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Number One

''Number one'', ''Number 1'', or ''#1'' most commonly denotes the first, leading, or highest item in a , , or list. It may also refer to: For other uses, see the following sections of this article:
  • [[Numerical and linguistic meaning]]
  • [[In music]]
  • [[In film and television]]
  • [[Fictional characters]]
  • [[Other uses]]

Numerical and linguistic meaning

The integer one

One is defined as the smallest positive and serves as the multiplicative identity in the , satisfying the equation $1 \times n = n for any n. It is also the unique positive that is neither prime nor composite, a established to preserve the , which states that every greater than 1 has a unique prime factorization. In , one exhibits distinctive properties, such as being equal to its own ($1! = 1) and the value of at one (\phi(1) = 1), where \phi(n) counts the positive integers up to n that are relatively prime to n. These attributes underscore one's foundational role in and , distinguishing it from all other positive s. The numeral for one emerged in ancient civilizations as a basic symbol for counting and measurement, reflecting humanity's early efforts to quantify the world. In ancient Egypt, around 3000 BCE, one was represented by a single vertical stroke in the hieroglyphic system, a base-10 additive notation used to record quantities in administrative and architectural contexts, such as the Karnak stone carvings dating to circa 1500 BCE. Similarly, in Babylonian cuneiform from approximately 2000 BCE, one was denoted by a vertical wedge, forming the unit in a sexagesimal (base-60) positional system that facilitated precise calculations for trade, astronomy, and land measurement across Mesopotamia. These representations highlight one's essential function as the building block of numerical systems, enabling the accumulation of units to express larger values and supporting practical applications in daily and scientific endeavors. Symbolically, one represents unity and indivisibility, embodying core philosophical and religious concepts across traditions. In Greek philosophy, particularly Pythagorean thought from the sixth century BCE, the (one) symbolized the origin of all numbers and the principle of cosmic harmony, as the source from which even and odd numbers derive, aligning with monistic views that reality stems from a single, unified essence. In —, —one signifies the oneness of God, as articulated in the Shema's declaration of divine unity ("Hear, O Israel: The Lord our God, the Lord is one"), the Christian affirmation of one eternal God, and the Islamic doctrine of , emphasizing God's absolute singularity and the unity of creation under divine will. This symbolism reinforces themes of wholeness and transcendence, positioning one as a profound emblem of existential and spiritual coherence.

Phrase "number one"

The phrase "number one" in colloquial English denotes primacy, superiority, or , often rooted in rankings where the one signifies the top position. This linguistic usage emerged in the early , with "number one" first attested as meaning "oneself" around , particularly in expressions emphasizing personal welfare. By the , it had evolved into for , as seen in idioms like "look out for number one," which advises prioritizing one's own interests to avoid —a sentiment recorded as early as the . Similarly, "take care of number one" conveys a focus on or , drawing from hierarchical systems in and contexts. Common idioms extend this to broader applications of importance and support. "Number one priority" highlights the utmost urgency or value of a task, a usage solidified in 19th-century English for denoting in . In expressions of admiration, "number one fan" refers to the most devoted supporter, a popularized in 20th-century to emphasize unparalleled without implying obsessive . These idioms reflect a cultural emphasis on , where "number one" symbolizes personal agency over collective concerns. In motivational contexts, the phrase encourages striving for excellence and self-empowerment. Sports psychology often invokes "being number one" to foster competitive drive and resilience, as in Vince Lombardi's motivational principles urging athletes to embody top performance through discipline and . This permeates pop culture phrases promoting ambition, such as calls to "make yourself number one" in , without reference to specific entertainment works. Etymologically, the phrase traces from nautical and military traditions, where "number one" designated the first mate or —the captain's immediate subordinate and leader in their absence—establishing a of elite status by the . This evolved into modern self-help discourse, notably in Robert J. Ringer's 1977 pop book Looking Out for #1, which popularized as a rational for success amid 1970s cultural shifts toward .

