zero |
Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{R} | Real | The limit of a convergent sequence of rational numbers |
Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{C} | Complex | a + bi where a and b are real numbers and i is the square root of −1 |
The most familiar numbers are the natural numbers or counting numbers: one, two, three, and so on. Traditionally, the sequence of natural numbers started with 1 (0 was not even considered a number for the Ancient Greeks.) However, in the 19th century, set theorists and other mathematicians started including 0 (cardinality of the empty set, i.e. 0 elements, where 0 is thus the smallest cardinal number) in the set of natural numbers.[citation needed] Today, different mathematicians use the term to describe both sets, including zero or not. The mathematical symbol for the set of all natural numbers is N, also written Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{N} .
In the base ten numeral system, in almost universal use today for mathematical operations, the symbols for natural numbers are written using ten digits: 0, 1, 2, 3, 4, 5, 6, 7, 8, and 9. In this base ten system, the rightmost digit of a natural number has a place value of one, and every other digit has a place value ten times that of the place value of the digit to its right.
In set theory, which is capable of acting as an axiomatic foundation for modern mathematics,[1] natural numbers can be represented by classes of equivalent sets. For instance, the number 3 can be represented as the class of all sets that have exactly three elements. Alternatively, in Peano Arithmetic, the number 3 is represented as sss0, where s is the "successor" function (i.e., 3 is the third successor of 0). Many different representations are possible; all that is needed to formally represent 3 is to inscribe a certain symbol or pattern of symbols three times.
The negative of a positive integer is defined as a number that produces zero when it is added to the corresponding positive integer. Negative numbers are usually written with a negative sign (a minus sign). As an example, the negative of 7 is written −7, and 7 + (−7) = 0. When the set of negative numbers is combined with the set of natural numbers (which includes zero), the result is defined as the set of integer numbers, also called integers, Z also written Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{Z} . Here the letter Z comes from German Zahl, meaning "number".
The set of integers forms a ring with operations addition and multiplication.[2]
A rational number is a number that can be expressed as a fraction with an integer numerator and a non-zero natural number denominator. Fractions are written as two numbers, the numerator and the denominator, with a dividing bar between them. In the fraction written m⁄n or
m represents equal parts, where n equal parts of that size make up one whole. Two different fractions may correspond to the same rational number; for example 1⁄2 and 2⁄4 are equal, that is:
If the absolute value of m is greater than n, then the absolute value of the fraction is greater than 1. Fractions can be greater than, less than, or equal to 1 and can also be positive, negative, or zero. The set of all rational numbers includes the integers, since every integer can be written as a fraction with denominator 1. For example −7 can be written −7⁄1. The symbol for the rational numbers is Q (for quotient), also written Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{Q} .
The real numbers include all of the measuring numbers. Real numbers are usually written using decimal numerals, in which a decimal point is placed to the right of the digit with place value one. Each digit to the right of the decimal point has a place value one-tenth of the place value of the digit to its left. Thus
represents 1 hundred, 2 tens, 3 ones, 4 tenths, 5 hundredths, and 6 thousandths. In saying the number, the decimal is read "point", thus: "one two three point four five six ". In the US and UK and a number of other countries, the decimal point is represented by a period, whereas in continental Europe and certain other countries the decimal point is represented by a comma. Zero is often written as 0.0 when it must be treated as a real number rather than an integer. In the US and UK a number between −1 and 1 is always written with a leading zero to emphasize the decimal. Negative real numbers are written with a preceding minus sign:
Every rational number is also a real number. It is not the case, however, that every real number is rational. If a real number cannot be written as a fraction of two integers, it is called irrational. A decimal that can be written as a fraction either ends (terminates) or forever repeats, because it is the answer to a problem in division. Thus the real number 0.5 can be written as 1⁄2 and the real number 0.333... (forever repeating threes, otherwise written 0.3) can be written as 1⁄3. On the other hand, the real number π (pi), the ratio of the circumference of any circle to its diameter, is
Since the decimal neither ends nor forever repeats, it cannot be written as a fraction, and is an example of an irrational number. Other irrational numbers include
(the square root of 2, that is, the positive number whose square is 2).
Thus 1.0 and 0.999... are two different decimal numerals representing the natural number 1. There are infinitely many other ways of representing the number 1, for example 2⁄2, 3⁄3, 1.00, 1.000, and so on.
Every real number is either rational or irrational. Every real number corresponds to a point on the number line. The real numbers also have an important but highly technical property called the least upper bound property. The symbol for the real numbers is R, also written as Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{R} .
