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Threepence (British coin)
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Three old pence
Value
1⁄80 pound sterling
Mass
(Silver) 1.4 - 1.5 g
(Nickel-brass) 6.8 g
Diameter
(Silver) 16.20 mm
(Nickel-brass) 21.0–21.8 mm
Thickness
(Nickel-brass) 2.5 mm
Edge
Plain
Composition
(1816–1919) 92.5% Ag
(1920–1946) 50% Ag
(1947–1970) Nickel-brass
(79% Cu, 20% Zn, and 1% Ni)
Years of minting
1547–1970
Obverse
Design
Profile of the monarch
Reverse
Design
Various
The British threepence (3d) coin, usually simply known as a threepence or threepenny bit, was a unit of currency equaling one eightieth of a pound sterling, or three old pence sterling. It was used in the United Kingdom, and earlier in Great Britain and England. Similar denominations were later used throughout the British Empire, notably in Australia, New Zealand, and South Africa.
The sum of three pence was pronounced variously /ˈθruːpɛns/ THROO-pens, /ˈθrɛpɛns/ THREP-ens or /ˈθrʌpɛns/ THRUP-ens, reflecting different pronunciations in the various regions and nations of the United Kingdom. Likewise, the coin was often referred to in conversation as a /ˈθruːpni/ THROOP-nee, /ˈθrɛpni/ THREP-nee or /ˈθrʌpni/ THRUP-nee bit.
Before Decimal Day in 1971 there were two hundred and forty pence in one pound sterling. Twelve pence made a shilling, and twenty shillings made a pound. Values less than a pound were usually written in terms of shillings and pence, e.g. forty-two pence would be three shillings and six pence (3/6), pronounced "three and six". Values of less than a shilling were simply written in terms of pence, e.g. eight pence would be 8d.
Contents
[hide]
1 Early threepences
2 Threepences reintroduced
3 Rarer threepences
4 Mid-to-late 17th century
5 Early 18th century
6 Change of role
7 Queen Victoria
8 Early 20th century
9 Brass vs silver threepences
10 Elizabeth II threepences
11 The Commonwealth
12 Building
13 Nickname
14 The 12-sided coin reprised
15 See also
16 References
17 External links
Early threepences[edit]
Threepence of James VI and I, minted in Ireland.
The three pence coin – expressed in writing as "3d" – first appeared in England during the fine silver coinage of King Edward VI (1547–53), when it formed part of a set of new denominations. Although it was an easy denomination to work with in the context of the old sterling coinage system, being a quarter of a shilling, initially it was not popular with the public who preferred the groat (four pence). Hence the coin was not minted in the following two reigns.
Edward VI threepences were struck at the London and York mints. The obverse shows a front-facing bust of the king, with a rose to the left and the value numeral III to the right, surrounded by the legend EDWARD VI D G ANG FRA Z HIB REX. The reverse shows a long cross over the royal shield, surrounded by the legend (London mint) POSUI DEUM ADIUTOREM MEUM (I have made God my helper), or (York mint) CIVITAS EBORACI (City of York).
Queen Elizabeth I (1558–1603) produced threepences during her third coinage (1561–1577). Most 1561 issues are 21 mm in diameter, while later ones are 19 mm in diameter. These coins are identifiable from other denominations by the rose behind the queen's head on the obverse, and the date on the reverse. The obverse shows a left-facing crowned bust of the queen with a rose behind her, surrounded by the legend ELIZABETH D G ANG FR ET HIB REGINA, while the reverse shows shield over a long cross, dated 1561, surrounded by the legend POSUI DEU ADIUTOREM MEU. Dates used for the smaller coins were 1561–77. Threepences of the fourth coinage (1578–1582) are identical except for having a slightly lower silver content. There was also a fairly rare milled coinage threepence, produced between 1561 and 1564 with similar designs and inscriptions to the hammered coinage threepences.
The threepence denomination fell out of use again during the reign of King James I, while during King Charles I's reign (1625–49) it was not produced at the London Tower mint, but was produced (sometimes in some quantity) at various provincial mints. The denomination is identified by the numeral III appearing behind the king's head.
Threepences reintroduced[edit]
By far the most common Charles I threepences were produced at the Aberystwyth mint between 1638 and 1642. They feature a left-facing crowned bust of the king with plumes in front of his face and the numeral III behind him, with the legend CAROLUS DG MA B FR ET H REX (or a combination of M(A) B F(R) ET H(I)(B) depending on the engraver), with the reverse showing the royal arms on a large oval shield with plumes above the shield, and the legend CHRISTO AUSPICE REGNO – I reign under the auspices of Christ. Plumes were the identifying symbol of the Aberystwyth mint, but the Bristol and Oxford mints often used dies from the Aberystwyth mint so plumes often appear on their output too. Milled coins were produced at the York mint between 1638 and 1649, which look similar to the Aberystwyth product but without the plumes – the obverse features a left-facing crowned bust of the king with the numeral III behind him, with the legend CAROLUS D G MAG BR FR ET HI REX, with the reverse showing the royal arms on a shield over a cross, with EBOR over the shield and the legend CHRISTO AUSPICE REGNO.
Coins were produced at the Oxford mint between 1644 and 1646, using the Aberystwyth dies for the obverse, while the reverse of the 1644 coin shows the Declaration of Oxford in three lines: RELI PRO LEG ANG LIB PAR. 1644 OX – The religion of the Protestants, the laws of England, the liberty of Parliament. 1644 Oxford, while around the outside of the coin is the legend EXURGAT DEUS DISSIPENTUR INIMICI – Let God arise and His enemies be scattered. This coin also appears dated 1646. A further type produced at Oxford had on the obverse the king's bust with the denomination behind him, and the letter "R" (for Rawlins, the maker of the die) below the king's shoulder and the legend CAROLUS D G M BR F ET H REX and the Aberystwyth reverse.
Rarer threepences[edit]
The mint at Bristol produced rare threepences in 1644 and 1645. In 1644 the Aberystwyth obverse was used to produce a coin with the reverse showing the Declaration of Oxford: REL PRO LEG AN LIB PA 1644 – The religion of the Protestants, the laws of England, the liberty of Parliament 1644, while around the outside of the coin is the legend EXURGAT DEUS DISSIPENTUR INIMICI – Let God arise and His enemies be scattered. This was repeated in 1645, but with a plumelet instead of a plume in front of the king's face.
In 1644 the Exeter mint produced a fairly scarce threepence. It features a left-facing crowned bust of the king with the numeral III behind him, with the legend CAROLUS D G MA BR F ET H RE, with the reverse showing the royal arms on a shield with the date 1644 above the shield, and the legend CHRISTO AUSPICE REGNO.
No threepences were produced by the Commonwealth of England.
Mid-to-late 17th century[edit]
The final hammered coinage threepences were produced at the start of the reign of King Charles II. In style they are very reminiscent of his father's issues, the obverse featuring the bust of the king, with the numeral III and the legend CAROLUS II D G MAG BRI F ET H REX, with the reverse showing the royal arms on a shield over a cross, and the legend CHRISTO AUSPICE REGNO.
The milled silver threepences of Charles II form two types. There is the undated issue which looks very like the earlier hammered coinage, with a crowned left-facing bust of the king with the denomination indicated by III behind his head, and the inscription CAROLVS II D G M B F & H REX, with the reverse showing a shield encircling the arms of England, Scotland, Ireland and France with the legend CHRISTO AUSPICE REGNO. This was followed by the dated issue, issued each year from 1670 to 1684, where the obverse features a right-facing uncrowned bust of the king and the inscription CAROLVS II DEI GRATIA, with the reverse showing three crowned interlinked "C"s (indicating the value) and the inscription MAG BR FRA ET HIB REX date. All milled silver threepences were 17 millimetres in diameter and weighed 1.5 grams – dimensions which were unchanged until near the end of the reign of George III.
