title: Rib cage

text: The position of ribs can be permanently altered by a form of body modification called tightlacing, which uses a corset to compress and move the ribs.


title: Rib cage

text: The ribs, particularly their sternal ends, are used as a way of estimating age in forensic pathology due to their progressive ossification.


title: Rib cage

text: The number of ribs as 24 (12 pairs) was noted by the Flemish anatomist Vesalius in his key work of anatomy "De humani corporis fabrica" in 1543, setting off a wave of controversy, as it was traditionally assumed from the Biblical story of Adam and Eve that men's ribs would number one fewer than women's. This false belief is still commonly believed today. However, thirteenth or “cervical rib” occurs in 1% of humans and this is more common in females than in males.


title: Rib cage

text: In herpetology, costal grooves refer to lateral indents along the integument of salamanders. The grooves run between the axilla to the groin. Each groove overlies the myotomal septa to mark the position of the internal rib.


title: Rib cage

text: Birds and reptiles have bony uncinate processes on their ribs that project caudally from the vertical section of each rib. These serve to attach sacral muscles and also aid in allowing greater inspiration. Crocodiles have cartilaginous uncinate processes.


This is a list of winners and nominees of the Primetime Emmy Award for Outstanding Drama Series since its institution in 1951. The award goes to the producers of the series. The award is often cited as one of the "main awards" at the Emmys ceremonies.


title: Primetime Emmy Award for Outstanding Drama Series

text: Since its institution in 1951 the award has changed names many times in its history. It was first called Best Dramatic Show from 1951 to 1954, then Best Dramatic Series in 1955 and 1956. In 1957, no specific award for drama was given, but in 1958 the category was split into two separate categories, Best Dramatic Anthology Series, and Best Dramatic Series with Continuing Characters with a winner selected from each category. The following year, the category was differently split into two separate categories, Best Dramatic Series – Less Than One Hour. In 1960, the name was changed yet again to Outstanding Program Achievement in the Field of Drama; this name was kept from 1960 to 1964. In 1966, it had its sixth name change to Outstanding Dramatic Series or Outstanding Series-Drama; this was used from 1966 until recently, when it became Outstanding Drama Series.


text: In 1988, "Rumpole of the Bailey" (PBS) was initially nominated in the Outstanding Miniseries category but the Academy ruled that the nomination was not valid a few days later and later allowed the program to compete in the Outstanding Drama Series category.


text: Since 2000, every single winner has been a serial drama: "The West Wing" (2000–2003), "The Sopranos" (2004, 2007), "Lost" (2005), "24" (2006), "Mad Men" (2008–2011), "Homeland" (2012), "Breaking Bad" (2013–2014), "Game of Thrones" (2015–2016, 2018–2019), "The Handmaid's Tale" (2017), "Succession" (2020, 2022), and "The Crown" (2021). Since the advent of "Hill Street Blues" in 1981, every winner has had some serialized arcs with the exception of "Law & Order". The majority of these shows have won between their first and fifth seasons. Only two shows' sixth seasons have won (both HBO shows): "The Sopranos" and "Game of Thrones", two shows' seventh seasons have won: "Law & Order" and "Game of Thrones" and one show's eighth season has won: "Game of Thrones".


text: The following tables, divided by decade, display the winners and nominees of the "Drama Series" award, according to the Primetime Emmy Awards database:


title: The Postal Service

text: The Postal Service are an American indie pop supergroup from Seattle, Washington, consisting of singer Ben Gibbard, producer Jimmy Tamborello, and Jenny Lewis on background vocals.


title: The Postal Service

text: The band released their only album, "Give Up", in 2003 on Sub Pop Records, to mostly positive reviews. The album reached number 114 on the US "Billboard" 200 album chart, and received platinum certification from the Recording Industry Association of America.


title: The Postal Service

text: The Postal Service remained largely inactive from 2005 until 2013, when they reunited for a tour and released a re-issue of "Give Up" to celebrate its tenth anniversary. Laura Burhenn joined the lineup throughout the tour to provide additional vocals and instruments, with Jen Wood and Jenny Lewis filling in for a few shows.


