document_title: Symphony No. 3 (Beethoven)

question_text: who plays the first theme in eroica the first time

text: Symphony No. 3 (Beethoven)

text: Instrumentation[edit]

text: Symphony No. 3 is scored for two flutes, two oboes, two clarinets in B♭, two bassoons, three horns (the 1st in E♭, C, and F; the 2nd in E♭ and C; and the 3rd in E♭), two trumpets in E♭ and C, timpani in E♭ and B♭ (in the 1st, 3rd, and 4th movements) and in C and G (in the 2nd movement), and strings.[citation needed]

text: Form[edit]

text: The work is in four movements:

text: Allegro con brio (12–18 min.) (E♭ major)Marcia funebre: Adagio assai (14–18 min.) (C minor)Scherzo: Allegro vivace (5–6 min.) (E♭ major)Finale: Allegro molto (10–14 min.) (E♭ major)

tag: ol

text: Depending upon the conductor's style and observation of the exposition repeat in the first movement, the performance time is between 41 and 56 minutes.[citation needed]

text: I. Allegro con brio[edit]

text: The first movement, in 34 time, is in sonata form, with typical performances between 12 and 18 minutes long depending on interpretation and whether the exposition repeat is played.[citation needed] Unlike the longer introductions in Beethoven's first two symphonies, the movement opens with two large E♭ major chords, played by the whole orchestra, that establish the tonality of the movement.

text: The conductor Kenneth Woods has noted that the opening movement of Eroica has been inspired by and modeled on Mozart's Symphony No. 39, and shares many attributes of that earlier symphony which predates this one by a decade and a half.[3]

text: Exposition[edit]

text: The exposition begins with the cellos introducing the first theme. By the fifth bar of the melody (m. 7), a chromatic note (C♯) is introduced, thus introducing the harmonic tension of the work. The melody is finished by the first violins, with a syncopated series of Gs (which forms a tritone with C♯ of the cellos). The first theme is then played again by the various instruments.

text: The modulation to the dominant key of B♭ appears early (mm. 42–44).[4]:140 In the traditional analysis, this is followed by three (or in some views, two) transitional subjects that significantly expand the scale of the exposition – a lyrical downward motif (mm. 45–56), an upward scale motif (mm. 57–64), and a section beginning with rapid downward patterns in the violins (mm. 65–82).[a] This eventually leads to a lyrical second theme (m. 83) that arrives "unusually late".[6]:61 After this, the second half of the exposition eventually builds to a loud melody (m. 109) that draws upon the earlier downward motif (m. 113).  The climactic moment of the exposition arrives when the music is interrupted by six consecutive sforzando chords (mm. 128–131).  Later, and following the concluding chords of the exposition (mm. 144–148), the main theme returns in a brief codetta (m. 148) that transitions into the repeat / development.

text: An alternative analysis holds that the second theme begins earlier at m. 45 with the downward motif. In this view, the traditional harmonic progression of the exposition ends at m. 82, with the new lyrical theme at m. 83 beginning an extension. This pattern would be consistent with that found later in the development, in which the climactic moment leads to a new lyrical theme that launches an extended section. Moreover, the downward motif theme (m. 45) is developed significantly in the next section while the lyrical theme (m. 83) does not appear.[7]:97 Commenters have also observed that the sonata form and orchestration transitions would be fully preserved by cutting the second half of the exposition (m. 83–143).[4]:140 However, others have observed that form and orchestration would also be fully preserved if the second and third transitional passages were cut instead (mm. 57–82),[5] consistent with the traditional analysis.

text: Development[edit]

text: The development section (m. 154),[b] like the rest of the movement, is characterized by harmonic and rhythmic tension from dissonant chords and long passages of syncopated rhythm. Following various thematic explorations and counterpoint, the music eventually breaks into a 32-bar passage (mm. 248–279) of sforzando chords including both 2-beat and 3-beat downward patterns, culminating in crashing dissonant forte chords (mm. 276–279). Commenters have stated that this "outburst of rage ... forms the kernel of the whole movement", and Beethoven reportedly got out in his beat when conducting the orchestra in Christmas 1804, forcing the confused players to stop and go back.[6]:64 & footnote

text: Rather than leading to the recapitulation at this point, a new theme in E minor is then introduced instead (mm. 284). This eventually leads to a near-doubling of the development's length, in like proportion to the exposition.[4]:140 The introduction of a new theme in the development broke with the classical tradition that the development section works only with previously existing thematic material.

text: At the end of the development, one horn famously appears to come in early with the main theme in E♭ (mm. 394–395), while the strings continue playing the dominant chord. In the 19th century, this was thought to be a mistake; some conductors assumed the horn notes were written in the tenor clef (B♭–D–B♭–F) while others altered the second violin harmony to G (chord of the tonic), an error that eventually appeared in an early printed version.[6]:66 & footnote However, Beethoven's secretary, Ferdinand Ries, shared this anecdote about that horn entrance:

text: The first rehearsal of the symphony was terrible, but the hornist did, in fact, come in on cue. I was standing next to Beethoven and, believing that he had made a wrong entrance, I said, "That damned hornist! Can't he count? It sounds frightfully wrong." I believe I was in danger of getting my ears boxed. Beethoven did not forgive me for a long time.[8]

text: Recapitulation and coda[edit]

text: The recapitulation section features a sudden excursion to F major early on[4]:141 before eventually returning to a more typical form. The movement concludes in a long coda that reintroduces the new theme first presented in the development section.

text: II. Marcia funebre – Adagio assai[edit]

text: The second movement is a funeral march in the ternary form (A–B–A) that is typical of 18th-century funeral marches,[9]:1071 albeit one that is "large and amply developed" and in which the principal theme has the functions of a refrain as in rondo form.[10]:70  Musically, the thematic solemnity of the second movement has lent itself for use as a funeral march, proper. The movement is between 14 and 18 minutes long.

text: The opening A-section in C minor begins with the march theme in the strings, then in the winds.  A second theme (m. 17) in the relative major (E♭) quickly returns to minor tonality, and these materials are developed throughout the rest of the section.[6]:72 This eventually gives way to a brief B-section in C major (m. 69) "for what may be called the Trio of the March",[6]:72 which Beethoven unusually calls attention to by marking "Maggiore" (major) in the score.

text: At this point, the traditional "bounds of ceremonial propriety" would normally indicate a da capo return to the A theme.[7]:106 However, the first theme in C minor (m. 105) begins modulating in the sixth bar (m. 110), leading to a fugue in F minor (m. 114) based on an inversion of the original second theme. The first theme reappears briefly in G minor in the strings (m. 154), followed by a stormy development passage ("a shocking fortissimo plunge").[10]:70[9]:1072 A full re-statement of the first theme in the original key then begins in the oboe (m. 173).

text: The coda (m. 209) begins with a marching motif in the strings that was earlier heard in the major section (at mm. 78, 100)[6]:72 and eventually ends with a final soft statement of the main theme (m. 238) that "crumbles into short phrases interspersed with silences".[10]:70

text: III. Allegro vivace[edit]

text: The third movement is a lively scherzo with trio in rapid 34 time. It is between 5 and 6 minutes long.[citation needed]

text: The theme first appears pianissimo in the dominant key of B♭ (mm. 7, 21), then piano in the secondary dominant key of F (m. 41), then a pianissimo restart in B♭ (m. 73), and finally a full fortissimo statement in the tonic key of E♭ (m. 93). Later, a downward arpeggio motif with sforzandos on the second beat is played twice in unison, first by the strings (mm. 115–119) and then by the full orchestra (mm. 123–127).  This is followed by a syncopated motif characterized by descending fourths (m. 143), leading to the repeat.

text: The trio section features three horns, the first time this had appeared in the symphonic tradition.[10]:71 The scherzo is then repeated in shortened form,[6]:78 except that very notably the second occurrence of the downward unison motif is changed to duple time (mm. 381–384).[b]  The movement ends with a coda (m. 423) – with Beethoven marking the word in the score which was unusual for him – that quickly builds from pianissimo to fortissimo, encapsulating the pattern of the whole movement.[10]:70

text: IV. Allegro molto[edit]

text: The fourth movement is a set of ten variations on a theme. It lasts between 10 and 14 minutes.[citation needed] The theme was previously used by Beethoven in earlier compositions and arguably forms the basis for the first three movements of the symphony as well (see Thematic Origins below).

text: After a short introduction on the tutti, the quiet theme, in E-flat major, first appears and then is subjected to a series of ten variations:

text: Variation 1: The first variation repeats the theme in "arco" while a new accompaniment is introduced.

text: Variation 2: The next variation, containing a new triplet accompaniment, leads to:

text: Variation 3: Where a new melody is introduced while the theme is still played on the bass.  A brief transitional passage leads to:

text: Variation 4: In C minor, a fugue that starts quietly on the strings as it builds up to a climax.

text: Variation 5: The playful fifth variation, in D major, directly leads to:

text: Variation 6: A stormy variation in G minor.  Another transitional passage brings the piece into:

text: Variation 7: Another fugue, this time in the tonic instead of the submediant, again building up to a climax; at the orchestra pauses on the dominant of the home key, and the theme is further developed in:

text: Variation 8: (Based on 1/2 of the theme) At this point, the tempo slows down to Poco Andante, as the piece becomes more serene and tranquil.

text: Variation 9: (Based on 2/2 of the theme) Another triplet accompaniment is introduced.  The melodies of this variation are made of syncopated 16th and 8th notes.

text: Variation 10: The final variation, which is when the "full image" of The Eroica is heard.  A triumphant and heroic plunges are constantly heard on the tutti, as the melody from the third variation, now victorious and energized, are heard on the brass.

text: The symphony ends with a coda, which takes image on all previous sections and variations of the movement.  At the end of the coda, there is a surprise, which is when the dynamic changes from pp to ff all of a sudden as the tempo abruptly changes to presto.  A flurry of sforzandos appear, and the finale ends with three large E-flat major chords on the tutti, marked fff.

text: History[edit]

text: Beethoven began composing the third symphony soon after Symphony No. 2 in D major, Opus 36 and completed the composition in early 1804. The first public performance of Symphony No. 3 was on 7 April 1805 in Vienna.[11]

text: Thematic origins[edit]

text: There is significant evidence that the Eroica, perhaps unlike Beethoven's other symphonies, was constructed back-to-front.[10]:75 The theme used in the fourth movement, including its bass line, originate from the seventh of Beethoven's 12 Contredanses for Orchestra, WoO 14,[12] and also from the Finale to his ballet The Creatures of Prometheus, Op. 43, both of which were composed in the winter of 1800–1801.[10]:58  The next year, Beethoven used the same theme as the basis for his Variations and Fugue for Piano in E♭ Major, Op. 35, now commonly known as the Eroica Variations due to the theme's re-use in the symphony.  It is the only theme that Beethoven used for so many separate works in his lifetime, and each use is in the same key of E♭ major.[10]:58

text: The "Wielhorsky Sketchbook", Beethoven's principal sketchbook for 1802, contains a two-page movement plan in E♭ major that directly follows the sketches for the Opus 35 Variations, which has been identified as being intended for the Third Symphony.[13][10]:59[c] While the movement plan gives no explicit indication regarding the finale, Lewis Lockwood argues that "there cannot be any doubt that Beethoven intended from the start" to use the same theme (and bass of the theme) that he had just fleshed out in the Opus 35 Variations. Thus, it is argued that Beethoven's initial conception for a complete symphony in E♭ – including its first three movements – emerged directly from the Op. 35 Variations.[10]:60

text: The first movement's main theme (mm. 2–6) has thus been traced back to the bass line theme of the Opus 35 variations (E♭, B♭↓, B♭↑, E♭) by way of intermediate versions found in one of Beethoven's sketchbooks.[13][10]:60–61 In the second movement, the combined tonality (melody and bass) of the Opus 35 theme's first four bars – E♭, B♭↓, B♭7(A♭)↑, E♭ – appears in slightly altered form as the funeral's march's second theme (E♭, B♭↓, A♭↑, E♮) (mvt. II, mm. 17–20), followed by two sudden forte B♭s that echo later elements of the theme. That same tonality then appears unaltered as the scherzo's main theme (mvt. III, mm. 93–100).[citation needed]

text: Thus, the first three movements can be viewed as symphonic-length "variations" on the Opus 35 theme, ultimately anticipating the theme's appearance in the fourth movement. Moreover, Beethoven's choice to begin the symphony with a theme adapted from the bass line is also paralleled in the fourth movement, in which the bass theme is heard as the first variation before the main theme ultimately appears.[citation needed] This again parallels the structure of the Opus 35 variations themselves.  Finally, the loud E♭ chord that begins the Opus 35 variations themselves is moved here to the beginning of the first movement, in the form of the two chords that introduce the first movement.