A similar threepence was produced for King James II, dated 1685 to 1688, the obverse showing a left-facing bust of the king and the inscription IACOBVS II DEI GRATIA, with the reverse showing three crowned "I"s (indicating the value) and the inscription MAG BR FRA ET HIB REX date.
For the joint reign of King William III and Queen Mary II, threepences were produced in all years from 1689 to 1694. For the first two years a somewhat caricatured portrait of the monarchs was used, replaced by a rather more staid portrait in 1691, with the inscription GVLIELMVS ET MARIA D G, while the reverse shows a crowned Arabic number "3" and the inscription MAG BR FR ET HIB REX ET REGINA date. For the sole reign of William III, the design remained very similar, with the inscriptions changed to GVLIELMVS III DEI GRA and MAG BR FR ET HIB REX date.
Early 18th century[edit]
In the reign of Queen Anne (1702–1714), the same basic design was used, with threepences produced in 1703–10 and 1713. The obverse shows a left-facing bust of the Queen, with the inscription ANNA DEI GRATIA while the reverse shows the crowned "3" and MAG BR FR ET HIB REG date (1703–05, 1707), MAG BR FRA ET HIB REG (1706), or MAG BRI FR ET HIB REG (1708–13).
The design continued in the reign of King George I, when threepences were produced in 1717, 1721, 1723, and 1727. The obverse shows a right-facing bust of the King, with the inscription GEORGIVS DEI GRATIA while the reverse shows the crowned "3" and MAG BRI FR ET HIB REX date.
Unusually, the same young portrait of King George II was used on the threepence throughout his reign (1727–60), despite an older portrait being used on other denominations from 1743. Threepences were produced in 1729, 1731, 1732, 1735, 1737, 1739, 1740, 1743, 1746, and 1760. The obverse shows a left-facing bust of the King, with the inscription GEORGIVS II DEI GRATIA while the reverse shows the crowned "3" and MAG BRI FR ET HIB REX date.
Change of role[edit]
While the silver threepence was minted as a currency coin until nearly the middle of the 20th century, it is clear that the purpose of the coin changed during the reign of King George III (1760–1820). In the first two years of minting, 1762 and 1763, the coin was obviously produced for general circulation as examples are generally found well worn; on the other hand, coins from the late issue (1817–20) are usually found in very fine condition, indicating that they were probably issued as Maundy money. Over the length of the reign there were several different designs of obverse and reverse in use. Threepences were issued in 1762–63, 1765–66, 1770, 1772, 1780, 1784, 1786, 1792, 1795, 1800, 1817, 1818, and 1820. From 1817 the dimensions of the coin were reduced to a weight of 1.4 grams and diameter of 16 millimetres, following the Great Recoinage of 1816. The inscription on the obverse reads GEORGIVS III DEI GRATIA up to 1800, and GEORGIUS III DEI GRATIA date from 1817. The reverse inscription reads MAG BRI FR ET HIB REX date up to 1800 and BRITANNIARUM REX FID DEF date from 1817.
By the start of the reign of King George IV (1820–30) the coin was being struck primarily as a Maundy coin, although some coins were produced for use in the colonies. See Maundy money for full details of these issues. Threepences were struck in all years from 1822 to 1830, though the king's head is smaller on the 1822 issue, apparently because the correct punch broke and the one from the twopence was used instead. The obverse inscription reads GEORGIUS IIII D G BRITANNIAR REX F D, while the reverse shows a new-style crowned "3" and date, all within a wreath.
In King William IV's reign (1830–37), maundy coins were produced in 1831–37, and identical circulation coins were produced for the colonies, identifiable only through not having a prooflike surface. The obverse inscription reads GULIELMUS IIII D G BRITANNIAR REX F D, while the reverse shows the new-style crowned "3" and date, all within a wreath.
Queen Victoria[edit]
Victoria threepence 1899
During the reign of Queen Victoria, threepences were produced both for maundy use and for normal circulation in all years between 1838 and 1901 except 1847, 1848, and 1852 (probably because of the possible advent of a decimal currency at the time (see florin), when the 3d at 1/80th of a pound would not have fitted within a decimal system). Currency silver threepences from 1838 to 1926 were of identical design and cannot usually be distinguished except in the best conditions when the higher striking standard of the maundy coins stand out; this resulted in the curious legal anomaly that when the currency was decimalised in 1971 all silver threepences from 1870 onwards were revalued at three new pence, not just the maundy coins. Threepences were produced with both the "young head" (1838–87) and "Jubilee head" (1887–93), inscribed VICTORIA D G BRITANNIAR REGINA F D, while those produced with the "old head" (1893–1901) are inscribed VICTORIA DEI GRA BRITT REGINA FID DEF IND IMP.
Early 20th century[edit]
The currency threepence was issued for each of the nine years of the reign of King Edward VII from 1902. The reverse design remained the same, while the obverse showed the right-facing effigy of the king, with the inscription EDWARDVS VII D G BRITT OMN REX F D IND IMP.
The reign of King George V (1910–1936) features several changes to the threepence denomination. As with all British silver coins, the silver content was reduced from sterling (0.925) silver to 50% silver, 40% copper, 10% nickel in 1920, 50% silver, 50% copper in 1922, and 50% silver, 40% copper, 5% nickel, 5% zinc in 1927, while the design of the reverse of the circulating threepence (but not the maundy threepence) was completely changed in 1927 to three oak sprigs with three acorns and a "G" in the centre, and the inscription THREE PENCE date. The inscription on the obverse throughout the reign was GEORGIVS V D G BRITT OMN REX F D IND IMP.
The threepences of King Edward VIII were all patterns awaiting royal approval at the time of the abdication in December 1936. The silver threepence had another completely new reverse – three interlinked rings of Saint Edmund, with the inscription FID DEF IND IMP 1937 THREE PENCE, while the obverse shows a left-facing effigy of the king with the inscription EDWARDVS VIII D G BR OMN REX and a very small silver engravement.
Brass vs silver threepences[edit]
A 1943 brass threepenny bit
By the end of George V's reign the threepence had become unpopular in England because of its small size (George Orwell comments on this in Keep the Aspidistra Flying[1]), but it remained popular in Scotland. It was consequently decided to introduce a more substantial threepenny coin which would have a more convenient weight/value ratio than the silver coinage. The silver threepence continued to be minted, as there may have been some uncertainty about how well the new coin would be accepted. The Edward VIII era saw the planned introduction of a new, larger, nickel-brass (79% copper, 20% zinc, 1% nickel) twelve-sided threepence coin. This coin weighed 6.6 grams and the diameter was 21 mm across the sides and 22 mm across the corners. The obverse shows a left-facing effigy of the king[2] (not right as would have been the convention to alternate the direction) with the inscription EDWARDVS VIII D G BR OMN REX F D IND IMP, and the reverse shows a three-headed thrift plant with the inscription THREE PENCE 1937. A total of just 12 of these coins were struck for experimental purposes and sent to a slot machine manufacturing company for testing. The whereabouts of six of those 12 are known. However, the other six are still out there somewhere and, as such, they are extremely rare today. An example was sold at auction in 2013 for £30,000 [3] There are two types of Edward VIII brass threepences. The first type has the date broken by a thrift plant design and the second has the date below.