title: The Postal Service

text: The group formed after Ben Gibbard contributed vocals for a song by Jimmy Tamborello called "(This Is) The Dream of Evan and Chan", from the Dntel album "Life Is Full of Possibilities". Ben Gibbard became familiar with Tamborello's work after a serendipitous meeting at a Flobots concert in Spokane, WA. The song sparked an EP of remixes of other artists, such as Lali Puna, The Flaming Lips, Safety Scissors, Barbara Morgenstern and Superpitcher, and was so well-received that the two artists decided to further collaborate. The third member of the band, Jenny Lewis, recorded vocals for several tracks before eventually becoming a full-fledged member of the band, sharing vocals and instrumentation in their live shows.


title: The Postal Service

text: The band's name was chosen due to the way in which it produced its songs. Due to conflicting schedules, Tamborello wrote and performed instrumental tracks and then sent the DATs through the United States Postal Service to Gibbard, who then edited the song as he saw fit (adding his vocals along the way) and sent them back to Tamborello.


title: The Postal Service

text: The band's debut album, "Give Up", was released on February 18, 2003, on Sub Pop Records. Several songs on the album feature guest vocals from Lewis, as well as vocals from indie rock musician Jen Wood. Additionally, Gibbard's Death Cab for Cutie bandmate Chris Walla played the guitar and piano on several tracks. Although both Gibbard and Tamborello's main projects were still active at the time, The Postal Service supported the album with a successful concert tour, and stated its intention to tour again in the future.


title: The Postal Service

text: "Give Up" received gold certification by the Recording Industry Association of America in March 2005, and later receiving platinum certification in October 2012. The album was Sub Pop's most successful release after Nirvana's debut album, "Bleach".


title: The Postal Service

text: The album produced three singles, the most well-known single being "Such Great Heights", which was released as "Give Up"'s lead single. The song featured in advertisements for UPS, Kaiser Permanente, and M&M's, as well as being the first theme song for ABC's Grey's Anatomy in 2005. A cover of the song by Iron & Wine was featured on the soundtrack for the 2004 film "Garden State". It was also later covered by Amanda Palmer, Ben Folds, The Scene Aesthetic, Brack Cantrell, Streetlight Manifesto, Confide, Gareth Pearson, Joy Kills Sorrow and Postmodern Jukebox. Confide would later release a music video for their cover of "Such Great Heights". The second single, "The District Sleeps Alone Tonight", was featured in the soundtrack of the 2004 film D.E.B.S. and later covered by British singer-songwriter Frank Turner. The third and final single, "We Will Become Silhouettes", was covered by The Shins, and the original version was featured in the trailer for the movie "Funny People".


title: The Postal Service

text: In August 2003, the United States Postal Service sent the band a cease and desist letter, citing the band's name as an infringement of its trademark on the phrase "postal service". After negotiations, the USPS relented, allowing the band use of the trademark in exchange for promotional efforts on behalf of the USPS and a performance at its annual National Executive Conference. Additionally, at one point the USPS website sold the band's CDs. In 2007, "Such Great Heights" appeared in the background of the "whiteboard" advertising campaign for one of the federal establishment's private competitors, the United Parcel Service.


title: The Postal Service

text: On June 22, 2007, it was revealed that The Postal Service had begun work on a new album, though the specifics of the production and the release date were vague. Gibbard stated, "We're slowly starting. We're crawling right now, and whether that crawl turns into a walk remains to be seen. But we'll know more towards the end of the year. I've just been touring so much and trying to find time to make it happen and make our schedules line up." Tamborello added, "We're talking about wanting to finish an album by sometime next year, because we have to work with Death Cab's schedule and stuff. I definitely want to do another one."


title: The Postal Service

text: On February 29, 2008, Spinner released an article stating that The Postal Service might not release a new album. Ben Gibbard stated, "Jimmy and I are still throwing ideas back and forth, but as time goes on, we find ourselves busy with our own music. ... We have some stuff, but it's been difficult to find the time and the drive to do the record. I'd love to finish it at some point and maybe even do some performances. If it's meant to be, it's meant to be." In May 2008, Gibbard stated that he and Tamborello were unlikely to release another album "before the end of the decade."