text: Alternatively, the first movement's resemblance to the overture to the comic opera Bastien und Bastienne (1768), composed by twelve-year-old W. A. Mozart, has been noted.[6]:59–60[14] It was unlikely that Beethoven knew of that unpublished composition. A possible explanation is that Mozart and Beethoven each coincidentally heard and learned the theme from elsewhere.[15]

text: Dedication[edit]

text: Beethoven originally dedicated the third symphony to Napoleon Bonaparte, who he believed embodied the democratic and anti-monarchical ideals of the French Revolution. In autumn of 1804, Beethoven withdrew his dedication of the third symphony to Napoleon, lest it cost him the composer's fee paid him by a noble patron; so, Beethoven re-dedicated his third symphony to Prince Joseph Franz Maximilian Lobkowitz – nonetheless, despite such a bread-and-butter consideration, the politically idealistic Beethoven titled the work "Buonaparte".[16] Later, about the composer's response to Napoleon having proclaimed himself Emperor of the French (14 May 1804), Beethoven's secretary, Ferdinand Ries said that:

text: In writing this symphony, Beethoven had been thinking of Buonaparte, but Buonaparte while he was First Consul. At that time Beethoven had the highest esteem for him, and compared him to the greatest consuls of Ancient Rome. Not only I, but many of Beethoven's closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word "Buonaparte" inscribed at the very top of the title-page and "Ludwig van Beethoven" at the very bottom ...

text: I was the first to tell him the news that Buonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!" Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor. The page had to be recopied, and it was only now that the symphony received the title Sinfonia eroica.[17]

text: An extant copy of the score bears two scratched-out, hand-written sub-titles; initially, the Italian phrase Intitolata Bonaparte ("Titled Bonaparte"), secondly, the German phrase Geschriben auf Bonaparte ("Written for Bonaparte"), four lines below the Italian sub-title. Three months after retracting his initial Napoleonic dedication of the symphony, Beethoven informed his music publisher that "The title of the symphony is really Bonaparte". In 1806, the score was published under the Italian title Sinfonia Eroica ... composta per festeggiare il sovvenire di un grande Uomo ("Heroic Symphony, Composed to celebrate the memory of a great man").[18]

text: Early performances and reviews[edit]

text: Composed from the autumn of 1803 until the spring of 1804, the earliest rehearsals and performances of the third symphony were private, and took place in the Vienna palace of Beethoven's noble patron, Prince Lobkowitz. An account record dated 9 June 1804, submitted by the prince's Kapellmeister Anton Wranitzky, shows that the prince hired twenty-two extra musicians (including the third horn required for the 'Eroica') for two rehearsals of the work.[19] The fee paid to Beethoven by Prince Lobkowitz would also have secured further private performances of the symphony that summer on his Bohemian estates, Eisenberg (Jezeří) and Raudnitz (Roudnice). The first public performance was on 7 April 1805, at the Theater an der Wien, Vienna; for which concert the announced (theoretical) key for the symphony was Dis (D♯ major, 9 sharps).[20]

text: Reviews of the work's public premiere (on 7 April 1805) were decidedly mixed. The concert also included the premiere of a Symphony in E♭ major by Anton Eberl (1765–1807) that received better reviews than Beethoven's symphony.[20] One correspondent describes the first reactions to the Eroica:

text: Musical connoisseurs and amateurs were divided into several parties.  One group, Beethoven's very special friends, maintains that precisely this symphony is a masterpiece.... The other group utterly denies this work any artistic value ... [t]hrough strange modulations and violent transitions ... with abundant scratchings in the bass, with three horns and so forth, a true if not desirable originality can indeed be gained without much effort.  ***  The third, very small group stands in the middle; they admit that the symphony contains many beautiful qualities, but admit that the context often seems completely disjointed, and that the endless duration ... exhausts even connoisseurs, becoming unbearable to the mere amateur.  To the public the symphony was too difficult, too long ... Beethoven, on the other hand, did not find the applause to be sufficiently outstanding.[21]

text: One reviewer at the premiere wrote that "this new work of B. has great and daring ideas, and ... great power in the way it is worked out; but the symphony would improve immeasurably [] if B. could bring himself to shorten it, and to bring more light, clarity, and unity to the whole."[22] Another said that the symphony was "for the most part so shrill and complicated that only those who worship the failings and merits of this composer with equal fire, which at times borders on the ridiculous, could find pleasure in it.[23] But a reviewer just two years later described the Eroica simply as "the greatest, most original, most artistic and, at the same time, most interesting of all symphonies".[24]

text: The finale in particular came in for criticism that it did not live up to the promise of the earlier movements.  An early reviewer found that "[t]he finale has much value, which I am far from denying it; however, it cannot very well escape from the charge of great bizarrerie."[25] Another agreed that "[t]he finale pleased less, and that "the artist often wanted only to play games with the audience without taking its enjoyment into account simply in order to unloose a strange mood and, at the same time, to let his originality sparkle thereby.[26] An exhaustive review of the work in a leading music journal made an observation that may still be familiar to first-time listeners: "this finale is long, very long; contrived, very contrived; indeed, several of merits lie somewhat hidden.  They presuppose a great deal if they are to be discovered and enjoyed, as they must be, in the very moment of their appearance, and not for the first time on paper afterwards."[27] A review of an 1827 performance in London wrote that this particular performance "most properly ended with the funeral march, omitting the other parts, which are entirely inconsistent with the avowed design of the composition.[28]

text: Manuscripts and editions[edit]

text: The original autograph manuscript does not survive.  A copy of the score with Beethoven's handwritten notes and remarks, including the famous scratch-out of the dedication to Napoleon on the cover page, is housed in the library of the Gesellschaft der Musikfreunde in Vienna.  A first published edition (1806) of Beethoven's Eroica is on display at the Lobkowicz Palace in Prague.[29]

text: Several modern scholarly editions have appeared in recent decades, including those edited by Jonathan Del Mar (published by Bärenreiter), Peter Hauschild (Breitkopf & Härtel), and Bathia Churgin (Henle).

text: Assessment[edit]

text: Significance[edit]

text: The work is a milestone work of classical-style composition; it is twice as long as the symphonies of Joseph Haydn and Wolfgang Amadeus Mozart – the first movement is almost as long as a typical Classical symphony (with repetition of the exposition). Thematically, it covers more emotional ground than Beethoven's earlier symphonies, and thus marks a key milestone in the transition between Classicism and Romanticism that would define Western art music in the early decades of the nineteenth century.[citation needed]

text: The second movement especially displays a great emotional range, from the misery of the funeral march theme, to the relative solace of happier, major-key episodes. The finale displays a similar emotional range, and is given a thematic importance then unheard of. In earlier symphonies, the finale was a quick and breezy conclusion; here, the finale is a lengthy set of variations and a fugue.[30]

text: Critical opinion[edit]

text:
In the Treatise on Instrumentation and Orchestration (1844, 1855), Hector Berlioz discussed Beethoven's orchestral use and applications of the horn and of the oboe in this symphony.[31]
The critic J. W. N. Sullivan said that the first movement expresses Beethoven's courage in confronting deafness; the second movement, slow and dirge-like, communicates his despair; the third movement, the scherzo, is an "indomitable uprising of creative energy"; and the fourth movement is an exuberant outpouring of energy.[32]
In Metamorphosen, Study for 23 Solo Strings (1945), Richard Strauss presents themes similar to the funeral march of the Sinfonia Eroica; near the conclusion of the Metamorphoses, the bass quotes the funeral march proper from the Sinfonia Eroica. Academics speculate that Strauss's sub-title "In Memoriam" refers to Ludwig van Beethoven.[33]
In the recording Eroica (1953) and in the book The Infinite Variety of Music (1966), the conductor and composer Leonard Bernstein said that the first and second movements are "perhaps the greatest two movements in all symphonic music".[5][34]
In the article, "Beethoven's Cry of Freedom" (2003), the Marxist critic Gareth Jenkins said that in the Sinfonia Eroica "Beethoven was doing for music what Napoleon was doing for society – turning tradition upside down", and so embodied the "sense of human potential and freedom" that first appeared during the French Revolution.[35]
In 2016, the Eroica was named the greatest symphony of all time by BBC Music Magazine, in a survey of 151 conductors working across the world.[36]

text: Use as funeral music[edit]

text: Since the 19th century, the adagio assai second movement has been a common funeral march played at funerals, memorial services, and commemorations.

text:
In 1847, the symphony's second movement was played at the funeral of the German composer Felix Mendelssohn.[37]
In 1940, F. Scott Fitzgerald died while listening to a recording of this symphony.[38]
In 1945, Serge Koussevitzky performed the second movement to mourn the death of the US President Franklin D. Roosevelt.[39]
In 1957, Bruno Walter performed the entire symphony as the memorial concert for the conductor Arturo Toscanini.[40]
In 1963, the Boston Symphony Orchestra gave an impromptu performance of the second movement of the Eroica symphony to mourn the recently assassinated U.S. President John F. Kennedy.[41]
In 1972, the Munich Philharmonic under Rudolf Kempe played the second movement at the funeral of the eleven Israeli athletes killed in the Munich massacre that occurred at the 1972 Summer Olympics.[42]

text: Cinema[edit]

text: In 2003, a Simon Cellan Jones-directed BBC/Opus Arte made-for-television film, Eroica, was released, with Ian Hart as Beethoven. The Orchestre Révolutionnaire et Romantique, conducted by Sir John Eliot Gardiner, performed the Eroica symphony in its entirety. The subject of the film is the private 1804 premiere of the work at the palace of Prince Lobkowitz (Jack Davenport). The film is based in part on Ferdinand Ries' recollections of the event.[43] In the film Beethoven does not learn that Napoleon has crowned himself Emperor of France until after the performance of the symphony is over – while having dinner with Ferdinand Ries. Rather than tearing up the title page of the symphony, he simply crumples it up.

text: A vinyl record of Beethoven's Symphony No. 3 appears in Alfred Hitchcock's film Psycho. In the scene Lila Crane, sister of the protagonist Marion Crane, is searching the Bates house for Marion, and sees the record on a turntable. A closeup shot of the record label shows that the recording was made by the Symphonette Philharmonic Orchestra conducted by Claudio Caselli.[citation needed]


document_title: Aslan

question_text: who did the voice of aslan in narnia

question_tokens: who did the voice of aslan in narnia

root

text: Aslan

text: Role in The Chronicles of Narnia[edit]

text: In The Magician's Nephew[edit]

text: (This is the first story in the chronology of Narnia, and of its human visitors, but the sixth tale that Lewis wrote, and for most readers, it is not the first meeting with the character.)

tag: p

text: When Digory, Polly, Jadis of Charn, Uncle Andrew, the Cabby and Strawberry inadvertently enter a new world using magic rings, they find it an empty void. Aslan appears, and through the power of his singing, calls the world of Narnia into existence.

text: All the characters immediately feel awe for Aslan. Jadis expresses this as fear and hatred, and before fleeing she assaults Aslan with an iron bar that she tore from a lamp-post in London. Aslan is unperturbed and continues calling plants and animals into existence. The power of his song is so great that even the iron bar, dropped on fertile earth, grows into a functioning lamp post, and toffees sprout into fruit trees. Aslan claims the power of his song will last for a few days.

text: Aslan then selects two of most animals that his song has called into existence and gives them the power of speech and reason. He instructs them to look after all the animals. He appoints the cabby to be King Frank of Narnia and brings his wife Nellie from Earth to be Queen Helen.

text: Aslan explains that Jadis will pose a great threat to the Narnians, and charges Digory and Polly with a quest to acquire a magic apple so they may plant it to protect the land. To aid them, he turns Strawberry into a winged horse named Fledge. When the quest is complete, he crowns Frank and Helen, and advises Digory to take an apple from the tree to revive his sick mother.

text: At the end of the novel, he takes Digory, Polly and Uncle Andrew back to the Wood between the Worlds, without the use of magic rings, and warns them that their Earth would be in danger from an event similar to one that resulted in the destruction of all life on Charn.

text: In The Lion, the Witch and the Wardrobe[edit]

text: Aslan is first introduced in the book The Lion, the Witch and the Wardrobe. Narnia is now in the hundredth year of the tyrannical rule of Jadis, who has returned as a powerful sorceress called the White Witch. Jadis has condemned the land to endless winter – but never Christmas – and has turned hundreds of Aslan's followers to stone.

text: He is first mentioned by Mr. Beaver, who tells the Pevensie children (Peter, Susan, Edmund, and Lucy) that "Aslan is on the move". He explains that Aslan is the true king of Narnia and that the children (as Sons of Adam and Daughters of Eve) are the chosen ones to help end the tyrannical rule of the White Witch. Even as the children explore Narnia, Aslan's presence begins to weaken Jadis' grip on the land; the ice begins to melt and Father Christmas appears at last and gives the children gifts.

text: Edmund, who was enchanted by the White Witch on his first visit to Narnia by eating enchanted Turkish Delight, attempts to betray his siblings and is not present to receive a gift. Mr. and Mrs. Beaver lead the others to Aslan at the Stone Table at a large gathering of Loyal Narnians preparing for war. Aslan sends his creatures to rescue Edmund. Peter slays Maugrim the Wolf, chief of the Witch's secret police, and Aslan makes Peter a knight.

text: The White Witch comes in parley and demands her right to execute Edmund for his betrayal, citing Deep Magic from the Dawn of Time that gives her power over all traitors. In private conversation with her, Aslan offers himself in Edmund's place, and she accepts his offer, though none of Aslan's followers know this. Susan and Lucy, unable to sleep, follow Aslan to the Stone Table that night. They watch from afar as the White Witch asks her evil people to tie him up, shave him, and the Witch kills Aslan with her knife.