During the reign of King George VI, circulation silver threepences were produced only in 1937–45 (and almost all the 1945 examples were subsequently melted down). The obverse shows a left-facing effigy of the king with the inscription GEORGIVS VI D G BR OMN REX, while the reverse has an elegant design of a shield of St George lying on a Tudor rose, dividing the date, with the inscription FID DEF IND IMP THREE PENCE. The nickel-brass threepence took over the bulk of the production of the denomination, being produced in all years between 1937 and 1952 except 1947. Apart from the king's head and name, and the weight being increased to 6.8 grams, the coin was identical to that prepared for Edward VIII.[4] Coins dated 1946 and 1949 were minted in far fewer numbers than the rest, and as nickel-brass wears very quickly, higher grade specimens of these coins are expensive to buy now (both over £500 for uncirculated examples). The scarce dates are 1948, 1950 and 1951 and these are now selling for £60–£80 in mint state.
Elizabeth II threepences[edit]
The physical dimensions of the brass threepence remained the same in the reign of Queen Elizabeth II. The effigy of the queen produced by Mary Gillick was used, with the inscription ELIZABETH II DEI GRA BRITT OMN REGINA F D used in 1953, and ELIZABETH II DEI GRATIA REGINA F D used in all other years. The reverse shows a Tudor portcullis with chains and a coronet, with the inscription THREE PENCE date. This coin was produced in all years from 1953 to 1967, and in 1970 (in proof sets only).
Following decimalisation, the brass threepence ceased to be legal tender after 31 August 1971.
The Commonwealth[edit]
A three pence coin was also used in the pre-decimalisation currencies of Commonwealth of Nations countries such as Fiji, Australia, and New Zealand. It was called a tickey in South Africa[5] and Southern Rhodesia.[6]
Building[edit]
No. 1 Croydon was known for many years as the "threepenny bit building" for its resemblance to a stack of threepenny coins. After the coins were phased out (beginning in 1970) the building eventually gained a new nickname: the "50p building”.
Nickname[edit]
The threepenny bit was known as a 'Joey'.
The 12-sided coin reprised[edit]
In March 2014, the Royal Mint announced that a new design of one pound coin would be introduced in 2017, reprising the twelve-sided shape. The new coin was designed to be more difficult to counterfeit.[7][8]
See also[edit]
Irish three-pence coin
Australian threepence coin
New Zealand pound
References[edit]
Jump up ^ Orwell, George (1936). "Chapter 1". Keep the Aspidistra Flying. London: Victor Gollancz. Because how can you buy anything with a threepenny-bit? It isn’t a coin, it's the answer to a riddle.
Jump up ^ "Pictures of Coins of the UK".
Jump up ^ 1937 Edward VIII Brass Threepence Sale
Jump up ^ "Coins of the UK - Three Pence".
Jump up ^ Hear the Tickey Bottle Tinkle, The Rotarian, June 1954, page 51
Jump up ^ Southern Rhodesia, Past and Present, Chronicle Stationery and Book Store, 1945
Jump up ^ Svenja O’Donnell (2014-03-18). "U.K. to Replace 1-Pound Coin With Secure 12-Edged Design". Bloomberg.
Jump up ^ "New 12-sided £1 coin unveiled". ITV. 2014-03-19.
External links[edit]
British Coins – Free information about British coins. Includes an online forum.
History of the Threepence
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text:
Standing on the shoulders of giants
From Wikipedia, the free encyclopedia
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For the Oasis album, see Standing on the Shoulder of Giants. For Stephen Hawking's book, see On the Shoulders of Giants (book).
This picture is derived from Greek mythology: the blind giant Orion carried his servant Cedalion on his shoulders to act as the giant's eyes.
The metaphor of dwarfs standing on the shoulders of giants (Latin: nanos gigantum humeris insidentes) expresses the meaning of "discovering truth by building on previous discoveries".[1] This concept has been traced to the 12th century, attributed to Bernard of Chartres. Its most familiar expression in English is by Isaac Newton in 1675: "If I have seen further it is by standing on ye sholders of Giants."[2]
Contents
[hide]
1 Attribution and meaning
2 References during the sixteenth to nineteenth centuries
3 Contemporary references
4 See also
5 References
6 External links
Attribution and meaning[edit]
The attribution to Bernard of Chartres is due to John of Salisbury. In 1159, John wrote in his Metalogicon: "Bernard of Chartres used to compare us to dwarfs perched on the shoulders of giants. He pointed out that we see more and farther than our predecessors, not because we have keener vision or greater height, but because we are lifted up and borne aloft on their gigantic stature." [3][4][page needed]
According to medieval historian Richard William Southern, Bernard was comparing contemporary 12th century scholars to the ancient scholars of Greece and Rome:[5]
[The phrase] sums up the quality of the cathedral schools in the history of learning, and indeed characterizes the age which opened with Gerbert (950–1003) and Fulbert (960–1028) and closed in the first quarter of the 12th century with Peter Abelard. [The phrase] is not a great claim; neither, however, is it an example of abasement before the shrine of antiquity. It is a very shrewd and just remark, and the important and original point was the dwarf could see a little further than the giant. That this was possible was above all due to the cathedral schools with their lack of a well-rooted tradition and their freedom from a clearly defined routine of study.
An illustration of New Testament evangelists on the shoulders of Old Testament prophets, looking up at the Messiah (from the south rose window of Chartres Cathedral)
The visual image (from Bernard of Chartres) appears in the stained glass of the south transept of Chartres Cathedral. The tall windows under the Rose Window show the four major prophets of the Hebrew Bible (Isaiah, Jeremiah, Ezekiel, and Daniel) as gigantic figures, and the four New Testament evangelists (Matthew, Mark, Luke, and John) as ordinary-size people sitting on their shoulders. The evangelists, though smaller, "see more" than the huge prophets (since they saw the Messiah about whom the prophets spoke).
The phrase also appears in the works of the Jewish tosaphist Isaiah di Trani (c. 1180 – c. 1250):[6]
Should Joshua the son of Nun endorse a mistaken position, I would reject it out of hand, I do not hesitate to express my opinion, regarding such matters in accordance with the modicum of intelligence allotted to me. I was never arrogant claiming "My Wisdom served me well". Instead I applied to myself the parable of the philosophers. For I heard the following from the philosophers, The wisest of the philosophers asked: "We admit that our predecessors were wiser than we. At the same time we criticize their comments, often rejecting them and claiming that the truth rests with us. How is this possible?" The wise philosopher responded: "Who sees further a dwarf or a giant? Surely a giant for his eyes are situated at a higher level than those of the dwarf. But if the dwarf is placed on the shoulders of the giant who sees further? ... So too we are dwarfs astride the shoulders of giants. We master their wisdom and move beyond it. Due to their wisdom we grow wise and are able to say all that we say, but not because we are greater than they.
References during the sixteenth to nineteenth centuries[edit]
Cedalion standing on the shoulders of Orion from Blind Orion Searching for the Rising Sun by Nicolas Poussin, 1658, Oil on canvas; 46 7/8 x 72 in. (119.1 x 182.9 cm), Metropolitan Museum of Art
Diego de Estella took up the quote in the 16th century; by the 17th century it had become commonplace. Robert Burton, in The Anatomy of Melancholy (1621), quotes Stella thus:
I say with Didacus Stella, a dwarf standing on the shoulders of a giant may see farther than a giant himself.
Later editors of Burton misattributed the quote to Lucan; in their hands Burton's attribution Didacus Stella, in luc 10, tom. ii "Didacus on the Gospel of Luke, chapter 10; volume 2" became a reference to Lucan's Pharsalia 2.10. No reference or allusion to the quote is found there.
Later in the 17th century, George Herbert, in his Jacula Prudentum (1651), wrote "A dwarf on a giant's shoulders sees farther of the two."