title: The Postal Service

text: In a December 2008 interview with "Rolling Stone", Gibbard laughed off suggestions that The Postal Service's long overdue follow-up to their 2003 hit "Give Up" would be an indie version of the Guns N' Roses album "Chinese Democracy", which took 15 years to produce and release. Gibbard said that both he and Tamborello do not see it as a priority in light of their main projects, Death Cab for Cutie and Dntel, respectively. He said, "The anticipation of the second record has been a far bigger deal for everybody except the two of us... I don't know about it being the indie-rock "Chinese Democracy", but now that "Chinese Democracy" has come out, I guess it just becomes the second Postal Service record that will never come out. There never really was a plan to do a second album. We work from time to time together but we have other things that take up all of our time."


title: The Postal Service

text: In November 2012, Ben Gibbard posted on his Twitter account that there are "no plans" to produce another Postal Service record, and did not cite any specific reason for this statement, other than the fact that multiple fans questioned if there was going to be a second album.


title: The Postal Service

text: In January 2013, The Postal Service updated their website to read "The Postal Service 2013", reigniting speculation that the band would play shows, or possibly release a new album. It was later confirmed that the image on the band's site portended that the band's debut, "Give Up", would receive a 10th anniversary re-issue featuring a 15-song disc of rarities, including two new songs with Jenny Lewis to be released on April 9, 2013. The following month, The Postal Service announced it would officially reunite for an extended world tour with venues including Red Rocks Amphitheatre, the 2013 Coachella Valley Music and Arts Festival in April, Sasquatch! Music Festival in Washington in May, the Primavera Sound Festival 2013 in Barcelona, and Free Press Summer Fest in Houston, Texas in June.


title: The Postal Service

text: Along with the reunion, the band released their first new track in ten years called "A Tattered Line of String" featuring Jenny Lewis. On March 21, the band released a second new track titled "Turn Around", released through 107.7 The End.


title: The Postal Service

text: As a tie-in to the "Give Up" reissue, comedy website Funny or Die posted a parody video directed by Tom Scharpling set in 2002 titled "The Postal Service Auditions", in which Jimmy Tamborello holds auditions for his musical collaborator. Guest stars on the video include "Weird Al" Yankovic, Moby, Duff McKagan, Tom DeLonge, Aimee Mann, Jon Wurster, Page Hamilton, Nate Mendel, and Marc Maron.


title: The Postal Service

text: On August 3, 2013, Ben Gibbard announced on Twitter that the Lollapalooza after-show would be the last Postal Service performance ever, and that the band would formally disband permanently after the show, finally quashing rumors of a highly anticipated second album. The band played their last live show at the Metro Chicago on August 5, 2013.


title: The Postal Service

text: As an end punctuation mark to their career, The Postal Service released the feature-length documentary concert film "Everything Will Change" on October 7, 2014, filmed during their two performances at the Greek Theater in Berkeley, CA, July 26–27, 2013. Directed by Justin Mitchell, the film intersperses backstage tapes and interviews with complete footage of the concert itself.


title: The Postal Service

text: Jenny Lewis toured with Death Cab for Cutie in the summer of 2019, in support of their "On the Line" and "Thank You for Today" albums, respectively. On select dates, Gibbard invited Lewis to join DCFC for their set's encore, and DCFC played "Nothing Better", with Gibbard and Lewis doing the vocals from the original song.


title: The Postal Service

text: Ben Gibbard performed "Such Great Heights" solo on August 17, 2020 online for the virtual 2020 Democratic National Convention.


title: The Postal Service

text: On October 6, 2020, The Postal Service created new social media accounts for the band and teased an announcement for the following day, sparking speculation about new music. The announcement was a mock video conference featuring Gibbard, Tamborello, and Lewis along with several musicians and celebrities urging people in the United States to vote in the November election, done in the style of 2013's "The Postal Service Auditions".


title: The Postal Service

text: On December 4, 2020, The Postal Service released live album "Everything Will Change" via Sub Pop Records, featuring the complete live recordings from the documentary/concert film released in 2014, remastered and available in audio format for the first time. Live tracks "Natural Anthem" and "The District Sleeps Alone Tonight" from the album were released as digital singles on November 22, 2020.