text: With her greatest adversary dead, the Witch leaves with her army to prepare for war against the Narnians, convinced that she will win. Lucy, Susan, and a number of mice remove the bonds from Aslan's body; but as the Stone Table breaks they find that his body is gone. To their shock, Aslan reappears alive and well, thanks to a Deeper Magic from before the Dawn of Time. The Witch, having entered Narnia only at the Dawn of Time, had not known of this. Aslan explains that the Deeper Magic is invoked when an innocent willingly offers his life in place of a traitor's, causing death itself to be reversed until the victim is reborn.

text: Aslan goes to the Witch's palace and, with his breath, brings the statues of her petrified enemies back to life. He leads them all to aid Peter, Edmund, and the Narnian army, who are fighting the Witch's army. At the conclusion of the battle, Aslan leaps upon the Witch and kills her.

text: After the defeat of the evil forces, Aslan crowns the four children as Kings and Queens of Narnia, and during the celebration he quietly slips away. The children say nothing about it, for Mr. Beaver had warned them, "...one day you'll see him and another you won't" (a line assigned to Tumnus in the 2005 film), foreshadowing Aslan's role in the books to follow.

text: In The Horse and his Boy[edit]

text: The Horse and His Boy is set during the reign of Peter, Susan, Edmund and Lucy in Narnia, the only extended story told of that period.

text: This book is about finding one's home. The talking horses Bree and Hwin seek their home in the land of Narnia where they were born. For Shasta and Aravis, the two humans who journey with them, finding home is more a matter of the heart (For Aravis had run away from home and Shasta ran away to evade slavery).

text: Aslan's influence throughout "The Horse and his Boy" is at first hidden from the characters. Secretly, he delivered the infant Prince Cor of Archenland from his enemies, placing him in the hands of a Calormene fisherman (who made a slave of him and called him Shasta). When Shasta meets Bree, it is Aslan, disguised as a "witless" lion, who drives them to join Aravis and Hwin. In the form of a cat, Aslan comforts Shasta when he feels abandoned at the Tombs of the Ancient Kings (although as a lion, Aslan defends him from predatory jackals). It is Aslan who chases Bree and Hwin so that they will reach Archenland in time to warn the king of the impending attack by the Calormene army, led by Rabadash. Aslan gives Shasta the resolve to help save Archenland and Narnia from the invaders. He slashes Aravis across the back with his claws as punishment for disregarding her servant's safety when she ran away from home: the cuts on her back equal the severity of her servant's whipping.

text: Eventually Aslan shows himself directly to the travelers, addressing their fears or their self-pity, or their condescension towards others, or their pomposity (after Shasta and Aravis ask why some of the events happened, he said "I tell no one's story but their own"). After the victory over the Calormenes, Aslan reveals himself to Rabadash in an effort to free him of his arrogant and violent ways. When kind words and forgiveness fail to soften Rabadash, who calls Aslan the "demon of Narnia", Aslan resorts to an act of severe kindness: he turns Rabadash into a donkey. To cure himself of this "condition", Rabadash must present himself at the temple of the Calormene god Tash in Tashbaan, where in the sight of his people he would be restored to human form. But if he thereafter goes without ten miles of the temple, he would be turned back into a donkey permanently. Since then, Rabadash remained in Tashban where he ruled until his death.

text: In Prince Caspian[edit]

text: The novel Prince Caspian takes place 1,300 Narnian years after the events in The Lion, the Witch and the Wardrobe. Aslan and the Pevensie children have become near-forgotten "myths", and Narnia is now ruled by Telmarines, humans who have since conquered and settled in Narnia.

text: Aslan serves to guide the Pevensie children to Prince Caspian, but he appears unambiguously to them only when they put their faith in his will and really try to see him.

text: The loyal Narnians gather at Aslan's How, a mound over the site of the Stone Table. Here Prince Caspian forms his army to fight for Narnia against his uncle. Meanwhile, Aslan re-awakens the spirits of the forest and the river, leading a Bacchanalian revel through the oppressed towns and fomenting a popular revolution.

text: When the Telmarines are defeated and the Old Order is restored, Aslan creates a door in the air allowing the children to return to Earth – along with any Telmarines who do not wish to remain in the renewed Narnia, where humans and animals are equal. He tells Peter and Susan that they are now too old to return to Narnia, having learned all they can from their experiences there. However, he tells Edmund and Lucy that they may return to Narnia.

text: In The Voyage of the Dawn Treader[edit]

text: Edmund, Lucy and their cousin Eustace Clarence Scrubb (who "almost deserved it") arrive into Narnia through a painting of a ship which turns into Caspian's ship, Dawn Treader. Caspian, having established peace in Narnia as the new King, has set out on a voyage in search of the Seven Lost Lords who had been loyal to his late father and were subsequently banished by the usurper Miraz. The talking mouse Reepicheep accompanies Caspian in hopes that their voyage will lead to Aslan's Country in the uttermost East, for he was told by a dryad that his fate lies in Aslan's country. Lucy and Caspian come to the conclusion that it was Aslan who summoned the three children into Narnia to help Caspian on his quest.

text: On many of the islands where they stop, a brief glimpse of Aslan or his image is enough to guide Caspian and his crew away from danger and folly. When the recalcitrant Eustace becomes a dragon, Aslan meets him and pulls the dragon-skin away, leaving Eustace a chastened and more pleasant boy.

text: In a magician's house on another island, Lucy attempts to perform a spell that would make her tragically beautiful, despite being warned of negative consequences. Just as she is about to say the words, however, she sees an image of Aslan snarling at her, frightening her from reading the spell (in the 2010 film, she reads the spell and turns into a version of Susan and finds her brothers have not heard of Lucy or Narnia). Aslan also reprimands her for using another spell to see what her friends say about her. She encounters a story-spell that she feels is the best story ever that disappears after she reads it, and Aslan reassures her that she will be able to read it again.

text: Eventually Edmund, Lucy, Eustace, and Reepicheep the mouse reach the world's end, where Aslan appears as a lamb before transforming into a lion (a scene that refers to John 21:12, where Jesus appears after his resurrection and makes a breakfast of fish for his disciples). He shows Reepicheep the way to his country and helps the children return home. He tells Edmund and Lucy that, like Peter and Susan, they have become too old to return to Narnia, and that they must instead come to know him in their world—a relatively direct reference to the Christian theme of the series. He does not say whether Eustace will return to Narnia.

text: In The Silver Chair[edit]

text: The story begins with Eustace Scrubb, who was introduced in The Voyage of the Dawn Treader, and his classmate Jill. They are unhappy at their school, where bullying is left uncorrected. One day they are beset by bullies, and Eustace suggests that they ask for Aslan's help. They blunder through a temporary gate and find themselves in a Unknown Place, atop an immense cliff. Jill, showing off, moves too close to the edge, and Eustace falls off trying to pull her back.

text: Aslan appears and saves Eustace by blowing him into Narnia. Then he explains to Jill that she and Eustace are charged with the quest of finding Caspian's son Prince Rilian who disappeared years before. He tells her that their task has become more difficult because of what she did, but gives her four Signs to guide them on their quest. The fourth and final Sign is that at a key moment they will be asked to do something "in Aslan's name".

text: According to the Narnian timeline, fifty years have elapsed since The Voyage of the Dawn Treader.

text: Aslan then blows Jill into Narnia, where she arrives a few moments after Eustace. They see a very old King Caspian setting sail to search for Aslan one last time, but fail to realise who he is until it is too late, and are unable to speak to him. However, the elderly Lord Regent, Trumpkin the Dwarf, takes them to Cair Paravel. There they are aided by Master Glimfeather the Owl and a Parliament of his fellow talking owls (a pun on Chaucer's Parlement of Foules, and a nod toward "parliament" as a collective noun for owls, as "exaltation" is for larks). The owls explain that Rilian disappeared while searching for the green serpent that killed his mother; they believe that he is now under the spell of an enchantress he had seen in the forest while searching for the serpent. As Jill and Eustace journey toward the far north of Narnia, they acquire a companion and guide, a gloomy but stalwart Marsh-wiggle, fittingly named Puddleglum (or "the wet blanket").

text: Aslan makes no further appearance until the end of the story, but his Signs prove central to the quest, and belief in Aslan plays a crucial part in defeating the Lady of the Green Kirtle, who tries to destroy the children's belief in the reality of Narnia. The children manage to rescue Rilian, and they return him to Narnia just in time to meet his father, who dies shortly afterwards.

text: In the end, Aslan sends Jill and Eustace back to our world. Aided by a rejuvenated Caspian, Aslan helps them repay the school bullies—and make the school better in the process. Aslan shows himself to the bullies, who, seeing only what they take to be a wild lion, are severely shaken. But no one believes their story, as the only other witnesses are Jill, Eustace and Caspian.

text: In The Last Battle[edit]

text: The ape Shift disguises the reluctant donkey Puzzle as Aslan and fools the Narnians into thinking that Aslan has returned. Shift issues commands in "Aslan's" name and takes advantage of the credulous Narnians.

text: Shift and the unbelieving Calormene leader Rishda Tarkaan encourage the invading Calormenes and the dispirited Narnians to treat Aslan and the Calormene god Tash as a single, combined being—"Tashlan". Dissenters are thrown into Puzzle's stable supposedly to meet "Tashlan" where they are murdered by Calormene soldiers.

text: King Tirian of Narnia calls on Aslan for help, and Jill and Eustace arrive in Narnia. They help Tirian and the remaining loyal Narnians battle the Calormenes and their allies, but are all forced through the stable door along with several Black Dwarfs. They find themselves not within the confines of a stable, but in a paradise: Aslan's Country. Aslan is there, with King Peter and the other Pevensies (except for Susan, who no longer believes in Narnia) with other characters from previous books, and they watch through the stable door as the world of Narnia is destroyed with the dragons and the salamanders ripping up the trees and Father Time crushing the sun. All of the people and animals (including those who had previously died) gather outside the barn and are judged by Aslan. The animals who have been loyal to Aslan or the morality upheld by Narnians join Aslan in Aslan's Country. The animals who have opposed or deserted him become ordinary animals and vanish to an unknown place that not even C.S. Lewis knows where they went. The Black Dwarfs (who unlike the Red Dwarfs have lost faith in Aslan) are unable to see Aslan's Country, certain that they are still inside an ordinary stable. When Lucy asks Aslan to help them, he tells her that he will show her what he can and what he cannot do. He then growls at the Black Dwarfs, and makes food magically appear in their hands. This fails to convince them: they think that the growling is a machine and that the food is only what would normally be found in a stable. Aslan tells the children that the Black Dwarfs shut themselves out from him, and therefore cannot be reached, much like Uncle Andrew in The Magician's Nephew.

text: Aslan then commands Peter to shut the door on Narnia, and he leads them into his country, a platonic ideal of Narnia. He greets Emeth, a devout yet kind Tash-worshipping Calormene, telling him that "I and Tash are of such different kinds that no service which is vile can be done to me, and none which is not vile can be done to him." As they get "further up and further in", the Narnians find Aslan's country getting bigger and better, eventually encompassing Earth as well. Digory, Polly, Peter, Edmund, Lucy, Eustace, and Jill learn that they have died, or rather, passed into Aslan's country, which is more real than the "Shadowlands" (to use Lewis's own word) from which they have come.

text: Influences[edit]

text: Christian interpretation[edit]

text: Although Aslan can be read as an original character, parallels exist with Christ. In particular, Aslan's sacrifice and subsequent resurrection parallel Christ's crucifixion and resurrection. Aslan also has God-like powers; he created Narnia with a song (The Magician’s Nephew). The Emperor-Over-the-Sea then refers to God the Father, and Aslan’s country (The Voyage of the Dawn Treader) to heaven. In The Last Battle a new Narnia is made and also a new Earth, as in the Book of Revelation. Furthermore, there are biblical references of Christ being called a lion, as in Revelation 5:5 "Then one of the elders said to me, “Do not weep. See, the Lion of the tribe of Judah, the Root of David, has conquered, so that he can open the scroll and its seven seals." (NRSV). When he first appeared at the end of The Voyage of the Dawn Treader, he looked like a lamb, which is also a symbol of Christ, who is frequently described throughout the New Testament as being "The Lamb of God".

text: According to the author, Aslan is not an allegorical portrayal of Christ, but rather a suppositional incarnation of Christ Himself:

text: If Aslan represented the immaterial Deity, he would be an allegorical figure. In reality however, he is an invention giving an imaginary answer to the question, "What might Christ become like if there really were a world like Narnia and He chose to be incarnate and die and rise again in that world as He actually has done in ours?" This is not allegory at all.[4]

text: This interpretation is related to J. R. R. Tolkien's concept of "secondary creation" expounded in his 1947 essay "On Fairy-Stories", reflecting discussions Lewis and Tolkien had in the Inklings group.