Isaac Newton remarked in a letter to his rival Robert Hooke dated February 5, 1676 [O.S.][7] (February 15, 1676 [N.S.]) that:
What Des-Cartes [sic] did was a good step. You have added much several ways, & especially in taking the colours of thin plates into philosophical consideration. If I have seen further it is by standing on the sholders [sic] of Giants.
This has recently been interpreted by a few writers as a sarcastic remark directed at Hooke's appearance.[8] Although Hooke was not of particularly short stature, he was of slight build and had been afflicted from his youth with a severe kyphosis. However, at this time Hooke and Newton were on good terms and had exchanged many letters in tones of mutual regard. Only later, when Robert Hooke criticized some of Newton's ideas regarding optics, was Newton so offended that he withdrew from public debate. The two men remained enemies until Hooke's death.
Samuel Taylor Coleridge, in The Friend (1828), wrote:
The dwarf sees farther than the giant, when he has the giant's shoulder to mount on.
Against this notion, Friedrich Nietzsche argues that a dwarf (the academic scholar) brings even the most sublime heights down to his level of understanding. In the section of Thus Spoke Zarathustra (1882) entitled "On the Vision and the Riddle", Zarathustra climbs to great heights with a dwarf on his shoulders to show him his greatest thought. Once there however, the dwarf fails to understand the profundity of the vision and Zarathustra reproaches him for "making things too easy on [him]self." If there is to be anything resembling "progress" in the history of philosophy, Nietzsche in "Philosophy in the Tragic Age of the Greeks" (1873) writes, it can only come from those rare giants among men, "each giant calling to his brother through the desolate intervals of time," an idea he got from Schopenhauer's work in Der handschriftliche Nachlass.[9]
Contemporary references[edit]
The British two pound coin bears the inscription STANDING ON THE SHOULDERS OF GIANTS on its edge; this is intended as a quotation of Newton.[10]
Google Scholar has adopted "Stand on the shoulders of giants" as its motto.
In Umberto Eco's novel The Name of the Rose, William of Baskerville utters the words when speaking to Nicholas of Morimondo, the master glazier at the monastery. Nicholas says about his art: "We no longer have the learning of the ancients, the age of giants is past!", to which William replies: "We are dwarfs, but dwarfs who stand on the shoulders of those giants, and small though we are, we sometimes manage to see farther on the horizon than they."
Linux Mint installation slideshow has a slide titled "Standing on the shoulder of giants" meaning Ubuntu, Debian and GNU.
It is referenced by Mark Zuckerberg, played by Jesse Eisenberg, in the 2010 film The Social Network.
The French program on France Inter radio called Sur les épaules de Darwin ("On the shoulders of Darwin"), by Jean-Claude Ameisen, is named in reference to this expression.
The fourth studio album from British rock band Oasis is titled Standing on the Shoulder of Giants. Songwriter Noel Gallagher chose the name after reading it printed on the edge of a £2 coin; he scribbled the phrase down but spelled it incorrectly with the word 'Shoulder' rather than 'Shoulders' as he was inebriated at the time.
In the novel Jurassic Park, Dr. Ian Malcolm argues that John Hammond's research and advancement in the field of genetics was based on the work of those before him, limiting his responsibility in whatever happens, stating: "You stood on the shoulders of geniuses to accomplish something as fast as you could..."
The X-Files episode "Roland" features a scientist murdering his former colleagues from beyond the grave for taking credit for his research. At the final confrontation, the thieving scientist remarks "If I have seen further than other men, it's because I have stood on the shoulders of giants."
Stephen Hawking's compilation of works by Copernicus, Galileo, Kepler, Newton, and Einstein is entitled On The Shoulders of Giants. The Great Works of Physics and Astronomy, (Running Press 2002) ISBN 0-7624-1698-X. In 2017, Hawking stated: "Each generation stands on the shoulders of those who have gone before them, just as I did as a young PhD student in Cambridge, inspired by the work of Isaac Newton, James Clerk Maxwell and Albert Einstein."[11]
The American rock band R.E.M. uses the phrase "Standing on the shoulders of giants leaves me cold" in the song "King of Birds" from their fifth studio album Document.
The American jazz and rock drummer Steve Smith wrote and produced an educational video package titled Drum Legacy - Standing on the Shoulders of Giants that traces the development of modern drumming from the concepts and techniques of earlier generations of musicians.
On Giant's Shoulders, a 1979 BBC television film about the early life of thalidomide victim Terry Wiles.
In the video game Portal 2, Cave Johnson states "They say great science is built on the shoulders of giants. Not here. At Aperture, we do all our science from scratch. No hand holding.".
The metaphor of "standing on the shoulder of giants" is often used to promote and validate the free software movement. In the book Free as in Freedom, Bob Young of Red Hat supports the free software movement by saying that it enables people to stand on the shoulders of giants. He also says that standing on the shoulders of giants is the opposite of reinventing the wheel.[12]
In the show The Big Bang Theory, when Sheldon Cooper (played by Jim Parsons) invites Professor Proton, Professor Proton is frustrated that nobody takes him seriously in the field of science because of his former role as a children's entertainer. Sheldon then proceeds to tell him that through his childhood, he was inspired to go into a scientific field thanks to Professor Proton's appearance on his TV show. Sheldon then proceeds to tell him that, if this is true of several other individuals that are Sheldon's age, then an entire generation of young scientists is standing on Professor Proton's shoulders.
The Lubavitcher Rebbe said that our generation is compared to "dwarves standing on giants' shoulders". Although we may appear to be on a lower spiritual level (dwarves) than previous generations (who were like giants on a spiritual level), when our (much smaller) achievements are added to their (much larger) achievements, the combined achievements ultimately bring us to the era of Moshiach![13]
See also[edit]
Great Conversation
References[edit]
Jump up ^ Keith, Bonnie (2016). "Strategic Sourcing in the New Economy". Google Books. Palgrave McMillian. Retrieved August 15, 2016.
Jump up ^ Newton, Isaac. "Letter from Sir Isaac Newton to Robert Hooke". Historical Society of Pennsylvania. Retrieved 7 August 2016.
Jump up ^ MacGarry, Daniel Doyle, ed. (1955). The Metalogicon of John Salisbury: A Twelfth-century Defense of the Verbal and Logical Arts of the Trivium. Translated by MacGarry, Daniel Doyle. Berkeley: University of California Press. p. 167. Retrieved April 29, 2016.
Jump up ^ See Merton, Robert K. (1965). On the Shoulders of Giants: A Shandean Postscript. Free Press.
Jump up ^ Southern, Richard William (1952). Making of the Middle Ages. Yale University Press. p. 203.
Jump up ^ Teshuvot (responsa) haRid 301–303. See Shnayer Z. Leiman, Dwarfs on the Shoulders of Giants, Tradition Spring 1993
Jump up ^ Turnbull, H.W. ed., 1959. The Correspondence of Isaac Newton: 1661-1675, Volume 1, London, UK: Published for the Royal Society at the University Press. p. 416
Jump up ^ Crease, Robert P. (2008). The Great Equations: The hunt for cosmic beauty in numbers. Constable and Robinson. p. 82. ISBN 978-1-84529-281-2.
Jump up ^ Nietzsche, Friedrich Wilhelm, Keith Ansell-Pearson, and Duncan Large. "Philosophy in the Tragic Age of the Greeks." The Nietzsche Reader. Malden, MA: Blackwell Pub., 2006. 101–13. Print.
Jump up ^ "United Kingdom Two Pound Coin Design". Royal Mint. Retrieved 2009-01-04.