When a real number represents a measurement, there is always a margin of error. This is often indicated by rounding or truncating a decimal, so that digits that suggest a greater accuracy than the measurement itself are removed. The remaining digits are called significant digits. For example, measurements with a ruler can seldom be made without a margin of error of at least 0.001 meters. If the sides of a rectangle are measured as 1.23 meters and 4.56 meters, then multiplication gives an area for the rectangle of 5.6088 square meters. Since only the first two digits after the decimal place are significant, this is usually rounded to 5.61.
In abstract algebra, it can be shown that any complete ordered field is isomorphic to the real numbers. The real numbers are not, however, an algebraically closed field.
Moving to a greater level of abstraction, the real numbers can be extended to the complex numbers. This set of numbers arose, historically, from trying to find closed formulas for the roots of cubic and quartic polynomials. This led to expressions involving the square roots of negative numbers, and eventually to the definition of a new number: the square root of negative one, denoted by i, a symbol assigned by Leonhard Euler, and called the imaginary unit. The complex numbers consist of all numbers of the form
where a and b are real numbers. In the expression a + bi, the real number a is called the real part and b is called the imaginary part. If the real part of a complex number is zero, then the number is called an imaginary number or is referred to as purely imaginary; if the imaginary part is zero, then the number is a real number. Thus the real numbers are a subset of the complex numbers. If the real and imaginary parts of a complex number are both integers, then the number is called a Gaussian integer. The symbol for the complex numbers is C or Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{C} .
In abstract algebra, the complex numbers are an example of an algebraically closed field, meaning that every polynomial with complex coefficients can be factored into linear factors. Like the real number system, the complex number system is a field and is complete, but unlike the real numbers it is not ordered. That is, there is no meaning in saying that i is greater than 1, nor is there any meaning in saying that i is less than 1. In technical terms, the complex numbers lack the trichotomy property.
Complex numbers correspond to points on the complex plane, sometimes called the Argand plane.
Each of the number systems mentioned above is a proper subset of the next number system. Symbolically, Failed to parse (Missing texvc executable; please see math/README to configure.): \mathbb{N} \subset \mathbb{Z} \subset \mathbb{Q} \subset \mathbb{R} \subset \mathbb{C} .
Moving to problems of computation, the computable numbers are determined in the set of the real numbers. The computable numbers, also known as the recursive numbers or the computable reals, are the real numbers that can be computed to within any desired precision by a finite, terminating algorithm. Equivalent definitions can be given using μ-recursive functions, Turing machines or λ-calculus as the formal representation of algorithms. The computable numbers form a real closed field and can be used in the place of real numbers for many, but not all, mathematical purposes.
Algebraic numbers are those that can be expressed as the solution to a polynomial equation with integer coefficients. The complement of the algebraic numbers are the transcendental numbers.
Hyperreal numbers are used in non-standard analysis. The hyperreals, or nonstandard reals (usually denoted as *R), denote an ordered field that is a proper extension of the ordered field of real numbers R and satisfies the transfer principle. This principle allows true first order statements about R to be reinterpreted as true first order statements about *R.
Superreal and surreal numbers extend the real numbers by adding infinitesimally small numbers and infinitely large numbers, but still form fields.
The p-adic numbers may have infinitely long expansions to the left of the decimal point, in the same way that real numbers may have infinitely long expansions to the right. The number system that results depends on what base is used for the digits: any base is possible, but a prime number base provides the best mathematical properties.
For dealing with infinite collections, the natural numbers have been generalized to the ordinal numbers and to the cardinal numbers. The former gives the ordering of the collection, while the latter gives its size. For the finite set, the ordinal and cardinal numbers are equivalent, but they differ in the infinite case.
A relation number is defined as the class of relations consisting of all those relations that are similar to one member of the class.[3]
Sets of numbers that are not subsets of the complex numbers are sometimes called hypercomplex numbers. They include the quaternions H, invented by Sir William Rowan Hamilton, in which multiplication is not commutative, and the octonions, in which multiplication is not associative. Elements of function fields of non-zero characteristic behave in some ways like numbers and are often regarded as numbers by number theorists.
There are also other sets of numbers with specialized uses. Some are subsets of the complex numbers. For example, algebraic numbers are the roots of polynomials with rational coefficients. Complex numbers that are not algebraic are called transcendental numbers.