text: Aslan's words to the Calormene in The Last Battle ("I take to me the services which thou hast done to [the false god]... if any man swear by [him] and keep his oath for the oath's sake, it is by [Christ] that he has truly sworn, though he know it not, and it is I who reward him"), ratifying the good deeds the latter did even under the name of Tash, have been the subject of controversy in some Christian circles. See Emeth for details.

text: In 375 Saint Augustine compared Jesus both with a lamb (Agnus Dei) and with a lion: "Why a lamb in his passion? Because he underwent death without being guilty of any iniquity. Why a lion in his passion? Because in being slain, he slew death. Why a lamb in his resurrection? Because his innocence is everlasting. Why a lion in his resurrection? Because everlasting also is his might."[5] At the end of The Voyage of the Dawn Treader Aslan appears to the children as a lamb and tells them that this is how he appears in their world.

text: Revelation 5:5 states "And one of the elders saith unto me, Weep not: behold, the Lion of the tribe of Judah, the Root of David, hath prevailed to open the book, and to loose the seven seals thereof." This is widely regarded as a reference to Jesus.

text: Portrayals[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2011) (Learn how and when to remove this template message)

tag: table

text: The first visual dramatization of The Lion, the Witch and the Wardrobe, broadcast on British television in 1967, presented a bipedal Aslan played by Bernard Kay. In the animated adaptation of The Lion, the Witch, and the Wardrobe distributed by the Children's Television Workshop (now Sesame Workshop), Aslan is voiced by Stephen Thorne. Thorne also makes appearances as the Great Lion in the adaptations made in the mid-1990s by BBC Radio.

text: In all four of the BBC television serial adaptations of the late 1980s and early 1990s (The Lion, the Witch and the Wardrobe, Prince Caspian and The Voyage of the Dawn Treader (two tales told in one package), The Silver Chair), Aslan is voiced by Ronald Pickup and the elaborate costume/puppet is operated by Alisa Berk, Tim Rose, and William Todd-Jones. In the Focus on the Family radio adaptations, he is portrayed by David Suchet.

text: In the 2005 film, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, the CGI Aslan is voiced by Liam Neeson. Neeson returned to voice the character in the sequel, The Chronicles of Narnia: Prince Caspian in 2008, and the third film in the series, The Chronicles of Narnia: The Voyage of the Dawn Treader.[1]


document_title: List of average human height worldwide

question_text: average height of a female in the us

question_tokens: average height of a female in the us

text: List of average human height worldwide

text: Below are average adult human heights by country or geographical region. The original studies and sources should be consulted for details on methodology and the exact populations measured, surveyed, or considered.

text: As with any statistical data, the accuracy of such data may be questionable for various reasons:

text:
Some studies may allow subjects to self-report values. Generally speaking, self-reported height tends to be taller than its measured height, although the overestimation of height depends on the reporting subject's height, age, gender and region.[1][2][3][4]
Test subjects may have been invited instead of chosen at random, resulting in sampling bias.
Some countries may have significant height gaps between different regions. For instance, one survey shows there is 10.8 cm (4 1⁄2 in) gap between the tallest state and the shortest state in Germany.[5] Under such circumstances, the mean height may not represent the total population unless sample subjects are appropriately taken from all regions with using weighted average of the different regional groups.
Different social groups can show different mean height. According to a study in France, executives and professionals are 2.6 cm (1 in) taller, and university students are 2.55 cm (1 in) taller[6] than the national average.[7] As this case shows, data taken from a particular social group may not represent a total population in some countries.
A relatively small sample of the population may have been measured, which makes it uncertain whether this sample accurately represents the entire population.
The height of persons can vary over the course of a day, due to factors such as a height decrease from exercise done directly before measurement (i.e. inversely correlated), or a height increase since lying down for a significant period of time (i.e. positively correlated). For example, one study revealed a mean decrease of 1.54 centimetres (0.61 in) in the heights of 100 children from getting out of bed in the morning to between 4 and 5 p.m. that same day.[8] Such factors may not have been controlled in some of the studies.

tag: ul

text: Note: Letters in grey indicate non-measured height.

text:
Country/Region
Average male height
Average female height
Stature ratio
(male to female)
Sample population /
age range
Share of
pop. over 18
covered[9][10][11]
Methodology
Year
Source

Albania
174.0 cm (5 ft 8 1⁄2 in)
161.8 cm (5 ft 3 1⁄2 in)
1.08
20–29 (N= m:649 f:1,806)
23.5%
Measured
2008–2009
[12][13]

Argentina
N/A
159.6 cm (5 ft 3 in)
N/A
19–49
60.4%
Measured
2004–2005
[14]

Argentina
174.46 cm (5 ft 8 1⁄2 in)
161.01 cm (5 ft 3 1⁄2 in)
1.08
Healthy, 18 (N= m:90 f:97, SD= m:7.43 cm (3 in) f:6.99 cm (3 in))
2.9%
Measured
1998–2001
[15]

Armenia
N/A
158.1 cm (5 ft 2 in)
N/A
25–49 (N= f:4,218, SD= f:5.7 cm (2 in))
48.6%
Self-reported
2005
[16]

Australia
175.6 cm (5 ft 9 in)
161.8 cm (5 ft 3 1⁄2 in)
1.09
18+
100.0%
Measured
2011–2012
[17]

Australia
177.8 cm (5 ft 10 in)
163.8 cm (5 ft 4 1⁄2 in)
1.09
18–24
12.4%
Measured
2011–2012
[17]

Austria
179 cm (5 ft 10 1⁄2 in)
166 cm (5 ft 5 1⁄2 in)
1.08
20–49
54.3%
Measured
2006
[18]

Austria
180 cm (5 ft 11 in)
167 cm (5 ft 5 1⁄2 in)
1.08
20–24
7.7%
Measured
2006
[18]

Austria
178.80 cm (5 ft 10 1⁄2 in)
N/A
1.07
30–34
7.8%
Estimates
1976–1980
[19]

Austria
179.2 cm (5 ft 10 1⁄2 in)
167.6 cm (5 ft 6 in)
1.07
21 (N= m:53 f:69, SD= m:6.1 cm (2 1⁄2 in) f:5.6 cm (2 in))
1.5%
Self-reported
2001
[20]

Azerbaijan
171.8 cm (5 ft 7 1⁄2 in)
165.4 cm (5 ft 5 in)
1.04
16+
106.5%
Measured
2005
[21]

Bahrain
165.1 cm (5 ft 5 in)
154.2 cm (5 ft 1⁄2 in)
1.07
19+ (N= m:1,120 f:1,181, SD= m:9.0 cm (3 1⁄2 in) f:7.8 cm (3 in))
97.7%
Measured
2002
[22]

Bahrain
171.0 cm (5 ft 7 1⁄2 in)
156.6 cm (5 ft 1 1⁄2 in)
1.09
18
1.9%
Measured
2009
[23][24]

Bangladesh
N/A
150.6 cm (4 ft 11 1⁄2 in)
N/A
25–49 (N= f:7,368, SD= f:5.5 cm (2 in))
56.2%
Self-reported
2007
[16]

Belgium
178.70 cm (5 ft 10 1⁄2 in)
N/A
N/A
30–34
8.1%
Estimates
1976–1980
[19]

Belgium
178.6 cm (5 ft 10 1⁄2 in)
168.1 cm (5 ft 6 in)
1.06
21 (N= m:20–49 f:20–49, SD= m:6.6 cm (2 1⁄2 in) f:5.3 cm (2 in))
1.7%
Self-reported
2001
[20]

Benin
N/A
159.3 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:11,015, SD= f:6.5 cm (2 1⁄2 in))
53.5%
Self-reported
2006
[16]

Bolivia
N/A
151.8 cm (5 ft 0 in)
N/A
25–49 (N= f:10,302, SD= f:5.9 cm (2 1⁄2 in))
52.6%
Self-reported
2003
[16]

Bolivia
160.0 cm (5 ft 3 in)
142.2 cm (4 ft 8 in)
1.13
Aymara, 20–29
N/A
Measured
1970
[25]

Bosnia and Herzegovina
183.9 cm (6 ft 1⁄2 in)
171.1 cm (5 ft 7 1⁄2 in)
1.07
Students at UBL,19–32 (N= m:178 f:34, SD= m:7.11 cm (3 in) f:6.56 cm (2 1⁄2 in))
0.4%[26]
Measured
2014
[27]

Brazil
170.7 cm (5 ft 7 in)
158.8 cm (5 ft 2 1⁄2 in)
1.07
18+ (N= m:62,037 f:65,696)
100.0%
Measured
2009
[28][29]

Brazil
173.0 cm (5 ft 8 in)
161.1 cm (5 ft 3 1⁄2 in)
1.07
20–24 (N= m:8,299 f:7,938)
13.0%
Measured
2009
[28]

Brazil – Urban
173.5 cm (5 ft 8 1⁄2 in)
161.6 cm (5 ft 3 1⁄2 in)
1.07
20–24 (N= m:6,360 f:6,305)
10.9%
Measured
2009
[28]

Brazil – Rural
170.9 cm (5 ft 7 1⁄2 in)
158.9 cm (5 ft 2 1⁄2 in)
1.07
20–24 (N= m:1,939 f:1,633)
2.1%
Measured
2009
[28]

Bulgaria
175.2 cm (5 ft 9 in)
163.2 cm (5 ft 4 1⁄2 in)
1.07
N/A
N/A
N/A
2010
[30]

Bulgaria – Sofia
178.1 cm (5 ft 10 in)
164.8 cm (5 ft 5 in)
1.08
N/A
N/A
N/A
2010
[30]

Burkina Faso
N/A
161.6 cm (5 ft 3 1⁄2 in)
N/A
25–49 (N= f:7,337, SD= f:6.2 cm (2 1⁄2 in))
55.5%
Self-reported
2003
[16]

Cambodia
N/A
152.4 cm (5 ft 0 in)
N/A
25–49 (N= f:5,081, SD= f:5.4 cm (2 in))
52.2%
Self-reported
2005
[16]

Cameroon – Urban
170.6 cm (5 ft 7 in)
161.3 cm (5 ft 3 1⁄2 in)
1.06
15+ (N= m:3,746 f:5,078)
53.6%
Measured
2003
[31]

Cameroon – Urban
172.1 cm (5 ft 8 in)
162.0 cm (5 ft 4 in)
1.06
35-44 (N= m:558 f:1,156)
8.7%
Measured
2003
[31]

Canada
175.1 cm (5 ft 9 in)
162.3 cm (5 ft 4 in)
1.08
18–79
94.7%
Measured
2007–2009
[32]

Canada
176.0 cm (5 ft 9 1⁄2 in)
163.3 cm (5 ft 4 1⁄2 in)
1.08
25–44
36.5%
Measured
2005
[3]

Central African Republic
N/A
158.9 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:1,408, SD= f:6.6 cm (2 1⁄2 in))
50.0%
Self-reported
1994
[16]

Chad
N/A
162.6 cm (5 ft 4 in)
N/A
25–49 (N= f:2,393, SD= f:6.4 cm (2 1⁄2 in))
51.9%
Self-reported
2004
[16]

Chile
169.6 cm (5 ft 7 in)
156.1 cm (5 ft 1 1⁄2 in)
1.09
15+
107.2%
Measured
2009–2010
[33]

Chile
171.2 cm (5 ft 7 1⁄2 in)
157.2 cm (5 ft 2 in)
1.09
25–44
41.2%
Measured
2009–2010
[33]

Chile
171 cm (5 ft 7 1⁄2 in)
159.1 cm (5 ft 2 1⁄2 in)
1.07
15–24
23.7%
Measured
2009–2010
[33]

China, People's Republic of
167.1 cm (5 ft 6 in)
155.8 cm (5 ft 1 1⁄2 in)
1.07
18+
100.0%
Measured
2012
[34]

China, Mainland
172.1 cm (5 ft 8 in)
160.1 cm (5 ft 3 in)
1.07
19
2.1%
Measured
2010
[35]

China, People's Republic of – Urban
170.2 cm (5 ft 7 in)
158.6 cm (5 ft 2 1⁄2 in)
1.07
17
0.6%
Measured
2002
[36]

China, People's Republic of – Rural
166.3 cm (5 ft 5 1⁄2 in)
157.0 cm (5 ft 2 in)
1.06
17
1.6%
Measured
2002
[36]

China, People's Republic of – Beijing
174.7 cm (5 ft 9 in)
161.3 cm (5 ft 3 1⁄2 in)
1.08
21
0.2%[37]
Measured
2010
[38]

China, People's Republic of – Sichuan
169.2 cm (5 ft 6 1⁄2 in)
158.2 cm (5 ft 2 1⁄2 in)
1.07
20–24
0.7%[39]
Measured
2010
[40]

Colombia
170.6 cm (5 ft 7 in)
158.7 cm (5 ft 2 1⁄2 in)
1.07
18–22 (N= m:1,528,875 f:1,468,110)
14.1%
Measured
2002
[41]

Colombia
N/A
155.0 cm (5 ft 1 in)
N/A
25–49 (N= f:22,947, SD= f:6.2 cm (2 1⁄2 in))
55.8%
Self-reported
2004
[16]