Jump up ^ https://www.theguardian.com/science/2017/oct/23/stephen-hawking-1966-thesis-cambridge-university-properties-of-expanding-universes
Jump up ^ Williams, Sam (2002). Free as in freedom. O'Reilly Media. ISBN 978-0-596-00287-9.
Jump up ^ http://www.chabad.org/parshah/article_cdo/aid/376112/jewish/Dwarves-on-Giants-Shoulders.htm
External links[edit]
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American Music Award
From Wikipedia, the free encyclopedia
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American Music Awards
American Music Awards of 2017
Logo as of 2016
Awarded for
favorite artists chosen in an online voting
Country
United States
First awarded
1974
Website
theamas.com
Most recent American Music Award winners
← 2016 November 19, 2017
Award
Artist of the Year New Artist of the Year
Winner
Bruno Mars Niall Horan
Previous Artist of the Year
Ariana Grande
Artist of the Year
Bruno Mars
The American Music Awards (AMAs) is an annual American music awards show, created by Dick Clark in 1973 for ABC when the network's contract to air the Grammy Awards expired.[1] Unlike the Grammys, which are awarded on the basis of votes by members of the Recording Academy, the AMAs are determined by a poll of the public and fans, who can vote through the AMAs website.[2] The award statuette is manufactured by New York firm Society Awards.
Contents
[hide]
1 History and overview
1.1 Conception
1.2 Hosts
2 Ceremonies
3 Categories
3.1 Current award categories
3.2 Past award categories
4 Most wins
4.1 Most wins in a single ceremony
4.2 Most wins by category
5 Special awards
5.1 Award of Merit
5.2 International Artist Award of Excellence
5.3 Icon Award
5.4 Dick Clark Award for Excellence
5.5 Award of Achievement
5.6 Lifetime Achievement Award
5.7 Artist of the Decade
6 See also
7 References
8 External links
History and overview[edit]
Conception[edit]
The AMAs was created by Dick Clark in 1973 to compete with the Grammy Awards after the move of that year's show to Nashville, Tennessee led to CBS picking up the Grammy telecasts after its first two in 1971 and 1972 were broadcast on ABC. Michael Jackson and Donny Osmond co-hosted the first award show with Rodney Allen Rippy and Ricky Segall in 1974. In 2014, American network Telemundo acquired the rights to produce a Spanish-language version of the American Music Awards and launched the Latin American Music Awards in 2015.[3][4]
While the Grammy Awards are awarded based on votes by members of the National Academy of Recording Arts and Sciences, the AMAs are determined by a poll of music buyers and the public. The American Music Awards have nominations based on sales, airplay, activity on social networks, and video viewing. Before 2010 had nominations based only on sales and airplay and nominated every work, even if old. The Grammys have nominations based on vote of the Academy and only nominate a work from their eligibility period that changes often.[5][6][7]
Hosts[edit]
The first hosts for the first telecast of the AMAs were Helen Reddy, Roger Miller, and Smokey Robinson. Helen Reddy not only hosted the show but also became the first female artist to win an AMA for Favorite Pop/Rock Female artist. For the first decade or so, the AMAs had multiple hosts, each representing a genre of music. For instance, Glen Campbell would host the country portion (Campbell, in fact, has co-hosted the AMAs more times than any other host or co-host), while other artists would co-host to represent his/her genre. In recent years, however, there has been one single host.
In 1991, Keenen Ivory Wayans became the first Hollywood actor to host the AMAs.
From its inception in 1973 until 2003, the AMAs have been held in mid- to late-January, but were moved to November (usually the Sunday before Thanksgiving) beginning in 2003 so as not to further compete with other major awards shows (such as the Golden Globe Awards and the Academy Awards) and allows for ABC to have a well-rated awards show during November sweeps.
For the 2008 awards, Jimmy Kimmel hosted for the fourth consecutive year. In 2009–2012, there was no host for the first time in history. Instead, the AMAs followed the Grammys' lead in having various celebrities give introductions. However, rapper Pitbull hosted the 2013 ceremony and 2014 ceremony. Jennifer Lopez hosted the 2015 show.[8] Gigi Hadid and Jay Pharoah hosted the 2016 show. Tracee Ellis Ross hosted the show in 2017.
Between 2012 and 2014, as part of a marketing strategy for Samsung, the American Music Awards used the lock screen wallpaper of Samsung Galaxy series mobile phone handsets rather than envelopes to reveal winners. A magnetic screen cover on each phone kept the wallpaper image with the winner's name secret until opened.[9] The Billboard Music Awards, also an ABC awards show produced by Dick Clark Productions, also used Samsung Galaxy handsets to reveal winners. Traditional envelopes returned during DCP's 2015 music awards ceremonies.
Ceremonies[edit]
#
Date
Host
Venue
01 19 February 1974 Donny Osmond, Michael Jackson, Rodney Allen Rippy and Ricky Segall Earl Carroll Theatre
02 18 February 1975 Santa Monica Civic Auditorium
03 31 January 1976
04 31 January 1977 Glen Campbell, Helen Reddy, Lou Rawls and Electric Light Orchestra
05 16 January 1978 David Soul, Glen Campbell and Natalie Cole
06 12 January 1979 Donna Summer, Glen Campbell and Helen Reddy
07 18 January 1980 ABC Studios
08 30 January 1981 Crystal Gayle, Mac Davis and Teddy Pendergrass
09 25 January 1982 Donna Summer, Glen Campbell and Lionel Richie Shrine Auditorium
10 17 January 1983 Aretha Franklin
11 16 January 1984 Lionel Richie
12 28 January 1985
13 27 January 1986 Diana Ross
14 26 January 1987 Diana Ross
15 25 January 1988 Barry Gibb, Maurice Gibb, Mick Fleetwood, Robin Gibb and Whitney Houston
16 30 January 1989 Anita Baker, Debbie Gibson, Kenny Rogers and Rod Stewart
17 22 January 1990 Alice Cooper, Anita Baker, Gloria Estefan, Naomi Judd and Wynonna Judd
18 28 January 1991 Keenen Ivory Wayans
19 27 January 1992 MC Hammer
20 25 January 1993 Bobby Brown, Gloria Estefan and Wynonna Judd
21 07 February 1994 Meat Loaf, Reba McEntire and Will Smith
22 30 January 1995 Queen Latifah, Tom Jones, Lorrie Morgan
23 29 January 1996 Sinbad
24 27 January 1997 Sinbad
25 26 January 1998 Drew Carey
26 11 January 1999 Brandy & Melissa Joan Hart
27 17 January 2000 Norm Macdonald
28 08 January 2001 Britney Spears and LL Cool J
29 09 January 2002 Jenny McCarthy and Sean Combs
30 13 January 2003 Jack Osbourne, Kelly Osbourne, Ozzy Osbourne and Sharon Osbourne
31 16 November 2003 Jimmy Kimmel
32 14 November 2004 Jimmy Kimmel
33 22 November 2005 Cedric the Entertainer
34 21 November 2006 Jimmy Kimmel
35 18 November 2007 Jimmy Kimmel Microsoft Theater
36 23 November 2008 Jimmy Kimmel
37 22 November 2009
38 21 November 2010
39 20 November 2011
40 18 November 2012
41 24 November 2013 Pitbull
42 23 November 2014 Pitbull
43 22 November 2015 Jennifer Lopez
44 20 November 2016 Gigi Hadid and Jay Pharoah
45 19 November 2017 Tracee Ellis Ross
Categories[edit]
Current award categories[edit]
Award
Year
Artist of the Year 1996, 2001–2002, 2003 (November)–present
New Artist of the Year 2004–present