An even number is an integer that is "evenly divisible" by 2, i.e., divisible by 2 without remainder; an odd number is an integer that is not evenly divisible by 2. (The old-fashioned term "evenly divisible" is now almost always shortened to "divisible".) A formal definition of an odd number is that it is an integer of the form n = 2k + 1, where k is an integer. An even number has the form n = 2k where k is an integer.
A perfect number is a positive integer that is the sum of its proper positive divisors—the sum of the positive divisors not including the number itself. Equivalently, a perfect number is a number that is half the sum of all of its positive divisors, or σ(n) = 2 n. The first perfect number is 6, because 1, 2, and 3 are its proper positive divisors and 1 + 2 + 3 = 6. The next perfect number is 28 = 1 + 2 + 4 + 7 + 14. The next perfect numbers are 496 and 8128 (sequence A000396 in OEIS). These first four perfect numbers were the only ones known to early Greek mathematics.
A figurate number is a number that can be represented as a regular and discrete geometric pattern (e.g. dots). If the pattern is polytopic, the figurate is labeled a polytopic number, and may be a polygonal number or a polyhedral number. Polytopic numbers for r = 2, 3, and 4 are:
Numbers should be distinguished from numerals, the symbols used to represent numbers. Boyer showed that Egyptians created the first ciphered numeral system.[citation needed] Greeks followed by mapping their counting numbers onto Ionian and Doric alphabets. The number five can be represented by both the base ten numeral '5', by the Roman numeral 'Ⅴ' and ciphered letters. Notations used to represent numbers are discussed in the article numeral systems. An important development in the history of numerals was the development of a positional system, like modern decimals, which can represent very large numbers. The Roman numerals require extra symbols for larger numbers.
Bones and other artifacts have been discovered with marks cut into them that many believe are tally marks.[4] These tally marks may have been used for counting elapsed time, such as numbers of days, lunar cycles or keeping records of quantities, such as of animals.
A tallying system has no concept of place value (as in modern decimal notation), which limits its representation of large numbers. Nonetheless tallying systems are considered the first kind of abstract numeral system.
The first known system with place value was the Mesopotamian base 60 system (ca. 3400 BC) and the earliest known base 10 system dates to 3100 BC in Egypt.[5]
The use of zero as a number should be distinguished from its use as a placeholder numeral in place-value systems. Many ancient texts used zero. Babylonian and Egyptian texts used it. Egyptians used the word nfr to denote zero balance in double entry accounting entries. Indian texts used a Sanskrit word Shunye to refer to the concept of void. In mathematics texts this word often refers to the number zero.[6]
Records show that the Ancient Greeks seemed unsure about the status of zero as a number: they asked themselves "how can 'nothing' be something?" leading to interesting philosophical and, by the Medieval period, religious arguments about the nature and existence of zero and the vacuum. The paradoxes of Zeno of Elea depend in large part on the uncertain interpretation of zero. (The ancient Greeks even questioned whether 1 was a number.)
The late Olmec people of south-central Mexico began to use a true zero (a shell glyph) in the New World possibly by the 4th century BC but certainly by 40 BC, which became an integral part of Maya numerals and the Maya calendar. Mayan arithmetic used base 4 and base 5 written as base 20. Sanchez in 1961 reported a base 4, base 5 'finger' abacus.
By 130 AD, Ptolemy, influenced by Hipparchus and the Babylonians, was using a symbol for zero (a small circle with a long overbar) within a sexagesimal numeral system otherwise using alphabetic Greek numerals. Because it was used alone, not as just a placeholder, this Hellenistic zero was the first documented use of a true zero in the Old World. In later Byzantine manuscripts of his Syntaxis Mathematica (Almagest), the Hellenistic zero had morphed into the Greek letter omicron (otherwise meaning 70).
Another true zero was used in tables alongside Roman numerals by 525 (first known use by Dionysius Exiguus), but as a word, nulla meaning nothing, not as a symbol. When division produced zero as a remainder, nihil, also meaning nothing, was used. These medieval zeros were used by all future medieval computists (calculators of Easter). An isolated use of their initial, N, was used in a table of Roman numerals by Bede or a colleague about 725, a true zero symbol.
An early documented use of the zero by Brahmagupta (in the Brahmasphutasiddhanta) dates to 628. He treated zero as a number and discussed operations involving it, including division. By this time (the 7th century) the concept had clearly reached Cambodia as Khmer numerals, and documentation shows the idea later spreading to China and the Islamic world.