Comoros
N/A
154.8 cm (5 ft 1 in)
N/A
25–49 (N= f:644, SD= f:5.8 cm (2 1⁄2 in))
49.8%
Self-reported
1996
[16]

Congo, Democratic Republic of the
N/A
157.7 cm (5 ft 2 in)
N/A
25–49 (N= f:2,727, SD= f:8.0 cm (3 in))
52.7%
Self-reported
2005
[16]

Congo, Republic of the
N/A
159.0 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:3,922, SD= f:8.1 cm (3 in))
55.7%
Self-reported
2007
[16]

Croatia
180.4 cm (5 ft 11 in)
166.49 cm (5 ft 5 1⁄2 in)
1.09
18 (N= m:358 f:360, SD= m:6.8 cm (2 1⁄2 in) f:6.1 cm (2 1⁄2 in))
1.6%
Measured
2006–2008
[42]

Cuba – Urban
168 cm (5 ft 6 in)
156 cm (5 ft 1 1⁄2 in)
1.08
15+
79.2%
Measured
1999
[43]

Czech Republic
180.31 cm (5 ft 11 in)
167.22 cm (5 ft 6 in)
1.08
17
1.6%
Measured
2001
[44]

Denmark
180.4 cm (5 ft 11 in)
N/A
N/A
Conscripts, 18–20 (N= m:38,025)
5.3%
Measured
2012
[45]

Denmark
181.4 cm (5 ft 11 1⁄2 in)
N/A
N/A
30
1.5%
Estimates
1976–1980
[19]

Denmark
182.6 cm (6 ft 0 in)
168.7 cm (5 ft 6 1⁄2 in)
1.08
23 (N= m:–20 f:20–49, SD= m:NA f:7.4 cm (3 in))
1.6%
Self-reported
2001
[20]

Dinaric Alps
185.6 cm (6 ft 1 in)
171.8 cm (5 ft 7 1⁄2 in)
1.08
17
N/A
Measured
2005
[46]

Dominican Republic
172.7 cm (5 ft 8 in)
159 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:4,763, SD= f:6.3 cm (2 1⁄2 in))
54.8%
Self-reported
2014
[47]

El Salvador
N/A
160.3 cm (5 ft 3 in)
N/A
25–49
50.9%
Self-reported
2007
[16]

Egypt
170.3 cm (5 ft 7 in)
158.9 cm (5 ft 2 1⁄2 in)
1.07
20–24 (N= m:845 f:1,059)
16.6%
Measured
2008
[48]

Egypt
N/A
159.5 cm (5 ft 3 in)
N/A
25–49 (N= f:13,813, SD= f:6.0 cm (2 1⁄2 in))
53.2%
Self-reported
2008
[16]

Estonia
179.1 cm (5 ft 10 1⁄2 in)
N/A
N/A
17
2.3%
Measured
2003
[49]

Ethiopia
N/A
157.6 cm (5 ft 2 in)
N/A
25–49 (N= f:3,868, SD= f:6.6 cm (2 1⁄2 in))
53.8%
Self-reported
1997
[16]

Europe
177.6 cm (5 ft 10 in)[50]
N/A
N/A
17–29[51]
N/A
Measured and Self-reported
2001–2012
[12]

Finland
178.9 cm (5 ft 10 1⁄2 in)
165.3 cm (5 ft 5 in)
1.08
25–34 (N= m/f:2,305)
19.0%
Measured
1994
[52]

Finland
180.7 cm (5 ft 11 in)
167.2 cm (5 ft 6 in)
1.08
−25 (N= m/f:26,636)
9.2%
Measured
2010–2011
[52][53]

Finland
177.9 cm (5 ft 10 in)
N/A
N/A
30–34
8.4%
Estimates
1976–1980
[19]

France
175.6 cm (5 ft 9 in)
162.5 cm (5 ft 4 in)
1.08
18–70 (N= m/f:11,562)
85.9%
Measured
2003–2004
[54][55]

France
174.1 cm (5 ft 8 1⁄2 in)
161.9 cm (5 ft 3 1⁄2 in)
1.08
20+
96.6%
Measured
2001
[7]

France
177.0 cm (5 ft 9 1⁄2 in)
164.6 cm (5 ft 5 in)
1.08
20–29
17.5%
Measured
2001
[7]

France
176.2 cm (5 ft 9 1⁄2 in)
N/A
N/A
30–34
8.3%
Estimates
1976–1980
[19]

Gabon
N/A
158.4 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:1,576, SD= f:6.2 cm (2 1⁄2 in))
52.1%
Self-reported
2000
[16]

Gambia – Rural
168.0 cm (5 ft 6 in)
157.8 cm (5 ft 2 in)
1.06
21–49 (N= m:9,559 f:13,160, SD= m:6.7 cm (2 1⁄2 in) f:5.6 cm (2 in))
N/A
Measured
1950–1974
[56]

Germany
175.4 cm (5 ft 9 in)
162.8 cm (5 ft 4 in)
1.08
18–79 (N= m/f:19,768)
94.3%
Measured
2007
[5]

Germany
178.9 cm (5 ft 10 1⁄2 in)
166.1 cm (5 ft 5 1⁄2 in)
1.08
18–37
29.2%
Measured
2007
[5]

Germany – Urban[57]
180.6 cm (5 ft 11 in)
168.5 cm (5 ft 6 1⁄2 in)
1.08
18–37
7.1%[58]
Measured
2007
[5]

Germany
180.17 cm (5 ft 11 in)
N/A
N/A
30–34
7.2%
Estimates
1976–1980
[19]

Germany
178 cm (5 ft 10 in)
165 cm (5 ft 5 in)
1.08
18+ (N= m:25,112 f:25,560)
100.0%
Self-reported
2009
[59]

Germany
181 cm (5 ft 11 1⁄2 in)
168 cm (5 ft 6 in)
1.08
18–25 (N= m:2,501 f:2,227)
11.3%
Self-reported
2009
[59]

Ghana
N/A
159.3 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:2,958, SD= f:6.7 cm (2 1⁄2 in))
54.4%
Self-reported
2008
[16]

Ghana
169.5 cm (5 ft 6 1⁄2 in)
158.5 cm (5 ft 2 1⁄2 in)
1.07
25–29
14.7%
Measured
1987–1989
[60]

Greece
177 cm (5 ft 9 1⁄2 in)
165 cm (5 ft 5 in)
1.07
18–49
56.3%
Measured
2003
[18]

Greece
177 cm (5 ft 9 1⁄2 in)
166 cm (5 ft 5 1⁄2 in)
1.07
20–24
8.5%
Measured
2003
[18]

Greece
178.06 cm (5 ft 10 in)
N/A
N/A
Conscripts, 18–26 (N= m:3,982, SD= m:7.05 cm (3 in))
13.7%
Measured
2006–2007
[61]

Greece
177.29 cm (5 ft 10 in)
N/A
N/A
30–34
9.5%
Estimates
1976–1980
[19]

Greece
178.3 cm (5 ft 10 in)
166.6 cm (5 ft 5 1⁄2 in)
1.07
21 (N= m:20–49 f:20–49, SD= m:6.6 cm (2 1⁄2 in) f:5.3 cm (2 in))
1.8%
Self-reported
2001
[20]

Guatemala
N/A
147.3 cm (4 ft 10 in)
N/A
25–49 (N= f:1,773, SD= f:6.3 cm (2 1⁄2 in))
52.3%
Self-reported
1998
[16]

Guinea
N/A
158.8 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:2,563, SD= f:6.3 cm (2 1⁄2 in))
52.9%
Self-reported
2005
[16]

Haiti
N/A
158.6 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:2,932, SD= f:6.5 cm (2 1⁄2 in))
52.8%
Self-reported
2005
[16]

Honduras
N/A
152.0 cm (5 ft 0 in)
N/A
25–49 (N= f:11,219, SD= f:6.4 cm (2 1⁄2 in))
53.3%
Self-reported
2005
[16]

Hong Kong
171.7 cm (5 ft 7 1⁄2 in)
158.7 cm (5 ft 2 1⁄2 in)
1.08
18 (N= m:468 f:453, SD= m:5.5 cm (2 in) f:5.7 cm (2 in))
1.4%
Measured
2006
[62]

Hong Kong
173.4 cm (5 ft 8 1⁄2 in)
160.1 cm (5 ft 3 in)
1.08
University students, 19–20 (N= m:291 f:200, SD= m:6.1 cm (2 1⁄2 in) f:5.2 cm (2 in))
0.6%[63]
Measured
2005
[64]

Hungary
176 cm (5 ft 9 1⁄2 in)
164 cm (5 ft 4 1⁄2 in)
1.07
Adults
N/A
Measured
2000s
[65]

Hungary
177.3 cm (5 ft 10 in)
N/A
N/A
18 (N= m:1,080, SD= m:5.99 cm (2 1⁄2 in))
1.7%
Measured
2005
[66]

India
164.7 cm (5 ft 5 in)
151.9 cm (5 ft 0 in)
1.08
20–49 (N= m:69,245 f:118,796)
69.8%
Measured
2005–2006
[67]

Iceland
181 cm (5 ft 11 1⁄2 in)
168 cm (5 ft 6 in)
1.08
20–49
43.6%
Self-reported
2007
[18]

India – Rural
161.2 cm (5 ft 3 1⁄2 in)
152.1 cm (5 ft 0 in)
1.06
17+ (SD= m:7.0 cm (3 in) f:6.3 cm (2 1⁄2 in))
72.1%
Measured
2007
[68]

India
166.3 cm (5 ft 5 1⁄2 in)
152.6 cm (5 ft 0 in)
1.09
20
3.0%
Predicted
2005–2006
[68]

Indonesia
158 cm (5 ft 2 in)
147 cm (4 ft 10 in)
1.07
50+ (N= m:2,041 f:2,396, Median= m:158 cm (5 ft 2 in) f:147 cm (4 ft 10 in))
22.5%
Self-reported
1997
[69]

Iran
170.3 cm (5 ft 7 in)
157.2 cm (5 ft 2 in)
1.08
21+ (N= m/f:89,532, SD= m:8.05 cm (3 in) f:7.22 cm (3 in))
88.1%
Measured
2005
[70]

Iran
173.4 cm (5 ft 8 1⁄2 in)
159.8 cm (5 ft 3 in)
1.09
21–25
17.9%
Measured
2005
[70]

Iraq – Baghdad
165.4 cm (5 ft 5 in)
155.8 cm (5 ft 1 1⁄2 in)
1.06
18–44 (N= m:700 f:800, SD= m:5.6 cm (2 in) f:16.0 cm (6 1⁄2 in))
76.3%
Measured
1999–2000
[71]

Ireland
177 cm (5 ft 9 1⁄2 in)
163 cm (5 ft 4 in)
1.09
20–49
61.8%
Measured
2007
[18]

Ireland
179 cm (5 ft 10 1⁄2 in)
163 cm (5 ft 4 in)
1.10
20–24
10.4%
Measured
2007
[18]

Ireland
176.60 cm (5 ft 9 1⁄2 in)
N/A
N/A
30
1.7%
Estimates
1976–1980
[19]

Ireland
177.5 cm (5 ft 10 in)
163.5 cm (5 ft 4 1⁄2 in)
1.09
21 (N= m:54 f:20–49, SD= m:6.3 cm (2 1⁄2 in) f:7.6 cm (3 in))
2.4%
Self-reported
2001
[20]

Israel
177 cm (5 ft 9 1⁄2 in)
166 cm (5 ft 5 1⁄2 in)
1.07
18–21
9.7%
Measured
2010
[72]

Italy
176.5 cm (5 ft 9 1⁄2 in)
162.5 cm (5 ft 4 in)
1.09
18
1.4%
Measured
1999–2004
[12][24][73]

Italy
174.48 cm (5 ft 8 1⁄2 in)
N/A
N/A
30
1.6%
Estimates
1976–1980
[19]

Italy
177.2 cm (5 ft 10 in)
167.8 cm (5 ft 6 in)
1.06
21 (N= m:106 f:92, SD= m:6.0 cm (2 1⁄2 in) f:6.1 cm (2 1⁄2 in))
1.4%
Self-reported
2001
[20]

Ivory Coast
170.1 cm (5 ft 7 in)
159.1 cm (5 ft 2 1⁄2 in)
1.07
25–29 (SD= m:6.7 cm (2 1⁄2 in) f:5.67 cm (2 in))
14.6%
Measured
1985–1987
[60]

Ivory Coast
N/A
159.8 cm (5 ft 3 in)
N/A
25–49 (N= f:1,600, SD= f:6.2 cm (2 1⁄2 in))
53.4%
Self-reported
1998
[16]

Jamaica
171.8 cm (5 ft 7 1⁄2 in)
160.8 cm (5 ft 3 1⁄2 in)
1.07
25–74
71.4%
Measured
1994–1996
[74]

Japan
172 cm (5 ft 7 1⁄2 in)
158 cm (5 ft 2 in)
1.08
20–49
47.2%
Measured
2005
[18]

Japan
172.0 cm (5 ft 7 1⁄2 in)
158.70 cm (5 ft 2 1⁄2 in)
1.08
20–24 (N= m:1,708 f:1,559, SD= m:5.42 cm (2 in) f:5.30 cm (2 in))
7.2%
Measured
2004
[75]