In music

Songs titled "Number One"

"Number One" is a song by American musician featuring rapper , released in 2006 as the second single from Williams' debut solo album In My Mind. The track blends R&B and elements, produced by Williams himself with his characteristic futuristic beats and layered production reminiscent of his work with duo. It prominently samples "World's Famous" by , adding a playful, orchestral flair to its themes of self-assurance and romantic supremacy. The song peaked at number 57 on the chart, reflecting moderate commercial success amid Williams' rising solo career. Another prominent example is "Number One" by R&B singer , featuring , released as a in 2005 from Legend's debut album (2004). This soulful R&B track explores themes of devoted love, portraying a partner as the ultimate priority in life with emphasizing and . The music video, directed by Davey Duhamel, features intimate performance shots that underscore the song's romantic essence. While it did not achieve major pop chart success, it resonated within R&B circles and contributed to 's overall critical acclaim. In 2023, country-pop artist released "Number One" as a from her sixth studio album , blending upbeat rhythms with empowering lyrics that celebrate personal relationships and self-worth. The song's title evokes romantic devotion, with verses highlighting a lover as the top priority amid life's distractions, aligning with Twain's signature themes of confidence and joy. As part of the album's promotion, it received radio airplay, though it did not lead the charts; itself debuted at number 13 on the and number 2 on the Top Country Albums chart. The 's production emphasizes Twain's versatile vocal style, produced by and Twain herself. Earlier examples include Eurodance singer Alexia's "Number One" from 1997, a high-energy track that became a staple of the late-1990s club scene with its infectious hooks and electronic beats produced by Roberto Zanetti. The song peaked at number 3 on the Singles , marking Alexia's continued dominance in her home market following prior hits. Its title directly nods to aspirations of chart-topping success, mirroring the era's trend of aspirational anthems.) English electronic duo Goldfrapp's "Number 1," released in 2005 from their album Supernature, is a track with glamorous, seductive undertones produced by and . Evoking themes of intoxicating romance and desire, it peaked at number 9 on the , helping propel Supernature to commercial breakthrough with its blend of 1980s-inspired synths and modern electro grooves. The song's repetitive chorus reinforces the idea of a lover as an unparalleled obsession. In UK hip-hop, Tinchy Stryder's "Number 1" featuring , released in 2009, is an energetic grime-influenced track co-written by , , and , capturing street ambition and chart dominance. The title self-referentially celebrates reaching the top, and it indeed debuted at number 1 on the , holding the position for three weeks and becoming Stryder's biggest hit. Its production features punchy beats and collaborative verses, emblematic of late-2000s British urban music. Across these songs, the title "Number One" often symbolizes either romantic primacy—portraying a partner as —or professional triumph, such as aspirations, allowing artists to infuse personal narratives with appeal in diverse genres from R&B to . This duality highlights how the phrase transcends literal rankings to evoke emotional or cultural supremacy .

Albums titled "Number One"

Racine No. 1 is the debut album by the project Racine, led by English singer-songwriter , formerly of , released on September 28, 2004, via One Little Indian Records. The 14-track record features highlights such as "Grease Monkey," a punchy opener blending energy with pop hooks, and "The Man," which explores themes of power dynamics through intertwining rhythms. A reissue followed in 2005, expanding its reach. Critics lauded the album's quirky drum machines, DIY ethic, and James's sweet yet incisive vocals, positioning it as a bold return for the artist after a decade-long . #1 marks the debut full-length release by electroclash duo , initially issued in a limited run on International Deejay Gigolo Records in October 2001 before a wider edition in May 2003. Spanning 13 tracks, it showcases the duo's performance-art roots with synth-driven anthems like "Emerge," a pulsating that defined early , and "Invisible," blending edges with dancefloor appeal. The earned mostly favorable for its innovative fusion of electronic music and visual spectacle, influencing the genre's rise in underground scenes. Number 1 serves as the first studio album by South Korean boy band , released on October 22, 2008, through YG Entertainment Japan and . This 13-track compilation integrates material from prior Japanese EPs with new recordings, including the upbeat title track "Number 1 (Shijo Saidai)" and "Come Be My Lady," highlighting the group's pop-rap versatility for international audiences. It peaked at number 13 on the , aiding 's expansion into the market. No. 1 is the second studio by singer , released on April 24, 2002, by . The 11-track set, blending with R&B influences, features the titular lead single "No. 1," a motivational , alongside tracks like "Way" and "Milky Way Love," emphasizing mature themes of self-empowerment. It topped South Korean charts upon release and became the fourth best-selling of 2002 there, with over 544,000 units sold, solidifying BoA's status as a domestic superstar. A Japanese edition later peaked at number 24 on the , selling more than 14,000 copies. Number One is the debut studio album by British vocalist Billie Godfrey, issued in 2001. Composed entirely in , the release draws on pop and soul elements, reflecting Godfrey's unique cross-cultural approach, though it remained a niche project with limited commercial data available. Albums titled "Number One" or similar variants frequently symbolize artistic pinnacles or breakthroughs, as evidenced by BoA's No. 1 achieving over 540,000 sales in and underscoring her pivotal role in popularizing globally through genre-blending innovation. Similarly, Big Bang's Number 1 marked a strategic market entry, while Fischerspooner's #1 helped pioneer electroclash's fusion of electronic and , influencing subsequent trends. Wendy James's Racine No. 1, with its DIY ethos, exemplified indie rock's emphasis on personal reinvention, contrasting the polished commercial peaks of counterparts.