The abstract concept of negative numbers was recognised as early as 100 BC – 50 BC. The Chinese Nine Chapters on the Mathematical Art (Chinese: Jiu-zhang Suanshu) contains methods for finding the areas of figures; red rods were used to denote positive coefficients, black for negative.[7] This is the earliest known mention of negative numbers in the East; the first reference in a Western work was in the 3rd century in Greece. Diophantus referred to the equation equivalent to Failed to parse (Missing texvc executable; please see math/README to configure.): 4x + 20 = 0
(the solution is negative) in Arithmetica, saying that the equation gave an absurd result.
During the 600s, negative numbers were in use in India to represent debts. Diophantus’ previous reference was discussed more explicitly by Indian mathematician Brahmagupta, in Brahma-Sphuta-Siddhanta 628, who used negative numbers to produce the general form quadratic formula that remains in use today. However, in the 12th century in India, Bhaskara gives negative roots for quadratic equations but says the negative value "is in this case not to be taken, for it is inadequate; people do not approve of negative roots."
European mathematicians, for the most part, resisted the concept of negative numbers until the 17th century, although Fibonacci allowed negative solutions in financial problems where they could be interpreted as debts (chapter 13 of Liber Abaci, 1202) and later as losses (in Flos). At the same time, the Chinese were indicating negative numbers either by drawing a diagonal stroke through the right-most nonzero digit of the corresponding positive number's numeral.[8] The first use of negative numbers in a European work was by Chuquet during the 15th century. He used them as exponents, but referred to them as “absurd numbers”.
As recently as the 18th century, it was common practice to ignore any negative results returned by equations on the assumption that they were meaningless, just as René Descartes did with negative solutions in a Cartesian coordinate system.
It is likely that the concept of fractional numbers dates to prehistoric times. The Ancient Egyptians used their Egyptian fraction notation for rational numbers in mathematical texts such as the Rhind Mathematical Papyrus and the Kahun Papyrus. Classical Greek and Indian mathematicians made studies of the theory of rational numbers, as part of the general study of number theory. The best known of these is Euclid's Elements, dating to roughly 300 BC. Of the Indian texts, the most relevant is the Sthananga Sutra, which also covers number theory as part of a general study of mathematics.
The concept of decimal fractions is closely linked with decimal place-value notation; the two seem to have developed in tandem. For example, it is common for the Jain math sutras to include calculations of decimal-fraction approximations to pi or the square root of two. Similarly, Babylonian math texts had always used sexagesimal (base 60) fractions with great frequency.
The earliest known use of irrational numbers was in the Indian Sulba Sutras composed between 800–500 BC.[9] The first existence proofs of irrational numbers is usually attributed to Pythagoras, more specifically to the Pythagorean Hippasus of Metapontum, who produced a (most likely geometrical) proof of the irrationality of the square root of 2. The story goes that Hippasus discovered irrational numbers when trying to represent the square root of 2 as a fraction. However Pythagoras believed in the absoluteness of numbers, and could not accept the existence of irrational numbers. He could not disprove their existence through logic, but he could not accept irrational numbers, so he sentenced Hippasus to death by drowning.
The sixteenth century brought final European acceptance of negative integral and fractional numbers. By the seventeenth century, mathematicians generally used decimal fractions with modern notation. It was not, however, until the nineteenth century that mathematicians separated irrationals into algebraic and transcendental parts, and once more undertook scientific study of irrationals. It had remained almost dormant since Euclid. 1872 brought publication of the theories of Karl Weierstrass (by his pupil Kossak), Heine (Crelle, 74), Georg Cantor (Annalen, 5), and Richard Dedekind. In 1869, Méray had taken the same point of departure as Heine, but the theory is generally referred to the year 1872. Weierstrass's method was completely set forth by Salvatore Pincherle (1880), and Dedekind's has received additional prominence through the author's later work (1888) and endorsement by Paul Tannery (1894). Weierstrass, Cantor, and Heine base their theories on infinite series, while Dedekind founds his on the idea of a cut (Schnitt) in the system of real numbers, separating all rational numbers into two groups having certain characteristic properties. The subject has received later contributions at the hands of Weierstrass, Kronecker (Crelle, 101), and Méray.
Continued fractions, closely related to irrational numbers (and due to Cataldi, 1613), received attention at the hands of Euler, and at the opening of the nineteenth century were brought into prominence through the writings of Joseph Louis Lagrange. Other noteworthy contributions have been made by Druckenmüller (1837), Kunze (1857), Lemke (1870), and Günther (1872). Ramus (1855) first connected the subject with determinants, resulting, with the subsequent contributions of Heine, Möbius, and Günther, in the theory of Kettenbruchdeterminanten. Dirichlet also added to the general theory, as have numerous contributors to the applications of the subject.