Japan
170.7 cm (5 ft 7 in)
158.0 cm (5 ft 2 in)
1.08
17
1.2%
Measured
2013
[76]

Jordan
N/A
158.2 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:4,484, SD= f:6.6 cm (2 1⁄2 in))
55.6%
Self-reported
2007
[16]

Kazakhstan
N/A
159.8 cm (5 ft 3 in)
N/A
25–49 (N= f:1,600, SD= f:6.3 cm (2 1⁄2 in))
53.7%
Self-reported
1999
[16]

Kenya
170.0 cm (5 ft 7 in)
N/A
N/A
25–49 (N= f:1,600, SD= f:6.3 cm (2 1⁄2 in))
53.7%
Summary
2016
[77]

Kenya
N/A
158.2 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:4,856, SD= f:7.3 cm (3 in))
52.5%
Survey
2016
[16][77]

Korea, NorthNorth Korea
165.6 cm (5 ft 5 in)
154.9 cm (5 ft 1 in)
1.07
Defectors, 20–39 (N= m/f:1,075)
46.4%
Measured
2005
[78]

Korea, SouthSouth Korea
170.7 cm (5 ft 7 in)
157.4 cm (5 ft 2 in)
1.08
20+ (N= m:2,750 f:2,445, Median= m:170.7 cm (5 ft 7 in) f:157.4 cm (5 ft 2 in), SD= m:6.40 cm (2 1⁄2 in) f:5.99 cm (2 1⁄2 in))
96.5%
Measured
2010
[79]

Korea, SouthSouth Korea
173.5 cm (5 ft 8 1⁄2 in)
160.4 cm (5 ft 3 in)
1.08
20–24 (N= m:378 f:298, Median= m:174.0 cm (5 ft 8 1⁄2 in) f:160.5 cm (5 ft 3 in), SD= m:5.16 cm (2 in) f:5.26 cm (2 in))
8.0%
Measured
2010
[79]

Korea, SouthSouth Korea
173.5 cm (5 ft 8 1⁄2 in)
N/A
N/A
Conscripts, 18–19 (N= m:363,827)
3.8%
Measured
2014
[80]

Korea, SouthSouth Korea – Seoul
173.9 cm (5 ft 8 1⁄2 in)
N/A
N/A
Conscripts, 18–19 (N= m:65,876)
0.8%
Measured
2014
[80]

Kyrgyzstan
N/A
158.0 cm (5 ft 2 in)
N/A
25–49 (N= f:2,424, SD= f:5.8 cm (2 1⁄2 in))
55.4%
Self-reported
1997
[16]

Lesotho
N/A
157.6 cm (5 ft 2 in)
N/A
25–49 (N= f:1,879, SD= f:6.7 cm (2 1⁄2 in))
49.8%
Self-reported
2004
[16]

Liberia
N/A
157.3 cm (5 ft 2 in)
N/A
25–49 (N= f:4,281, SD= f:6.2 cm (2 1⁄2 in))
52.8%
Self-reported
2006
[16]

Lithuania
177.2 cm (5 ft 10 in)
N/A
N/A
Conscripts, 19–25 (N= m:197 SD= m:6.3 cm (2 1⁄2 in))
14.7%
Measured
2005[81]
[82]

Lithuania – Urban
178.4 cm (5 ft 10 in)
N/A
N/A
Conscripts, 19–25 (N= m:91 SD= m:6.7 cm (2 1⁄2 in))
9.9%
Measured
2005[81]
[82]

Lithuania – Rural
176.2 cm (5 ft 9 1⁄2 in)
N/A
N/A
Conscripts, 19–25 (N= m:106 SD= m:5.9 cm (2 1⁄2 in))
4.9%
Measured
2005[81]
[82]

Lithuania
181.3 cm (5 ft 11 1⁄2 in)
167.5 cm (5 ft 6 in)
1.08
18
2.1%
Measured
2001
[83]

Madagascar
N/A
154.3 cm (5 ft 1⁄2 in)
N/A
25–49 (N= f:5,024, SD= f:6.0 cm (2 1⁄2 in))
53.6%
Self-reported
2003
[16]

Malawi – Urban
166 cm (5 ft 5 1⁄2 in)
155 cm (5 ft 1 in)
1.07
16–60 (N= m:583 f:315, SD= m:6.0 cm (2 1⁄2 in) f:9.4 cm (3 1⁄2 in))
101.1%
Measured
2000
[84]

Malaysia
166.3 cm (5 ft 5 1⁄2 in)
154.7 cm (5 ft 1 in)
1.07
Malay, 20–24 (N= m:749 f:893, Median= m:166 cm (5 ft 5 1⁄2 in) f:155 cm (5 ft 1 in), SD= m:6.46 cm (2 1⁄2 in) f:6.04 cm (2 1⁄2 in))
9.7%[85]
Measured
1996
[86]

Malaysia
168.5 cm (5 ft 6 1⁄2 in)
158.1 cm (5 ft 2 in)
1.07
Chinese, 20–24 (N= m:407 f:453, Median= m:169 cm (5 ft 6 1⁄2 in) f:158 cm (5 ft 2 in), SD= m:6.98 cm (2 1⁄2 in) f:6.72 cm (2 1⁄2 in))
4.1%[85]
Measured
1996
[86]

Malaysia
169.1 cm (5 ft 6 1⁄2 in)
155.4 cm (5 ft 1 in)
1.09
Indian, 20–24 (N= m:113 f:140, Median= m:168 cm (5 ft 6 in) f:156 cm (5 ft 1 1⁄2 in), SD= m:5.84 cm (2 1⁄2 in) f:6.18 cm (2 1⁄2 in))
1.2%[85]
Measured
1996
[86]

Malaysia
163.3 cm (5 ft 4 1⁄2 in)
151.9 cm (5 ft 0 in)
1.08
Other indigenous, 20–24 (N= m:257 f:380, Median= m:163 cm (5 ft 4 in) f:152 cm (5 ft 0 in), SD= m:6.26 cm (2 1⁄2 in) f:5.95 cm (2 1⁄2 in))
0.4%[85]
Measured
1996
[86]

Mali – Southern Mali
171.3 cm (5 ft 7 1⁄2 in)
160.4 cm (5 ft 3 in)
1.07
Rural adults (N= m:121 f:320, SD= m:6.6 cm (2 1⁄2 in) f:5.7 cm (2 in))
N/A
Measured
1992
[87]

Malta
169.9 cm (5 ft 7 in)
159.9 cm (5 ft 3 in)
1.06
18+
100.0%
Self-reported
2003
[88]

Malta
175.2 cm (5 ft 9 in)
163.8 cm (5 ft 4 1⁄2 in)
1.07
25–34
17.5%
Self-reported
2003
[88]

Mexico
167 cm (5 ft 5 1⁄2 in)
154 cm (5 ft 1⁄2 in)
1.08
20–49
69.4%
Measured
2006
[18]

Mexico
169 cm (5 ft 6 1⁄2 in)
155 cm (5 ft 1 in)
1.08
20–24
14.5%
Measured
2006
[18]

Mexico
172 cm (5 ft 7 1⁄2 in)
N/A
N/A
Middle & upper classes, young adults
N/A
Measured
N/A
[89]

Mexico – Bajío
172 cm (5 ft 7 1⁄2 in)
N/A
N/A
Adults
N/A
Measured
N/A
[90]

Mexico – Central
N/A
162 cm (5 ft 4 in)
N/A
26–39
N/A
Measured
N/A
[90]

Mexico – Morelos
167 cm (5 ft 5 1⁄2 in)
155 cm (5 ft 1 in)
1.08
18–76
1.6%[91]
Self-reported
1998–1999
[92]

Moldova
N/A
161.2 cm (5 ft 3 1⁄2 in)
N/A
25–49 (N= f:4,757, SD= f:6.2 cm (2 1⁄2 in))
45.9%
Self-reported
2005
[16]

Mongolia
168.4 cm (5 ft 6 1⁄2 in)
157.7 cm (5 ft 2 in)
1.07
25–34 (N= m:158 f:181)
27.6%
Measured
2006
[93]

Montenegro
183.2 cm (6 ft 0 in)
168.4 cm (5 ft 6 1⁄2 in)
1.09
Students at UCG,18–37 (N= m:178 f:107, SD= m:7.06 cm (3 in) f:5.27 cm (2 in))
3.2%[94]
Measured
2011
[24]

Morocco
N/A
158.5 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:10,334, SD= f:6.0 cm (2 1⁄2 in))
54.7%
Self-reported
2003
[16]

Mozambique
N/A
156 cm (5 ft 1 1⁄2 in)
N/A
25–49 (N= f:6,912, SD= f:6.2 cm (2 1⁄2 in))
55.0%
Self-reported
2003
[16]

Namibia
N/A
160.7 cm (5 ft 3 1⁄2 in)
N/A
25–49 (N= f:5,575, SD= f:7.1 cm (3 in))
50.4%
Self-reported
2006
[16]

Nepal
163.0 cm (5 ft 4 in)
150.8 cm (4 ft 11 1⁄2 in)
N/A
25–49 (N= f:6,280, SD= f:5.5 cm (2 in))
52.9%
Self-reported
2006
[16]

Netherlands
181 cm (5 ft 11 1⁄2 in)
169 cm (5 ft 6 1⁄2 in)
1.07
Caucasians,16–18[95] (N= m:37 f:52, SD= m:6 cm (2 1⁄2 in) f:5 cm (2 in))
3.7%[96]
Measured
2003
[97]

Netherlands
182.70 cm (6 ft 0 in)
N/A
N/A
30–34
7.8%
Estimates
1976–1980
[19]

Netherlands
180.8 cm (5 ft 11 in)
167.5 cm (5 ft 6 in)
1.08
20+
96.8%
Self-reported
2010
[9][29][98]

Netherlands
183.2 cm (6 ft 0 in)
169.9 cm (5 ft 7 in)
1.08
20–30
16.9%
Self-reported
2010
[98]

Netherlands
183.8 cm (6 ft 1⁄2 in)
170.7 cm (5 ft 7 in)
1.08
21 (N= m:74 f:50, SD= m:7.1 cm (3 in) f:6.3 cm (2 1⁄2 in))
1.5%
Self-reported
2009
[99]

New Zealand
177 cm (5 ft 9 1⁄2 in)
164 cm (5 ft 4 1⁄2 in)
1.08
20–49
56.9%
Measured
2007
[18]

New Zealand
178 cm (5 ft 10 in)
164 cm (5 ft 4 1⁄2 in)
1.09
20–24
9.1%
Measured
2007
[18]

Nicaragua
N/A
153.7 cm (5 ft 1⁄2 in)
N/A
25–49
54.1%
Self-reported
2001
[16]

Nigeria
163.8 cm (5 ft 4 1⁄2 in)
157.8 cm (5 ft 2 in)
1.04
18–74
98.6%
Measured
1994–1996
[74]

Nigeria
167.2 cm (5 ft 6 in)
160.3 cm (5 ft 3 in)
1.04
20–29 (N= m:139 f:76, SD= m:6.5 cm (2 1⁄2 in) f:5.7 cm (2 in))
33.2%
Measured
2011
[100]

Norway
180.0 cm (5 ft 11 in)
N/A
N/A
Conscripts, 18–44 (N= m:18,297)
36.0%
Measured
2011
[101]

Norway – Vest-Agder
181.7 cm (5 ft 11 1⁄2 in)
N/A
N/A
Conscripts, 18–44 (N= m:770)
1.33%
Measured
2011
[101]

Norway – Oslo
179.8 cm (5 ft 11 in)
N/A
N/A
Conscripts, 18–44 (N= m:1,297)
4.78%
Measured
2011
[101]

Norway – Finnmark
177.5 cm (5 ft 10 in)
N/A
N/A
Conscripts, 18–44 (N= m:218)
0.54%
Measured
2011
[101]

Norway
179.63 cm (5 ft 10 1⁄2 in)
N/A
N/A
30–34
8.5%
Estimates
1976–1980
[19]

Norway
180.3 cm (5 ft 11 in)
167 cm (5 ft 5 1⁄2 in)
1.08
20–85 (N= m:1534 f:1743)
93.6%
Self-reported
2008–2009
[9][29][102]

Norway
182.4 cm (6 ft 0 in)
168 cm (5 ft 6 in)
1.09
20–25 (SD= m:5.3 cm (2 in) f:6.5 cm (2 1⁄2 in))
9.5%
Self-reported
2008–2009
[102]

Norway
181.6 cm (5 ft 11 1⁄2 in)
168.2 cm (5 ft 6 in)
1.08
26–35 (SD= m:6.3 cm (2 1⁄2 in) f:6.3 cm (2 1⁄2 in))
17.0%
Self-reported
2008–2009
[102]

Peru
164 cm (5 ft 4 1⁄2 in)
151 cm (4 ft 11 1⁄2 in)
1.09
20+
93.8%
Measured
2005
[103]

Philippines
165.6 cm (5 ft 5 in)
N/A
N/A
18+
-
Measured
1980
[104]