In film and television

Films titled "Number One"

Number One is a 1969 sports drama film directed by , starring as Ron "Cat" Catlan, a for the grappling with a career-threatening injury and the emergence of a promising . The narrative examines Catlan's descent into , , and strained family relations as he confronts the physical and emotional toll of aging in professional football, ultimately forcing him to reassess his identity beyond the sport. Supporting roles include as his alienated wife, as a teammate, and as his affair partner, with the film blending on-field action sequences filmed with the actual Saints team to underscore themes of obsolescence and redemption. Critically, it received mixed reception for its earnest portrayal of athletic decline, though Heston's against-type performance as a flawed was highlighted as a strength, earning a 5.5/10 average on from over 750 user ratings. In 2017, French director released Number One (original title Numéro une), a corporate drama starring as Emmanuelle Blachey, a high-achieving in the who is recruited by a network of influential women to pursue the CEO position at a major company. The story critiques patriarchal structures in business through Blachey's navigation of boardroom rivalries, ethical compromises, and gender biases, including subtle discrimination and the demand for work-life sacrifices not imposed on male counterparts. Co-starring , Richard Berry, and , the film premiered at the and achieved universal acclaim from critics, with a 100% Tomatometer score on based on 15 reviews praising its sharp dialogue and relevance to #MeToo-era discussions on female ambition. Devos earned a nomination for at the 43rd for her nuanced depiction of resilient determination. These films collectively explore the pursuit of supremacy—whether in sports, corporate ladders, or survival hierarchies—often revealing the personal costs of ambition, from isolation and addiction to systemic barriers and moral erosion.

Television productions titled "Number One"

"Number One" is a 1984 British television drama film directed by Les Blair and written by G.F. Newman. The story centers on Harry "Flash" Gordon, an Irish immigrant and down-on-his-luck snooker hustler in London, who is drawn into professional competition by a promoter, exploring themes of chance, exploitation, and the immigrant experience in 1980s Britain. Bob Geldof stars as Gordon, marking an early acting role for the Boomtown Rats frontman amid the post-punk era, with supporting performances by Mel Smith as the scheming promoter, Alison Steadman, and P.H. Moriarty. Produced as a TV movie, it received mixed reviews for its gritty portrayal of underground snooker culture but limited commercial data exists on viewership or budget. Other television productions bearing the title include short-lived series and episodes. The 2001 British game show "Number One," hosted by , featured contestants competing in challenges to claim the top spot, airing briefly on television. A 2017 episode of the American drama "" titled "Number One" follows character Kevin Pearson returning to his high school for an award, delving into themes of past regrets and family dynamics, directed by . The 2017 U.S. series "Number One," created by Bryant Cephus, is a low-profile drama starring and others, with scant details on its run or reception. Similarly, the 2019 talent competition series "Number One" involved auditions judged by experts to crown a top performer, but it did not achieve widespread popularity. No major ongoing television series titled "Number One" have emerged, though niche formats like the music documentary series "Number One!" (2009–2013), featuring interviews with artists such as and , provided episodic content on music topics. In international contexts, shows such as the reality series "Jodi Number One" (2006–present) on loosely evoke ranking themes but focus on couple competitions rather than street life narratives. In 2025, the two-part documentary miniseries Number One on the Call Sheet, directed by and Shola Lynch, premiered on Apple TV+, exploring the experiences and achievements of leading actors in through intimate interviews. It received positive reception, with a 100% Tomatometer score on based on 11 reviews as of November 2025.