The first results concerning transcendental numbers were Lambert's 1761 proof that π cannot be rational, and also that en is irrational if n is rational (unless n = 0). (The constant e was first referred to in Napier's 1618 work on logarithms.) Legendre extended this proof to show that π is not the square root of a rational number. The search for roots of quintic and higher degree equations was an important development, the Abel–Ruffini theorem (Ruffini 1799, Abel 1824) showed that they could not be solved by radicals (formula involving only arithmetical operations and roots). Hence it was necessary to consider the wider set of algebraic numbers (all solutions to polynomial equations). Galois (1832) linked polynomial equations to group theory giving rise to the field of Galois theory.
The existence of transcendental numbers[10] was first established by Liouville (1844, 1851). Hermite proved in 1873 that e is transcendental and Lindemann proved in 1882 that π is transcendental. Finally Cantor shows that the set of all real numbers is uncountably infinite but the set of all algebraic numbers is countably infinite, so there is an uncountably infinite number of transcendental numbers.
The earliest known conception of mathematical infinity appears in the Yajur Veda, an ancient Indian script, which at one point states, "If you remove a part from infinity or add a part to infinity, still what remains is infinity." Infinity was a popular topic of philosophical study among the Jain mathematicians c. 400 BC. They distinguished between five types of infinity: infinite in one and two directions, infinite in area, infinite everywhere, and infinite perpetually.
Aristotle defined the traditional Western notion of mathematical infinity. He distinguished between actual infinity and potential infinity—the general consensus being that only the latter had true value. Galileo's Two New Sciences discussed the idea of one-to-one correspondences between infinite sets. But the next major advance in the theory was made by Georg Cantor; in 1895 he published a book about his new set theory, introducing, among other things, transfinite numbers and formulating the continuum hypothesis. This was the first mathematical model that represented infinity by numbers and gave rules for operating with these infinite numbers.
In the 1960s, Abraham Robinson showed how infinitely large and infinitesimal numbers can be rigorously defined and used to develop the field of nonstandard analysis. The system of hyperreal numbers represents a rigorous method of treating the ideas about infinite and infinitesimal numbers that had been used casually by mathematicians, scientists, and engineers ever since the invention of infinitesimal calculus by Newton and Leibniz.
A modern geometrical version of infinity is given by projective geometry, which introduces "ideal points at infinity," one for each spatial direction. Each family of parallel lines in a given direction is postulated to converge to the corresponding ideal point. This is closely related to the idea of vanishing points in perspective drawing.
The earliest fleeting reference to square roots of negative numbers occurred in the work of the mathematician and inventor Heron of Alexandria in the 1st century AD, when he considered the volume of an impossible frustum of a pyramid. They became more prominent when in the 16th century closed formulas for the roots of third and fourth degree polynomials were discovered by Italian mathematicians such as Niccolo Fontana Tartaglia and Gerolamo Cardano. It was soon realized that these formulas, even if one was only interested in real solutions, sometimes required the manipulation of square roots of negative numbers.
This was doubly unsettling since they did not even consider negative numbers to be on firm ground at the time. When René Descartes coined the term "imaginary" for these quantities in 1637, he intended it as derogatory. (See imaginary number for a discussion of the "reality" of complex numbers.) A further source of confusion was that the equation
seemed capriciously inconsistent with the algebraic identity
which is valid for positive real numbers a and b, and was also used in complex number calculations with one of a, b positive and the other negative. The incorrect use of this identity, and the related identity
in the case when both a and b are negative even bedeviled Euler. This difficulty eventually led him to the convention of using the special symbol i in place of Failed to parse (Missing texvc executable; please see math/README to configure.): \sqrt{-1}
to guard against this mistake.
The 18th century saw the work of Abraham de Moivre and Leonhard Euler. de Moivre's formula (1730) states:
and to Euler (1748) Euler's formula of complex analysis:
The existence of complex numbers was not completely accepted until Caspar Wessel described the geometrical interpretation in 1799. Carl Friedrich Gauss rediscovered and popularized it several years later, and as a result the theory of complex numbers received a notable expansion. The idea of the graphic representation of complex numbers had appeared, however, as early as 1685, in Wallis's De Algebra tractatus.