title: The Postal Service

text: The Postal Service will reunite again in 2023 for a co-headlining tour with Death Cab for Cutie, performing "Give Up" in its entirety.


title: Dutch Golden Age

text: The Dutch Golden Age ( ) was a period in the history of the Netherlands, roughly spanning the era from 1588 (the birth of the Dutch Republic) to 1672 (the Rampjaar, "Disaster Year"), in which Dutch trade, science, and art and the Dutch military were among the most acclaimed in Europe. The first section is characterized by the Eighty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century, when costly conflicts, including the Franco-Dutch War and War of the Spanish Succession fuelled economic decline.


title: Dutch Golden Age

text: The transition by the Netherlands to becoming the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart.


title: Dutch Golden Age

text: In 1568, the Seven Provinces that later signed the Union of Utrecht () started a rebellion against Philip II of Spain that led to the Eighty Years' War. Before the Low Countries could be completely reconquered, a war between England and Spain, the Anglo-Spanish War of 1585-1604, broke out, forcing Spanish troops to halt their advances and leaving them in control of the important trading cities of Bruges and Ghent, but without control of Antwerp, which was then arguably the most important port in the world. Antwerp fell on 17 August 1585, after a siege, and the division between the Northern and Southern Netherlands (the latter mostly modern Belgium) was established.


title: Dutch Golden Age

text: The United Provinces (roughly today's Netherlands) fought on until the Twelve Years' Truce, which did not end the hostilities. The Peace of Westphalia in 1648, which ended the Eighty Years' War between the Dutch Republic and Spain, and the Thirty Years' War between other European superpowers, brought the Dutch Republic formal recognition and independence from the Spanish crown.


title: Dutch Golden Age

text: Protestants were especially well-represented among the skilled craftsmen and rich merchants of the port cities of Bruges, Ghent, and Antwerp. Under the terms of the surrender of Antwerp in 1585, the Protestant population (if unwilling to reconvert) were given four years to settle their affairs before leaving the city and Habsburg territory. Similar arrangements were made in other places.


title: Dutch Golden Age

text: More Protestants moved to the north between 1585 and 1630 than Catholics moved in the other direction, although there were also many of these. Many of those moving north settled in Amsterdam, transforming what was a small harbor into one of the most important ports and commercial centres in the world by 1630.


title: Dutch Golden Age

text: In addition to the mass migration of Protestant natives from the southern Netherlands to the northern Netherlands, there were also influxes of non-native refugees who had previously fled from religious persecution, particularly Sephardi Jews from Portugal and Spain, and later Protestants from France. The Pilgrim Fathers also spent time there before their voyage to the New World.


title: Dutch Golden Age

text: Economists Ronald Findlay and Kevin H. O'Rourke attribute part of the Dutch ascendancy to its Protestant work ethic based on Calvinism, which promoted thrift and education. This contributed to "the lowest interest rates and the highest literacy rates in Europe. The abundance of capital made it possible to maintain an impressive stock of wealth, embodied not only in the large fleet but in the plentiful stocks of an array of commodities that were used to stabilize prices and take advantage of profit opportunities."


title: Dutch Golden Age

text: Several other factors also contributed to the flowering of trade, industry, the arts and the sciences in the Netherlands during this time. A necessary condition was a supply of cheap energy from windmills and from peat, easily transported by canal to the cities. The invention of the wind powered sawmill enabled the construction of a massive fleet of ships for worldwide trading and for military defense of the republic's economic interests.


title: Dutch Golden Age

text: In the 17th century the Dutch – traditionally able seafarers and keen mapmakers – began to trade with the Far East, and as the century wore on, they gained an increasingly dominant position in world trade, a position previously occupied by the Portuguese and Spanish. The maps used by Fernando Álvarez de Toledo, 3rd Duke of Alba to attack Dutch cities were made by Dutch mapmakers.