Collaboration of the Year 2015–present
Video of the Year 2016–present
Tour of the Year 2016–present
Top Soundtrack 1996–2003 (January), 2007–2010, 2013–present
Favorite Male Artist – Pop/Rock 1974–present
Favorite Female Artist – Pop/Rock 1974–present
Favorite Duo or Group – Pop/Rock 1974–present
Favorite Album – Pop/Rock 1974–present
Favorite Song – Pop/Rock 1974–1995, 2016–present
Favorite Male Artist – Soul/R&B 1974–present
Favorite Female Artist – Soul/R&B 1974–present
Favorite Album – Soul/R&B 1974–present
Favorite Song – Soul/R&B 1974–1995, 2016–present
Favorite Male Artist – Country 1974–present
Favorite Female Artist – Country 1974–present
Favorite Duo or Group – Country 1974–present
Favorite Album – Country 1974–present
Favorite Song – Country 1974–1995, 2016–present
Favorite Artist – Rap/Hip-Hop 1989–present
Favorite Album – Rap/Hip-Hop 1989–1992, 2003 (January)–present
Favorite Song – Rap/Hip-Hop 2016–present
Favorite Artist – Adult Contemporary 1992–present
Favorite Artist – Alternative 1995–present
Favorite Artist – Latin 1996–present
Favorite Artist – Contemporary Inspirational 2002–present
Favorite Artist – Electronic Dance Music 2012–present
Past award categories[edit]
Award
Year
Single of the Year 2013–2015
Fan's Choice Award 2003 (January)–2003 (November)
Favorite Pop/Rock Video 1984–1988
Favorite Pop/Rock Male Video Artist 1985–1987
Favorite Pop/Rock Female Video Artist 1985–1987
Favorite Pop/Rock Band/Duo/Group Video Artist 1985–1987
Favorite Pop/Rock New Artist 1989–2003
Favorite Soul/R&B Band/Duo/Group 1974–2003, 2005–2006, 2009
Favorite Soul/R&B Video 1984–1988
Favorite Soul/R&B Male Video Artist 1985–1987
Favorite Soul/R&B Female Video Artist 1985–1987
Favorite Soul/R&B Band/Duo/Group Video Artist 1985–1987
Favorite Soul/R&B New Artist 1989–2003
Favorite Country Video 1984–1988
Favorite Country Male Video Artist 1985–1987
Favorite Country Female Video Artist 1985–1987
Favorite Country Band/Duo/Group Video Artist 1985–1987
Favorite Country New Artist 1989–2003
Favorite Disco Male Artist 1979
Favorite Disco Female Artist 1979
Favorite Disco Band/Duo/Group 1979
Favorite Disco Album 1979
Favorite Disco Song 1979
Favorite Heavy Metal/Hard Rock Artist 1989–1997
Favorite Heavy Metal/Hard Rock Album 1989–1992
Favorite Heavy Metal/Hard Rock New Artist 1990–1993
Favorite Rap/Hip-Hop Band/Duo/Group 2003 (January)–2008
Favorite Rap/Hip-Hop New Artist 1990–1994
Favorite Dance Artist 1990–1992
Favorite Dance Song 1990–1992
Favorite Dance New Artist 1990–1992
Favorite Adult Contemporary Album 1992–1994
Favorite Adult Contemporary New Artist 1992–1994
Most wins[edit]
The record for most American Music Awards won is held by Michael Jackson, who has amassed twenty-six awards. The record for most American Music Awards won by a group belongs to Alabama, who have collected twenty-three awards. For a female artist, the record for most American Music Awards won belongs to singer Whitney Houston who has won twenty-one awards.[10]
26 wins
Michael Jackson
23 wins
Alabama
21 wins
Whitney Houston
19 wins
Kenny Rogers
Taylor Swift
17 wins
Garth Brooks
15 wins
Justin Bieber
Reba McEntire
Lionel Richie
12 wins
Willie Nelson
Rihanna
Carrie Underwood
11 wins
Janet Jackson
Tim McGraw
Stevie Wonder
10 wins
Mariah Carey
Randy Travis
9 wins
Boyz II Men
Olivia Newton-John
Luther Vandross
8 wins
Beyoncé
The Black Eyed Peas
Eminem
Bruno Mars
Usher
6 wins
Destiny's Child
Linkin Park
Nicki Minaj
Prince
Will Smith
Justin Timberlake
5 wins
Pearl Jam
Katy Perry
Shakira
4 wins
Creed
Drake
Guns N' Roses
Bruce Springsteen
3 wins
Dr. Dre
Green Day
Jay-Z
Jennifer Lopez
NSYNC
Red Hot Chili Peppers
Spice Girls
Most wins in a single ceremony[edit]
The record for the most American Music Awards won in a single year is held by Michael Jackson (in 1984) and Whitney Houston (in 1994), each with 8 awards to their credit (including the Award of Merit, with which both artists were honored in the respective years).
Michael Jackson 8 (1984)
Whitney Houston 8 (1994)
Most wins by category[edit]
The following list shows the artists with most wins in each category, adapted from the AMAs official website.[11]
Artist of the Year: Taylor Swift (3 wins)
Song of the Year: Kenny Rogers (5 wins)
The Song of the Year record holder accounts for all previous single category winners.
Favorite Male Artist – Pop/Rock: (Tie) Barry Manilow, Eric Clapton, Michael Bolton, Michael Jackson and Justin Bieber (3 wins each)
Favorite Female Artist – Pop/Rock: (Tie) Olivia Newton-John and Whitney Houston (4 wins each)
Favorite Duo or Group – Pop/Rock: (Tie) Aerosmith, The Black Eyed Peas, Hall & Oates and One Direction (3 wins each)
Favorite Album – Pop/Rock: Michael Jackson and Justin Bieber (3 wins)
Favorite Male Artist – Country: Garth Brooks (8 wins)
Favorite Female Artist – Country: Reba McEntire (10 wins)
Favorite Duo or Group – Country: Alabama (17 wins)
Favorite Album – Country: Kenny Rogers, Carrie Underwood (5 wins)
Favorite Artist – Rap/Hip-Hop: Eminem (4 wins)
The Favorite Artist – Rap/Hip-Hop record holder accounts for all previous Favorite Female Artist – Rap/Hip-Hop and Favorite Male Artist – Rap/Hip-Hop category winners.
Favorite Album – Rap/Hip-Hop: Nicki Minaj (3 wins)
Favorite Male Artist – Soul/R&B: Luther Vandross (7 wins)
Favorite Female Artist – Soul/R&B: Rihanna (6 wins)
Favorite Album – Soul/R&B: Michael Jackson (4 wins)
Favorite Artist – Alternative Rock: Linkin Park (6 wins)
Favorite Artist – Adult Contemporary: Celine Dion (4 wins)
Favorite Artist – Latin Music: Enrique Iglesias (7 wins)
Favorite Artist – Contemporary Inspirational: Casting Crowns (4 wins)
Favorite Artist – Electronic Dance Music: (Tie) Calvin Harris and The Chainsmokers (2 wins each)
Special awards[edit]
Award of Merit[edit]
Main article: American Music Award of Merit
The American Music Award of Merit has been awarded to thirty two artists, the latest being Sting (2016).[12]
International Artist Award of Excellence[edit]
The International Artist Award of Excellence has been awarded to seven artists:[13]
Michael Jackson (1993)
Rod Stewart (1994)
Led Zeppelin (1995)
Bee Gees (1997)
Aerosmith (2001)
Beyoncé (2007)
Whitney Houston (2009)
Icon Award[edit]
The AMAs' producer Larry Klein stated: "The first-ever Icon Award was created to honor an artist whose body of work has made a profound influence over pop music on a global level."[14]
Rihanna (2013)
Dick Clark Award for Excellence[edit]
At the 2014 award ceremony, the Dick Clark Award for Excellence was given for the first time.[15]
Taylor Swift (2014)
Award of Achievement[edit]
Main article: American Music Award for Achievement
Michael Jackson (1989)
Prince (1990)
Mariah Carey (2000 and 2008)
Katy Perry (2011)
Lifetime Achievement Award[edit]
Diana Ross (2017)
Artist of the Decade[edit]
90s: Garth Brooks (2000)[16][17]
In 2000, the year Brooks won the award, the AMAs held a poll to elect the Artist of the Decade for each previous decade of the Rock & Roll era. According to some sources, the result of this poll is not counted in the total of AMAs won by these artists.[18][19][20] The results were Elvis Presley (1950s), The Beatles (60s), Stevie Wonder (70s) and Michael Jackson (80s).