Also in 1799, Gauss provided the first generally accepted proof of the fundamental theorem of algebra, showing that every polynomial over the complex numbers has a full set of solutions in that realm. The general acceptance of the theory of complex numbers is due to the labors of Augustin Louis Cauchy and Niels Henrik Abel, and especially the latter, who was the first to boldly use complex numbers with a success that is well known.
Gauss studied complex numbers of the form a + bi, where a and b are integral, or rational (and i is one of the two roots of x2 + 1 = 0). His student, Gotthold Eisenstein, studied the type a + bω, where ω is a complex root of x3 − 1 = 0. Other such classes (called cyclotomic fields) of complex numbers derive from the roots of unity xk − 1 = 0 for higher values of k. This generalization is largely due to Ernst Kummer, who also invented ideal numbers, which were expressed as geometrical entities by Felix Klein in 1893. The general theory of fields was created by Évariste Galois, who studied the fields generated by the roots of any polynomial equation F(x) = 0.
In 1850 Victor Alexandre Puiseux took the key step of distinguishing between poles and branch points, and introduced the concept of essential singular points. This eventually led to the concept of the extended complex plane.
Prime numbers have been studied throughout recorded history. Euclid devoted one book of the Elements to the theory of primes; in it he proved the infinitude of the primes and the fundamental theorem of arithmetic, and presented the Euclidean algorithm for finding the greatest common divisor of two numbers.
In 240 BC, Eratosthenes used the Sieve of Eratosthenes to quickly isolate prime numbers. But most further development of the theory of primes in Europe dates to the Renaissance and later eras.
In 1796, Adrien-Marie Legendre conjectured the prime number theorem, describing the asymptotic distribution of primes. Other results concerning the distribution of the primes include Euler's proof that the sum of the reciprocals of the primes diverges, and the Goldbach conjecture, which claims that any sufficiently large even number is the sum of two primes. Yet another conjecture related to the distribution of prime numbers is the Riemann hypothesis, formulated by Bernhard Riemann in 1859. The prime number theorem was finally proved by Jacques Hadamard and Charles de la Vallée-Poussin in 1896. Goldbach and Riemann's conjectures remain unproven and unrefuted.
Some numbers traditionally have alternative words to express them, including the following:
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2010 : January · February · March · April · May · June · July · August · September · October · November · December |
Millennium: | 3rd millennium |
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Centuries: | 20th century – 21st century – 22nd century |
Decades: | 1980s 1990s 2000s – 2010s – 2020s 2030s 2040s |
Years: | 2007 2008 2009 – 2010 – 2011 2012 2013 |
Gregorian calendar | 2010 MMX |
Ab urbe condita | 2763 |
Armenian calendar | 1459 ԹՎ ՌՆԾԹ |
Assyrian calendar | 6760 |
Bahá'í calendar | 166–167 |
Bengali calendar | 1417 |
Berber calendar | 2960 |
British Regnal year | 58 Eliz. 2 – 59 Eliz. 2 |
Buddhist calendar | 2554 |
Burmese calendar | 1372 |
Byzantine calendar | 7518–7519 |
Chinese calendar | 己丑年十一月十七日 (4646/4706-11-17) — to —
庚寅年十一月廿六日(4647/4707-11-26) |
Coptic calendar | 1726–1727 |
Ethiopian calendar | 2002–2003 |
Hebrew calendar | 5770–5771 |
Hindu calendars | |
- Vikram Samvat | 2066–2067 |
- Shaka Samvat | 1932–1933 |
- Kali Yuga | 5111–5112 |
Holocene calendar | 12010 |
Iranian calendar | 1388–1389 |
Islamic calendar | 1431–1432 |
Japanese calendar | Heisei 22 (平成22年) |
Julian calendar | Gregorian minus 13 days |
Korean calendar | 4343 |
Minguo calendar | ROC 99 民國99年 |
Thai solar calendar | 2553 |
Unix time | 1262304000–1293839999 |
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2010 (MMX) was a common year that started on a Friday in the Gregorian calendar. It was the 2010th year of Anno Domini or the Common Era designation; the 10th year of the 3rd millennium and of the 21st century; and the 1st of the 2010s.
2010 was designated the:
Among experts and the general public, there is a debate as to how specific years of the 21st century should be pronounced in English. The year 2010 is pronounced either "two thousand (and) ten",[1] or "two thousand ten" or "twenty ten". 2010 was the first year to have a wide variation in pronunciation, as the years 2000–09 were generally pronounced "two thousand (and one, two, three, etc....") or "two thousand (one, two, three, etc.") as opposed to the less common "twenty oh...."