Poland
178.7 cm (5 ft 10 1⁄2 in)
165.1 cm (5 ft 5 in)
1.08
18 (N= m:846 f:1,126)
1.6%
Measured
2010
[105]

Portugal
173.9 cm (5 ft 8 1⁄2 in)
N/A
N/A
18 (N= m:696)
1.5%
Measured
2008
[12][106]

Portugal
172.30 cm (5 ft 8 in)
N/A
N/A
30–34
9.7%
Estimates
1976–1980
[19]

Portugal
171 cm (5 ft 7 1⁄2 in)
161 cm (5 ft 3 1⁄2 in)
1.06
20–50
56.7%
Self-reported
2001
[18]

Portugal
173.7 cm (5 ft 8 1⁄2 in)
163.7 cm (5 ft 4 1⁄2 in)
1.06
21 (N= m:87 f:106, SD= m:8.2 cm (3 in) f:5.3 cm (2 in))
1.9%
Self-reported
2001
[20]

Qatar
170.8 cm (5 ft 7 in)
161.1 cm (5 ft 3 1⁄2 in)
1.06
18
1.9%
Measured
2005
[24][107]

Rwanda
N/A
157.7 cm (5 ft 2 in)
N/A
25–49 (N= f:3,202, SD= f:6.5 cm (2 1⁄2 in))
54.2%
Self-reported
2005
[16]

Romania
172 cm (5 ft 7 1⁄2 in)
157 cm (5 ft 2 in)
1.10
N/A
N/A
Measured
2007
[108]

Russia
177.2 cm (5 ft 10 in)
164.1 cm (5 ft 4 1⁄2 in)
1.08
24
1.9%
Measured
2004
[24][109]

Samoa
N/A
166.6 cm (5 ft 5 1⁄2 in)
N/A
18–28 (N= f:55 SD= f:6.5 cm (2 1⁄2 in))
32.6%
Measured
2004
[110]

Saudi Arabia
168.9 cm (5 ft 6 1⁄2 in)
156.3 cm (5 ft 1 1⁄2 in)
1.08
18
3.0%
Measured
2010
[24][111]

Senegal
N/A
163 cm (5 ft 4 in)
N/A
25–49 (N= f:2,533, SD= f:6.7 cm (2 1⁄2 in))
54.4%
Self-reported
2005
[16]

Serbia
182.0 cm (5 ft 11 1⁄2 in)
166.8 cm (5 ft 5 1⁄2 in)
1.09
Students at UNS,18–30 (N= m:318 f:76, SD= m:6.74 cm (2 1⁄2 in) f:5.88 cm (2 1⁄2 in))
0.7%[112]
Measured
2012
[113]

Singapore
171 cm (5 ft 7 1⁄2 in)
160 cm (5 ft 3 in)
1.07
Chinese students at TP,16–18[114] (N= m:52 f:49, SD= m:6 cm (2 1⁄2 in) f:5 cm (2 in))
0.3%[115][116]
Measured
2003
[97]

Slovakia
179.4 cm (5 ft 10 1⁄2 in)
165.6 cm (5 ft 5 in)
1.08
18
2.0%
Measured
2004
[117]

Slovenia – Ljubljana
180.3 cm (5 ft 11 in)
167.4 cm (5 ft 6 in)
1.08
19
0.2%[118]
Measured
2011
[119]

South Africa
168 cm (5 ft 6 in)
159 cm (5 ft 2 1⁄2 in)
1.06
19 (N= m:121 f:118)
3.6%
Measured
2003
[120]

Sri Lanka
163.6 cm (5 ft 4 1⁄2 in)
151.4 cm (4 ft 11 1⁄2 in)
1.08
18+ (N= m:1,768 f:2,709, SD= m:6.9 cm (2 1⁄2 in) f:6.4 cm (2 1⁄2 in))
100.0%
Measured
2005–2006
[121]

Sri Lanka
165.6 cm (5 ft 5 in)
154.0 cm (5 ft 1⁄2 in)
1.08
18–29 (N= m:312 f:427, SD= m:7.1 cm (3 in) f:5.9 cm (2 1⁄2 in))
30.7%
Measured
2005–2006
[121]

Spain
173.1 cm (5 ft 8 in)
N/A
N/A
18–70 (N= m:1,298 [122][123] )
88.2%
Measured
2013–2014
[124][125]

Spain
N/A
159.6 cm (5 ft 3 in)
N/A
18–70 (N= f:8,217 [126][127] )
83.5%
Measured
2007–2008
[29][123][124][127]

Spain
175.3 cm (5 ft 9 in)
N/A
N/A
18–34 (N= m:554-1,061 [123][128] )
26.8%
Measured
2013–2014
[124][125][129][130]

Spain
N/A
162.6 cm (5 ft 4 in)
N/A
18–19 (N= f:656 [127][131] )
2.4%
Measured
2007–2008
[123][124][127]

Spain
175.5 cm (5 ft 9 in)
N/A
N/A
30–34
11.1%
Estimates
1976–1980
[19]

Spain
174 cm (5 ft 8 1⁄2 in)
163 cm (5 ft 4 in)
1.07
20–49
57.0%
Self-reported
2007
[18]

Spain
176 cm (5 ft 9 1⁄2 in)
166 cm (5 ft 5 1⁄2 in)
1.06
20–24
7.5%
Self-reported
2007
[18]

Spain
178 cm (5 ft 10 in)
166.2 cm (5 ft 5 1⁄2 in)
1.07
21 (N= m:111 f:94, SD= m:6.9 cm (2 1⁄2 in) f:6.2 cm (2 1⁄2 in))
1.8%
Self-reported
2001
[20]

Swaziland
N/A
159.1 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:2,612, SD= f:6.3 cm (2 1⁄2 in))
51.0%
Self-reported
2006
[16]

Sweden
181.5 cm (5 ft 11 1⁄2 in)
166.8 cm (5 ft 5 1⁄2 in)
1.09
20–29
15.6%
Measured
2008
[132]

Sweden
180.4 cm (5 ft 11 in)
N/A
N/A
30
8.0%
Estimates
1976–1980
[19]

Sweden
177.9 cm (5 ft 10 in)
164.6 cm (5 ft 5 in)
1.08
20–74
86.3%
Self-reported
1987–1994
[133]

Switzerland
178.2 cm (5 ft 10 in)
N/A
N/A
Conscripts, 19 (N= m:12,447, Median= m:178.0 cm (5 ft 10 in), SD= m:6.52 cm (2 1⁄2 in))
1.5%
Measured
2009
[134]

Switzerland
175.4 cm (5 ft 9 in)
164 cm (5 ft 4 1⁄2 in)
1.07
20–74
88.8%
Self-reported
1987–1994
[133]

Taiwan
171.4 cm (5 ft 7 1⁄2 in)
159.9 cm (5 ft 3 in)
1.07
17 (N= m:200 f:200)
1.7%
Measured
2011
[135][136][137]

Tanzania
N/A
156.6 cm (5 ft 1 1⁄2 in)
N/A
25–49 (N= f:6,033, SD= f:6.5 cm (2 1⁄2 in))
52.8%
Self-reported
2004
[16]

Thailand
170.3 cm (5 ft 7 in)
159 cm (5 ft 2 1⁄2 in)
1.07
STOU students, 15–19 (N= m:839 f:1,636, SD= m:6.3 cm (2 1⁄2 in) f:5.9 cm (2 1⁄2 in))
0.2%[138]
Self-reported
2005
[139]

Togo
N/A
159.0 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:2,728, SD= f:6.1 cm (2 1⁄2 in))
53.4%
Self-reported
1998
[16]

Tonga
176.1 cm (5 ft 9 1⁄2 in)
165.3 cm (5 ft 5 in)
1.07
40 (N= m:241 f:299)
1.5%
Measured
2001
[140]

Turkey
173.6 cm (5 ft 8 1⁄2 in)
161.9 cm (5 ft 3 1⁄2 in)
1.07
20-22 (N= m:322 f:247)
8.3%
Measured
2007
[12][24][141]

Turkey – Ankara
174.1 cm (5 ft 8 1⁄2 in)
158.9 cm (5 ft 2 1⁄2 in)
1.10
18–59 (N= m:703 f:512, Median= m:169.7 cm (5 ft 7 in) f:157.5 cm (5 ft 2 in), SD= m:6.9 cm (2 1⁄2 in) f:6.4 cm (2 1⁄2 in))
5.1%[142]
Measured
2004–2006
[143]

Turkey – Ankara
176.1 cm (5 ft 9 1⁄2 in)
162 cm (5 ft 4 in)
1.09
18–29 (N= m:390 f:163, Median= m:173.9 cm (5 ft 8 1⁄2 in) f:164.5 cm (5 ft 5 in), SD= m:6.3 cm (2 1⁄2 in) f:7.0 cm (3 in))
2.0%[142]
Measured
2004–2006
[143]

Turkey
N/A
156.4 cm (5 ft 1 1⁄2 in)
N/A
25–49 (N= f:2,393, SD= f:5.6 cm (2 in))
54.5%
Self-reported
2003
[16]

Uganda
N/A
159.2 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:1,666, SD= f:6.5 cm (2 1⁄2 in))
53.4%
Self-reported
2006
[16]

United Arab Emirates
173.4 cm (5 ft 8 1⁄2 in)
156.4 cm (5 ft 1 1⁄2 in)
1.11
N/A
N/A
N/A
N/A
[144]

United Kingdom – England
175.3 cm (5 ft 9 in)
161.9 cm (5 ft 3 1⁄2 in)
1.08
16+ (N= m:3,154 f:3,956)
103.2%[145]
Measured
2012
[4]

United Kingdom – England
177.8 cm (5 ft 10 in)
164.5 cm (5 ft 5 in)
1.08
25–34 (N= m:415 f:611)
17.2%[145]
Measured
2012
[4]

United Kingdom – Scotland
175.0 cm (5 ft 9 in)
161.3 cm (5 ft 3 1⁄2 in)
1.08
16+ (N= m:2,512 f:3,180, Median= m:174.8 cm (5 ft 9 in) f:161.2 cm (5 ft 3 1⁄2 in))
103.0%[145]
Measured
2008
[146]

United Kingdom – Scotland
178.2 cm (5 ft 10 in)
163.5 cm (5 ft 4 1⁄2 in)
1.09
25–34 (N= m:286 f:413, Median= m:178.0 cm (5 ft 10 in) f:163.9 cm (5 ft 4 1⁄2 in))
15.7%[145]
Measured
2008
[146]

United Kingdom – Wales
177.0 cm (5 ft 9 1⁄2 in)
162.0 cm (5 ft 4 in)
1.09
16+
103.2%[145]
Self-reported
2009
[147]

United States
175.7 cm (5 ft 9 in)
161.8 cm (5 ft 3 1⁄2 in)
1.09
All Americans, 20+ (N= m:5,232 f:5,547, Median= m:175.6 cm (5 ft 9 in) f:161.9 cm (5 ft 3 1⁄2 in))
69%
Measured
2011–2014
[148]

United States
176.4 cm (5 ft 9 1⁄2 in)
162.9 cm (5 ft 4 in)
1.08
All Americans, 20–29 (N= m:937 f:928, Median= m:176.2 cm (5 ft 9 1⁄2 in) f:162.9 cm (5 ft 4 in))
13.9%
Measured
2011–2014
[148]

United States – African Americans
177.4 cm (5 ft 10 in)
163.6 cm (5 ft 4 1⁄2 in)
1.08
African Americans, 20–39 (N= m:405 f:418, Median= m:177.2 cm (5 ft 10 in) f:163.7 cm (5 ft 4 1⁄2 in))
3.4%[149]
Measured
2011–2014
[148]

United States – Hispanic and Latino Americans
172.4 cm (5 ft 8 in)
158.9 cm (5 ft 2 1⁄2 in)
1.08
Hispanic/Latino Americans, 20–39 (N= m:385 f:428, Median= m:172.3 cm (5 ft 8 in) f:159.1 cm (5 ft 2 1⁄2 in))
4.4%[149]
Measured
2011–2014
[148]

United States – Mexican Americans
172.2 cm (5 ft 8 in)
158.4 cm (5 ft 2 1⁄2 in)
1.09
Mexican Americans, 20–39 (N= m:233 f:247, Median= m:172.1 cm (5 ft 8 in) f:158.7 cm (5 ft 2 1⁄2 in))
2.8%[149]
Measured
2011–2014
[148]

United States – Asian Americans
172.3 cm (5 ft 8 in)
158.4 cm (5 ft 2 1⁄2 in)
1.09
Non-Hispanic Asians, 20–39 (N= m:260 f:272, Median= m:172.2 cm (5 ft 8 in) f:158.1 cm (5 ft 2 in))
1.3%[149]
Measured
2011–2014
[148]

United States – Non-Hispanic whites
178.2 cm (5 ft 10 in)
165.0 cm (5 ft 5 in)
1.08
Non-Hispanic White Americans, 20–39 (N= m:715 f:689, Median= m:178.3 cm (5 ft 10 in) f:164.8 cm (5 ft 5 in))
17.1%[149]
Measured
2011–2014
[148]