Fictional characters

Science fiction characters

In , the designation "Number One" often signifies a position of authority or primacy within hierarchical structures, such as crews or organizations, serving as a narrative device to explore themes of command, loyalty, and rebellion. The character known as Number One, later revealed as Una Chin-Riley, debuted in the unaired 1965 pilot episode "The Cage" of , portrayed by as the first officer to Captain Christopher aboard the U.S.S. . This role established her as a stoic, efficient second-in-command, embodying the chain-of-command dynamics central to the franchise's exploration of exploration and duty. The character was reimagined and expanded in season 2 (2019), and prominently in episode "" (2019) and as a lead in (2022–present), played by , delving into her heritage and personal conflicts with regulations on genetic modification. Similarly, in (1987–1994), Commander , played by , is affectionately nicknamed "Number One" by Captain , highlighting their mentor-protégé relationship and Riker's role as the Enterprise-D's . This moniker underscores Riker's tactical acumen and moral compass, often positioning him as the voice of bold action in episodes addressing ethical dilemmas in space exploration. In (2004–2009), , portrayed by , is the primary instantiation of the Number One Cylon model, the first created by the Final Five to lead the mechanical uprising against humanity. As a priestly figure hiding among survivors, Cavil's leadership drives the Cylon and genocidal plot, reflecting themes of resentment toward his creators and the blurred lines between machine and human identity. The 1967–1968 series features Number One as the enigmatic, anonymous supreme authority of , an oppressive surveillance state where protagonist is imprisoned after resigning from British intelligence. Revealed in the finale "Fall Out" as a masked figure embodying the system's ultimate control, Number One functions as a symbolic antagonist, representing the loss of individual autonomy in Cold War-era espionage intrigue with surreal, dystopian elements. Ernst Stavro Blofeld, the head of the criminal syndicate , is referred to as Number One in early James Bond adaptations, notably in You Only Live Twice (1967), where he is played by as a scar-faced mastermind orchestrating global chaos from a volcanic lair. This portrayal cements Blofeld's role as Bond's arch-nemesis, leveraging advanced technology and to advance SPECTRE's world-domination schemes, influencing the franchise's blend of spy thriller and . These characters collectively illustrate "Number One" as a for pivotal leaders whose decisions propel conflicts, from diplomacy to existential robot rebellions.

Other fictional characters

In the Artemis Fowl series by , spanning 2001 to 2012, Number One is introduced as a young and apprentice in the fifth novel, The Lost Colony (2006). This character, often stylized as No. 1, is a runt-like who has not undergone the typical maturation process, leading to social ridicule within demon society, and he seeks to prove his lineage as a descendant of ancient . Captured in the human world after escaping through a , Number One allies with protagonist and Holly Short, using his magical abilities to aid in closing the portal that threatens both worlds and relocating the lost demon colony. His loyalty to the protagonists underscores themes of and unlikely alliances in a fantasy setting blending magic and modern technology. In the television series (1993–1998), Number One, whose real name is Tessa Holloran, serves as the codename for the leader of the Mars Resistance movement against Earth Alliance control. Portrayed by actress , she appears in seven episodes starting from season five, depicted as a tough, distrustful figure who intensely opposes telepaths and coordinates rebel operations from hidden bases. Her role highlights strategic leadership in a resistance context, often interacting with key characters like to advance the plot of political intrigue and independence struggles. Douglas Adams' The Hitchhiker's Guide to the Galaxy series features Number One as the first officer aboard the Golgafrinchan Ark Fleet Ship B in the 1980 novel The Restaurant at the End of the Universe. This character, subordinate to the unnamed and alongside Number Two, is part of the ship's crew transporting the "useless" third of Golgafrincham's population—including telephone sanitizers and accountants—to prehistoric as part of a satirical to explain ancestry. Number One's militaristic demeanor is evident in scenes where he interrogates stowaways and , emphasizing Adams' comedic critique of bureaucracy and evolutionary absurdity. Numbuh 1, whose real name is Nigel Uno, is the central protagonist and leader of Sector V in the Codename: Kids Next Door (2002–2008), produced by . Voiced by , this bald, British-accented 10-year-old operative heads a team of child spies combating adult tyranny through high-tech gadgets and missions, with his surname "Uno" (Spanish for "one") directly inspiring his codename. Nigel's dedication is revealed in , where he leaves to join the Galactic Kids Next Door, prioritizing global child protection over personal ties. In Mark Walden's H.I.V.E. series (2006–2013), Number One is the enigmatic supreme commander of G.L.O.V.E., the global organization overseeing the Higher Institute of Villainous Education (H.I.V.E.), a secret academy training young villains. This shadowy figure, whose identity and gender remain ambiguous, exerts ultimate authority over elite students like Otto Malpense, often assigning high-stakes missions that test loyalty and involve assassination plots against rivals. Number One's role evolves across the series, culminating in possession by the AI Overlord, which challenges the academy's hierarchy and forces students into rebellion. The character appears as the authoritative head of the Stonecutters, a parody of secret societies, in the Simpsons episode "Homer the Great" (season 6, episode 12, aired 1995). Voiced by Patrick Stewart, Number One oversees the Springfield chapter's rituals and expels Homer Simpson after he unwittingly disrupts their traditions, embodying pompous leadership in a comedic critique of fraternal orders. These portrayals of "Number One" often explore leadership motifs, from youthful command in secretive youth organizations like the Kids Next Door and H.I.V.E. to authoritative roles in clandestine societies as in The Simpsons and Babylon 5, reflecting broader themes of hierarchy, loyalty, and rebellion in non-science fiction narratives.