See also[edit]
Latin American Music Award
References[edit]
Jump up ^ Perebinossoff, Philippe; et al. (2005). Programming for TV, radio, and the Internet. Elsevier. p. 42.
Jump up ^ "VOTING FAQs" (PDF). the amas. Retrieved November 23, 2015.
Jump up ^ Block, Alex Ben (July 30, 2014). "Telemundo Will Produce a Spanish-Language American Music Awards in 2015". Billboard. Prometheus Global Media. Retrieved May 30, 2015.
Jump up ^ Cobo, Leila (August 24, 2015). "First-Ever Latin American Music Awards Headed to Telemundo". Billboard. Prometheus Global Media. Retrieved August 24, 2015.
Jump up ^ "Taylor Swift, Michael Jackson dominate American Music Awards nominations [UPDATED]". Los Angeles Times. October 13, 2009. Archived from the original on October 15, 2009. Retrieved October 14, 2009.
Jump up ^ "Eminem, Bieber outscore Lady Gaga in AMA nods". Reuters. October 12, 2010. Archived from the original on October 13, 2010. Retrieved October 12, 2010.
Jump up ^ Johnson Jr., Billy (October 12, 2010). "Lady Gaga Snubbed at American Music Awards Nominations". Retrieved October 14, 2010.
Jump up ^ Jennifer Lopez to Host and Perform at the 2015 American Music Awards | American Music Awards. Theamas.com. Retrieved on October 21, 2015.
Jump up ^ "Samsung Galaxy Note 2 Used To Announce Winners at AMAs". Newsbroadcast.co.uk. November 26, 2012. Retrieved December 11, 2012.
Jump up ^ "2015 AMERICAN MUSIC AWARD NOMINEE STATISTICS". dick clark productions. October 13, 2015. Retrieved October 13, 2015.
Jump up ^ "2015 AMERICAN MUSIC AWARD NOMINEE STATISTICS". TheAMAs.com. The American Music Awards. Retrieved October 13, 2015.
Jump up ^ "American Music Award of Merit". The AMAs. Retrieved October 25, 2016.
Jump up ^ "International Artist Award". The AMAs. Retrieved October 25, 2016.
Jump up ^ "Rihanna to receive 'AMA Icon Award'". billboard.com. November 26, 2012. Retrieved November 15, 2013.
Jump up ^ "Taylor Swift to Receive First Ever Dick Clark Award for Excellence at the 2014 AMAs". The AMAs. dick clark productions, inc. November 21, 2014. Retrieved October 10, 2015.
Jump up ^ "Winners Database". The Amas.
Jump up ^ "American Music Awards: List of winners". CNN. January 18, 2000.
Jump up ^ "Lauryn Hill, Backstreet Boys, DMX Honored With American Music Awards". MTV. January 18, 2000. Retrieved June 16, 2010.
Jump up ^ "List of American Music Awards winners". Sun Journal. January 18, 2000. Retrieved June 16, 2010.
Jump up ^ "Santana wins top album honors at American Music Awards". Times Daily. January 18, 2000. Retrieved June 16, 2010.
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2005 Women's Cricket World Cup Final
From Wikipedia, the free encyclopedia
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2005 Women's Cricket World Cup Final
Event
2005 Women's Cricket World Cup
Australia
India
215/4
117
50.0 overs
46.0 overs
Date
10 April 2005
Venue
SuperSport Park, Centurion
Umpires
Shaun George and Zed Ndamane
← 2000
2009 →
The 2005 Women's Cricket World Cup Final was a women's One Day International cricket match between Australia and India played on 10 April 2005 at the SuperSport Park in South Africa. It was the culmination of the 2005 Women's Cricket World Cup, the eighth tournament of the series. Australia won by 98 runs, clinching their fifth World Cup title, and their fourth on foreign soil. It was the first time that the Indian team had reached this stage of a women's World Cup.
Australia won the toss, and their captain Belinda Clark opted to bat first. Her side scored 215 runs with the loss of 4 wickets (215/4) in their 50 overs. Their top scorer was Australian vice-captain Karen Rolton, who scored 107 runs batting at number three. Indian bowler Amita Sharma took two wickets for 39 runs (2/39). In their response, India failed to build a good opening partnership, as opener Jaya Sharma was dismissed for only 5 runs. India continued to score poorly, and the last of their ten wickets fell at the end of their 46th over.[1] Australia bowlers Shelley Nitschke and Cathryn Fitzpatrick each took two wickets. Rolton was named player of the match.
Contents
1 Route to the final
1.1 Group stage
1.2 Semifinals
2 Buildup
3 Match
3.1 Summary
3.2 Scorecard
4 Reaction
5 References
Route to the final[edit]
Main article: 2005 Women's Cricket World Cup
Group stage[edit]
Australia's Karen Rolton was named the player of the tournament.
The 2005 Women's World Cup was a round-robin tournament, in which each of the eight teams played all seven others and the top four progressed to the semifinals.