Uruguay
170 cm (5 ft 7 in)
158 cm (5 ft 2 in)
1.08
Adults (N= m:2,249 f:2,114)
N/A
Measured
1990
[150]

Uzbekistan
N/A
159.9 cm (5 ft 3 in)
N/A
25–49 (N= f:2,635, SD= f:6.1 cm (2 1⁄2 in))
54.6%
Self-reported
1996
[16]

Vietnam
162.1 cm (5 ft 4 in)
152.2 cm (5 ft 0 in)
1.07
25–29 (SD= m:5.39 cm (2 in) f:5.39 cm (2 in))
15.9%
Measured
1992–1993
[60]

Vietnam
165.7 cm (5 ft 5 in)
155.2 cm (5 ft 1 in)
1.07
Students, 20–25 (N= m:1,000 f:1,000, SD= m:6.55 cm (2 1⁄2 in) f:5.32 cm (2 in))
2.0%[151]
Measured
2006–2007
[152]

Zambia
N/A
158.5 cm (5 ft 2 1⁄2 in)
N/A
25–49 (N= f:4,091, SD= f:6.5 cm (2 1⁄2 in))
54.2%
Self-reported
2007
[16]

Zimbabwe
N/A
160.3 cm (5 ft 3 in)
N/A
25–49 (N= f:4,746, SD= f:6.2 cm (2 1⁄2 in))
47.3%
Self-reported
2005
[16]

text: Notes

text: Jump up ^ In this case, data that are representative of the majority of the country or region's adult population are those that factor in over 50% of the country or region's population aged 18 or over.


document_title: I Like It (Cardi B, Bad Bunny and J Balvin song)

question_text: when did i like it like that come out

question_tokens: when did i like it like that come out

text: Background[edit]

text: During the recording sessions of Invasion of Privacy, Cardi and her team were listening to beats and song ideas. The rapper was open to experiment with sounds, though she also discarded some that she felt were not right for her. Craig Kallman proposed Cardi to include a track that pays homage to her Latin heritage, to which she agreed. Kallman searched among his Latin music collection of records that he used to play when he was a DJ, and put together multiple sample ideas. Decided for Pete Rodriguez's "I Like It Like That" and "Oh That's Nice", he added J White to the production process. The sample of the former song "over a very rough instrumental" and with a Cardi verse on it was sent to musician Edgar Machuca. White and Machuca worked on the production, chopping up the sample and trying to "make the song sound better and cohesive and beef up the production." Cardi re-wrote the hook a number of times and cut vocals, eventually choosing the chorus she was most comfortable with. The three producers looped the "I Like It" part as they felt that was the catchiest part of the sample. Machucha proposed to add Bad Bunny and J Balvin to the track, with both artists contributing with their verses and ideas. Tainy and Invicible finished working on the production focusing on the instrumentals. Work on the record started in October 2017, and finished in early April 2018.[5]

text: We must have gone through so many different version of the mix. We mixed this over and over and over again. We wanted to make sure the low end was right and the clarity was right and the mid range was right, and it had real dynamic range and great stereo separation with the vocals just sitting right in the pocket. After the truly thousandth listen, I'm like, “This really works. There's nothing more we can do to this to make it better."

text: Production[edit]

text: "I Like It" is a Latin trap number.[6] It is a blend of trap and salsa, and samples 1960s boogaloo song "I Like It Like That".[7][8] As noted by a Billboard editor, the song is "heavily indebted to the world of Latin hip hop." Bad Bunny raps in English and Spanish, while J Balvin performs in Spanish.[9][10]

text: Critical reception[edit]

text: Writing for Rolling Stone, Brittany Spanos deemed it "the song of the summer" and commented "[it] sounds like it was chemically concocted in a mad scientist's lab to be 2018's reigning song of the summer. [...] Everything about this song is perfect for summer: the trap-meets-salsa beat, features from two of reggaeton's biggest stars, a sample of Pete Rodriguez's half-century-old boogaloo hit "I Like It Like That.""[11] In The Atlantic, Hannah Giorgis also deemed it "song of the summer" considering "[the song] is irresistible because it channels the rapper at her best: when she feels at home." She also noted that the verses from both Bad Bunny and J. Balvin "match Cardi's energy" and "add complementary dynamism to the track."[12] Neil Z. Yeung of AllMusic considered it a "notable highlight" of the album.[13] Billboard staff considered it the best song of the first half of 2018,[10] and the year's best Latin song of the summer.[14]

text: Commercial performance[edit]

text: Prior to its release as a single, the song debuted at number eight on the US Billboard Hot 100, becoming Cardi B's fifth top-ten entry on the chart and the highest debut of the songs from the album, which all debuted on the Hot 100 during the album's first week of release.[15] Bad Bunny and J Balvin earned their first and second top 10s, respectively. Following the release of the single's accompanying music video, the song rose to a new peak of number seven on the chart,[16] For the chart issue dated June 16, with "I Like It" and "Girls Like You," her collaboration with Maroon 5 charting at number four, Cardi B scored two concurrent Hot 100 top-five singles for the second time in 2018.[17] It ascended to number two the next week, blocked from the top by XXXTentacion's "Sad!".[18] It reached number one in its twelfth week, earning Cardi her second chart-topper, thus making her the first female rapper in history to do so. Bad Bunny and J Balvin scored their first number one.[4] She also became the first female soloist to reach number one with two songs from a debut album since Lady Gaga, who did it in 2009.[19] "I Like It" reached number one on Digital Songs in its 20th chart week, claiming the sixth-longest wait to the summit since the chart began in 2004.[20] It also became Cardi B's second number one song on the Radio Songs chart.[21] Internationally, the single also charted within the top 10 in Canada, New Zealand, Portugal, Slovakia, Spain, Switzerland and the United Kingdom.

text: Commenting on the single topping the Hot 100, editor Leila Cobo for Billboard explained its notablity, "it's part of an accelerated spike of Spanish and Spanish-infused songs on the chart [...] This surge can be attributed at least in part to streaming, which has broadened the scope for Latin music that is still shunned from major mainstream outlets. But it also reflects the times, the moment and the new openness of the world, despite the entrenchment at the border."[22]

text: "I Like It" also became the first number one single (and the first Latin Trap song in this genre to do so) on the Billboard Dance/Mix Show Airplay chart for Cardi B, Bad Bunny, and J Balvin, reaching that summit in its September 1, 2018 issue, benefitting from the support from both the 80 reporting stations (dual Top 40/CHR and Rhythmic outlets who submit their mix show hours or incorporate it in their playlist) and the core full time Dance/EDM stations, the latter utilizing the remixed Dance versions of the song.[23]

text: Music video[edit]

text: The song's accompanying music video was directed by Eif Rivera and filmed in March 2018 in Little Havana, Miami.[25] A preview of the clip was featured on YouTube Music's announcement video on May 23.[26] Released on May 29, 2018, the music video opens with Cardi B in a neighborhood, followed by scenes of Bad Bunny in the streets and J Balvin in a club. It also features scenes of the trio performing together.[27]

text: Director Eif Rivera stated in an interview that he was inspired by the movie I Like It Like That (1994), which opening scene centered in a neighborhood of the South Bronx.[24]

text: "I Like It" topped YouTube's 2018 Songs of the Summer list in the United States, and ranked fifth globally.[28] As of October 2018, it has received over 650 million views.

text: Live performances[edit]

text: Cardi B, Bad Bunny and J Balvin gave the first live performance of "I Like It" at the 2018 Coachella Music Festival during its second weekend, on April 22.[29] The trio delivered the first televised performance of the song at the 2018 American Music Awards.[30] Featuring colorful outfits and visuals, they were accompanied by a live band composed by trumpet and bongo players. Cardi started the performance by lying atop a rotating circular stage; she then ripped off the voluminous tulle and performed a salsa dance. Bad Bunny was wheeled in for his verse in a grocery cart, while J Balvin joined hanging by the DJ booth.[31] The Billboard article reviewing the ceremony named it the best performance of the night.[32]

text: Awards and nominations[edit]

text:
Year

Ceremony

Category

Result

Ref.

2018

iHeartRadio Much Music Video Awards

Song of the Summer

Nominated

[33]

MTV Video Music Awards

Song of Summer

Won

[34]

BreakTudo Awards

Video of the Year

Pending

[35]

BET Hip Hop Awards

Best Hip-Hop Video

Nominated

[36]

Best Collabo, Duo or Group

Nominated

Single of the Year

Nominated

Soul Train Music Awards

Rhythm & Bars Award

Pending

[37]

text: Track listing[edit]

text: Digital download – Dillon Francis remix[38]

text: Digital download – German remix[39]

text: "I Like It" (featuring Kontra K and AK Ausserkontrolle) – 4:14

text: 12-inch single[40]

text:
"I Like It" – 4:13
"I Like It" (instrumental) – 4:13
"I Like It" (Dillon Francis remix) – 3:39
"I Like It" (radio edit) – 4:11

text: Credits and personnel[edit]

text: Credits adapted from Tidal.[41]

text:
Cardi B – vocals
Bad Bunny – vocals
J Balvin – vocals
J. White Did It – producer
Tainy – producer
Craig Kallman – producer
Invincible – co-producer
Nick Seeley – additional producer
Colin Leonard – mastering engineer
Juan Chaves – trumpet
Michael Romero – background vocals
Sarah Sellers – background vocals
Nick Seeley – background vocals
Andrew Tinker – background vocals
Holly Seeley – background vocals
Leslie Brathwaite – mixer

text: Charts[edit]

text:
Chart (2018)

Peak position

Argentina (Argentina Hot 100)[42]

41

Argentina Anglo (Monitor Latino)[43]

13

Australia (ARIA)[44]

14

Austria (Ö3 Austria Top 40)[45]

14

Belgium (Ultratop 50 Flanders)[46]

19

Belgium (Ultratop 50 Wallonia)[47]

21

Canada (Canadian Hot 100)[48]

2

Colombia (National-Report)[49]

19

Czech Republic (Singles Digitál Top 100)[50]

11

Denmark (Tracklisten)[51]

16

France (SNEP)[52]

19

Germany (Official German Charts)[53]

14

Greece International Digital (IFPI Greece)[54]

1

Hungary (Dance Top 40)[55]

18

Hungary (Single Top 40)[56]

12

Hungary (Stream Top 40)[57]

10

Ireland (IRMA)[58]

10

Israel (Media Forest)[59]

1

Italy (FIMI)[60]

24

Netherlands (Dutch Top 40)[61]

20

Netherlands (Single Top 100)[62]

30

New Zealand (Recorded Music NZ)[63]

7

Norway (VG-lista)[64]

20

Poland (Polish Airplay Top 100)[65]

50

Portugal (AFP)[66]

9

Romania (Airplay 100)[67]

16

Scotland (Official Charts Company)[68]

13

Singapore (RIAS)[69]

29

Slovakia (Rádio Top 100)[70]

99

Slovakia (Singles Digitál Top 100)[71]

8

Spain (PROMUSICAE)[72]

10

Sweden (Sverigetopplistan)[73]

24

Switzerland (Schweizer Hitparade)[74]

8

UK Singles (Official Charts Company)[75]

8

UK R&B (Official Charts Company)[76]

7

US Billboard Hot 100[77]

1

US Adult Top 40 (Billboard)[78]

34

US Dance Club Songs (Billboard)[79]

22

US Dance/Mix Show Airplay (Billboard)[80]

1

US Hot R&B/Hip-Hop Songs (Billboard)[81]

1

US Mainstream Top 40 (Billboard)[82]

3

US Rhythmic (Billboard)[83]

1

text: Certifications[edit]

text:
Region

Certification
Certified units/Sales

Australia (ARIA)[84]

2× Platinum

140,000^

Belgium (BEA)[85]

Gold

15,000*

Canada (Music Canada)[86]

5× Platinum

400,000^

France (SNEP)[87]

Gold

100,000*

Germany (BVMI)[88]

Gold

200,000^

Italy (FIMI)[89]

Platinum

50,000

New Zealand (RMNZ)[90]

Platinum

30,000*

Spain (PROMUSICAE)[91]

2× Platinum

80,000^

Switzerland (IFPI Switzerland)[92]

Platinum

30,000^

United Kingdom (BPI)[93]

Platinum

600,000

United States (RIAA)[94]

4× Platinum

4,000,000

*sales figures based on certification alone^shipments figures based on certification alonesales+streaming figures based on certification alone

text: Release history[edit]

text:
List of release dates, showing region, format(s), label(s) and reference(s)

Region

Date

Format(s)

Version

Label(s)

Ref.

Italy

May 25, 2018

Contemporary hit radio

Original

Warner

[2]

United Kingdom

[1]

United States

May 29, 2018

KSRAtlantic

[95]

Urban contemporary

[96]

Various

June 22, 2018

Digital downloadstreaming

Dillon Francis remix

Atlantic

[38]

Italy

June 27, 2018

Contemporary hit radio

Warner Music

[97]

United States

June 28, 2018

12-inch single

Original

Atlantic

[40][98]

Canada

Germany

July 2, 2018

Warner Music

Switzerland

Germany

August 24, 2018

Digital downloadstreaming

German remix

[39]