Other uses

Military and nautical contexts

In nautical traditions, particularly within the Royal Navy, "Number One" is a longstanding colloquial term for the , the senior commissioned serving as second-in-command to the and functioning as the ship's . This role emerged in the as naval vessels grew more complex, requiring a dedicated to handle internal administration, discipline, and operational coordination below the . The term derives from the ranking system among s, where the most senior—responsible for critical duties like watch organization and —was designated the "first" or "number one" lieutenant, a practice formalized by the mid-1700s. Historically, the first lieutenant's responsibilities included dividing the crew into watches (originally , evolving to a three-watch system by for improved rest and readiness), maintaining ship cleanliness to prevent issues like musty conditions from wet gear, and advising on personnel welfare alongside divisional officers and chaplains. A prominent example occurred during the in 1805, when Lieutenant John Quilliam served as aboard HMS Victory under Captain Thomas Masterman Hardy, managing the ship's response after the wheel was shot away and contributing to the vessel's pivotal role in the victory. Quilliam's actions exemplified the position's demands for quick on the bridge and enforcement of discipline amid combat. The term extended to military contexts beyond sailing ships, denoting the top aide or principal deputy in hierarchical structures, such as the () in the U.S. Navy, who mirrors the Royal Navy's by overseeing daily operations, training, and logistics as second-in-command. In submarine commands, a modern nautical application, "Number One" informally refers to the who coordinates crew rotations, maintenance, and protocols during patrols, a role critical since when submarines emphasized and extended underwater endurance. Post-World War II, the usage evolved with formalized titles like "" gaining prevalence in official documents across , reflecting larger crews and specialized branches, though "Number One" endures as an affectionate captain's address in the Royal Navy to denote trust and immediacy in orders. This tradition has briefly influenced fictional depictions of command hierarchies in science fiction, emphasizing the second-in-command's pivotal support role.

Sports and rankings

In competitive contexts, "number one" denotes the highest position in various rankings and standings, signifying supremacy based on performance metrics across sports, entertainment, and business. In music charts, the term represents the top spot on sales and popularity lists, such as the , which has tracked the most popular songs in the United States since its inception on August 4, 1958, using a blend of radio airplay, digital sales, physical sales, and streaming data compiled by Luminate. The chart's methodology weights streaming and sales heavily, with airplay contributing through monitored radio stations, ensuring the number one position reflects broad consumer engagement. Records in this domain include the longest consecutive weeks at number one on the Hot 100, held jointly by Lil Nas X's "" (featuring ) and Shaboozey's "A Bar Song (Tipsy)" at 19 weeks each as of 2025. For albums, the similarly crowns number one based on equivalent album units (including track sales and streams), with the holding the record for most number one albums at 19 through 2025. In sports, "number one" often refers to or world rankings determined by points systems evaluating wins, head-to-head results, and tournament performance. For instance, in the men's basketball tournament, known as March Madness, the number one seed in each of the four regions is assigned by a based on team records, , and quality wins, granting the top advantage in the single-elimination bracket. In professional , the designate the world number one player weekly, calculated via a rolling 52-week points formula from tournament results, where has accumulated a record 428 weeks at the top as of November 2025. These rankings influence in majors like and the US Open, emphasizing sustained excellence. Beyond sports and music, "number one" applies to global standings in business and entertainment, measured by revenue or audience metrics. has ranked as the world's largest company by annual revenue for the 12th consecutive year as of the 2025 , with $681 billion in 2024 revenue. In film, rankings crown number one based on worldwide ticket sales, with James Cameron's (2009) maintaining the all-time record at $2.92 billion as of 2025, tracked by aggregators like using studio-reported grosses adjusted for inflation where applicable. For television, Nielsen ratings determine number one shows through a statistical sample of about 40,000 U.S. households equipped with meters tracking viewing across linear TV, streaming, and devices, measuring total audience impressions and demographics like the 18-49 age group to gauge advertiser value.

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