All of Australia' group stage matches were scheduled at Tshwane University of Technology Oval, Pretoria, except the one against West Indies.[2] Their first match was against England, which "washed out after heavy rain lashed Pretoria".[3] Then, Australia has five consecutive victories, against New Zealand, West Indies, South Africa, Sri Lanka and Ireland by 32 runs, 79 runs, 97 runs, eight wickets and ten wickets respectively.[2]
India's Jhulan Goswami took the third highest number of wickets in the tournament, behind her teammates Neetu David and Amita Sharma.[4]
India' group stage matches were also scheduled at Pretoria, except the one against New Zealand.[5] Their first match was against ri Lanka, which ended with no result.[3] It won its next three matches, against Ireland, South Africa and England by nine wickets, four wicket and seven wickets respectively.[5] It then faced it first loss in the tournament, facing a 16-runs loss from New Zealand.[5]
Both the finalists faced each other in the last match of their group stage, but it was abandoned without a ball being bowled.[6]
Semifinals[edit]
Australia played England in the first semifinal of the tournament. Australia won the toss and put England to bat. England finished on 158, with Fitzpatrick taking three wicket for 27 runs. Clark's tally of 62 runs and Sthalekar's 29 runs helped Australia to reach the required 159 in 47 overs to progress to the final. Clarke was named player of the match.[7]
In the second semifinal India played New Zealand, which won the toss and elected to field first. The Indian openers were quickly dismissed, but Chopra scored 44 and Raj 91 not out, helping India to reach a total of 204 runs. New Zealand finished on 164, and Amita Sharma finished with three wicket for 24 runs. India won by 40 runs and progressed to the final, with Raj being the player of the match.[8]
Buildup[edit]
Before the tournament, Jenny Thompson of ESPNcricinfo identified Australia, India, England and New Zealand as the most likely winners.[9] Australia were runners-up in the previous tournament in 2000.[10] This was the first time that India had reached the final of a women's World Cup,[10] but the seventh for Australia, and their sixth on foreign soil.[10] Australia was the only team still unbeaten in the tournament. The one change in the Australian team was the inclusion of Clea Smith in place of Emma Liddell.[7][1] India fielded the same side as in their semifinal win over New Zealand.[8][1]
Match[edit]
Summary[edit]
Batting conditions were good,[11][12] and Australia's captain Belinda Clark chose to bat first after winning the toss.[1] The Indian bowlers started well:[11] Clark was caught at wicket by wicket keeper Anju Jain,[13] and in the 11th over, Keightley was caught at second slip by Dhar at second slip.[13] Rolton batted at number three and Jones at number four, taking Australia to 50 runs in the 19th over during their 40-run third-wicket partnership. Jones was dismissed in the 25th over by David and Sthalekar came in, scoring 55 in a 139-run fourth-wicket stand with Rolton, during which Australia reached 100 runs in the 34th over.[13] Sthalekar was caught and bowled by Dhar in the last over,[13] after which Blackwell made 4 runs in 2 balls, giving Australia a total of 215 runs.[1] Rolton remained not out, making 107 runs[1] after she was dropped by Amita Sharma on 60.[11] Goswami, Amita Sharma, Dhar and David each took one wicket for India.[1]
India played a poor innings, losing their first wicket in the 8th over, as Jaya Sharma got run out by Sthalekar and Price. Jain, who made 29 runs, got caught by Sthalekar with an easy catch at mid-wicket. Chopra run out by Julie Hayes on ten runs. Then skipper Raj got leg before wicket by Nitschke, playing across the line. Dhar and Kala were run out in consecutive overs, at 6 and 3 runs respectively. Later Amita Sharma and Goswami made 22 and 18 runs respectively. Amita Sharma got leg before wicket by Sthalekar, and Goswami was caught by substitute Kate Blackwell on backward point. David and Khadeer made ducks. Only four Indian players scored double figures, and the team wa all out for 117 runs in 46 overs. Australia's most successful bowler was Nitschke, who took two wickets for 14 runs.[1][13]
Rolton was named player of the match and player of the series.[13]
Scorecard[edit]
On-field umpires Shaun George (South Africa)
Zed Ndamane (South Africa)
Third umpire Walter Liebisch (South Africa)
Match referee Cyril Mitchley ( South Africa)
Toss Australia elected to bat first
Result Australia won by 98 runs
Tournament impact Australia won the 2005 Women's Cricket World Cup
Australia batting innings
Batsman
Method of dismissal
Runs
Balls
Strike rate
Belinda Clark * c Jain b A Sharma 19 33 57.57
Lisa Keightley c Dhar b Goswami 5 19 26.31
Karen Rolton not out 107 128 83.59
Mel Jones lbw b David 17 47 36.17
Lisa Sthalekar c & b Dhar 55 75 73.33
Alex Blackwell not out 4 2 200.00
Cathryn Fitzpatrick did not bat – – –
Julia Price did not bat – – –
Julie Hayes did not bat – – –
Shelley Nitschke did not bat – – –
Clea Smith did not bat – – –
Extras (2 leg byes, 2 wides, 4 no-balls) 8
Totals (50 overs) 215/4
India bowling
Bowler
Overs
Maidens
Runs
Wickets
Economy
Jhulan Goswami 9 2 45 1 5.00
Amita Sharma 10 2 39 1 3.90
Rumeli Dhar 6 0 34 1 5.66
Nooshin Al Khadeer 10 1 35 1 3.50
Neetu David 10 1 39 1 3.90
Deepa Marathe 5 0 21 0 4.20
India batting innings
Batsman
Method of dismissal
Runs
Balls
Strike rate
Anju Jain c Sthalekar b Smith 29 52 55.76
Jaya Sharma run out 5 26 19.23
Anjum Chopra run out 10 31 32.25
Mithali Raj * lbw b Nitschke 6 14 42.85
Rumeli Dhar run out 6 12 50.00
Hemlata Kala run out 3 13 23.07
Amita Sharma lbw b Sthalekar 22 51 43.13
Jhulan Goswami c sub (Kate Blackwell) b Fitzpatrick 18 38 47.36
Deepa Marathe not out 7 25 28.00
Neetu David b Fitzpatrick 0 7 0.00
Nooshin Al Khadeer b Nitschke 0 8 0.00
Extras (2 byes, 3 leg byes, 5 wides, 1 no-balls) 11
Totals (46 overs) 117
Australia bowling
Bowler
Overs
Maidens
Runs
Wickets
Economy
Cathryn Fitzpatrick 8 1 23 2 2.87
Clea Smith 10 5 20 1 2.00
Julie Hayes 10 1 28 0 2.80
Shelley Nitschke 9 14 35 2 1.55
Karen Rolton 5 1 9 0 1.80
Lisa Sthalekar 4 1 18 1 4.50
Key
* – Captain
– Wicket-keeper
c Fielder – the batsman was dismissed by a catch by the named fielder
b Bowler – the bowler who gains credit for the dismissal
lbw – the batsman was dismissed leg before wicket
sub – substitute
Reaction[edit]
Both teams received enthusiastic welcomes on their return home,[14][15] but neither the Australian nor the Indian press paid much attention to the match.[12][15] The Indian side received 10,000 South African rand for being the runners-up.[15]
References[edit]
^ Jump up to: a b c d e f g h "Final: Australia Women v India Women at Centurion, Apr 10, 2005". ESPNcricinfo. Retrieved 7 April 2012.
^ Jump up to: a b "Women's World Cup, 2004/05 - Australia Women / Records / Match results". ESPNcricinfo. Retrieved 10 November 2012.
^ Jump up to: a b "World Cup washout". ESPNcricinfo. 22 March 2005. Retrieved 10 November 2012.
Jump up ^ "Cricket Records – Women's World Cup, 2004/05 – Most wickets". ESPNcricinfo. Archived from the original on 18 July 2012. Retrieved 8 April 2012.
^ Jump up to: a b c "Women's World Cup, 2004/05 - India Women / Records / Match results". ESPNcricinfo. Retrieved 10 November 2012.
Jump up ^ "25th Match: Australia Women v India Women at Pretoria, Apr 3, 2005". ESPNcricinfo. Retrieved 8 April 2012.
^ Jump up to: a b "1st SF: Australia Women v England Women at Potchefstroom, Apr 5, 2005". ESPNcricinfo. Retrieved 8 April 2012.
^ Jump up to: a b "2nd SF: India Women v New Zealand Women at Potchefstroom, Apr 7, 2005". ESPNcricinfo. Retrieved 8 April 2012.
Jump up ^ Jenny Thompson (20 March 2005). "All to play for in Pretoria". Retrieved 26 March 2012.
^ Jump up to: a b c "ICC Women's World Cup History". Yahoo! Cricket. Archived from the original on 13 March 2009. Retrieved 8 April 2012.
^ Jump up to: a b c Nagraj Gollapudi (10 April 2005). "Indian coach hits out at 'very bad display'". ESPNcricinfo. Retrieved 8 April 2012.
^ Jump up to: a b Nagraj Gollapudi (13 April 2005). "'Playing the series in India helped a lot'". ESPNcricinfo. Retrieved 8 April 2012.
^ Jump up to: a b c d e f Jenny Thompson (10 April 2005). "Sublime Rolton guides Australia to fifth World Cup". ESPNcricinfo. Retrieved 8 April 2012.
Jump up ^ "Australia's World Cup heroes return home". ESPNcricinfo. 13 April 2005. Retrieved 8 April 2012.
^ Jump up to: a b c Anand Vasu (13 April 2005). "Women bask in the limelight". ESPNcricinfo. Retrieved 8 April 2012.
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