title: Dutch Golden Age

text: In 1602, the Dutch East India Company (VOC) was founded. It was the first-ever multinational corporation, financed by shares that established the first modern stock exchange. The company received a Dutch monopoly on Asian trade, which it would keep for two centuries, and it became the world's largest commercial enterprise of the 17th century. Spices were imported in bulk and brought huge profits due to the efforts and risks involved and demand. This is remembered to this day in the Dutch word "peperduur", (as expensive as pepper) meaning something is very expensive, reflecting the prices of spices at the time. To finance the growing trade within the region, the Bank of Amsterdam was established in 1609, the precursor to, if not the first true central bank.


title: Dutch Golden Age

text: Although the trade with the Far East was the more famous of the VOC's exploits, the main source of wealth for the Republic was in fact its trade with the Baltic states and Poland (then the Polish–Lithuanian Commonwealth). Called the "Mothertrade" (), the Dutch imported enormous amounts of bulk resources like grain and wood, stockpiling them in Amsterdam so Holland would never lack for basic goods, as well as being able to sell them on for profit. This meant that unlike their main rivals the Republic would not face the dire repercussions of a bad harvest and the starvation it accompanied, instead profiting when this happened in other states (bad harvests were commonplace in France and England in the 17th century, which also contributed to the Republic's success in that time).


title: Dutch Golden Age

text: According to Ronald Findlay and Kevin H. O'Rourke, geography favored the Dutch Republic, contributing to its wealth. They write, "The foundations were laid by taking advantage of location, midway between the Bay of Biscay and the Baltic. Seville and Lisbon and the Baltic ports were too far apart for direct trade between the two terminal points, enabling the Dutch to provide profitable intermediation, carrying salt, wine, cloth and later silver, spices, and colonial products eastward while bringing Baltic grains, fish, and naval stores to the west. The Dutch share of European shipping tonnage was enormous, well over half during most of the period of their ascendancy."


title: Dutch Golden Age

text: Outside of Europe, the Republic also prospered. The Dutch East India Company (VOC) and the Dutch West India Company (WIC) not only obtained a monopoly on the spice trade, their ships also controlled the world's seas. This was very much against the wishes of England, who was envious of the economic success of the Republic. Although they had both fought the Spanish during the Eighty Years War, the two countries were diametrically opposed when the Republic captured a large colonial empire. This led to the Anglo-Dutch Wars.


title: Dutch Golden Age

text: The prosperity gained from this was accompanied by horrors against the local population. For example, in 1621, Jan Pieterszoon Coen had almost all the inhabitants of the Banda Islands massacred, see Dutch conquest of the Banda Islands.


title: Dutch Golden Age

text: For a short time, the Republic seemed very successful in Brazil. The Dutch had succeeded in taking the coast between the mouth of the Amazon and the São Francisco (a river south of Recife) from the Portuguese. Under governor John Maurice, Prince of Nassau-Siegen (1637-1644), the lucrative sugar trade was largely in Dutch hands.


title: Dutch Golden Age

text: Curaçao was conquered in 1634. By 1648, Aruba and Bonaire were also in Dutch hands. A promising colony in North America was New Amsterdam (in present-day New York City).


title: Dutch Golden Age

text: The role that the Netherlands was able to play in the transatlantic slave trade was the result of a series of conquests against the Portuguese. Trade routes of African slaves in the seventeenth century ran largely through Elmina in Ghana to Brazil and the Caribbean Islands. Elmina was conquered in 1637, Axim in 1642. In 1641, led by Cornelis Jol, Angola was also conquered. It is estimated that more than 550,000 people were brought to America in slavery by Dutch ships. Conditions during these voyages were miserable, and it was commonplace for large numbers of enslaved people to die before they reached their destination. In addition to the personal hardships of enslaved people, the trade also massively disrupted African societies. Estimates of the direct profitability vary, but without slavery the colonization of the Americas would have looked very different.


title: Dutch Golden Age

text: Asian slaves were also traded extensively. The slave was indispensable in the economy of the Dutch colonial empire in the Golden Age as a labor force; in the second half of the seventeenth century, half of the inhabitants of Batavia were unfree.


title: Dutch Golden Age

text: Amsterdam's dominant position as a trade center was strengthened in 1640 with a monopoly for the Dutch East India Company (VOC) for trade with Japan through its trading post on Dejima, an island in the bay of Nagasaki. From here the Dutch traded between China and Japan and paid tribute to the "shōgun". Until 1854, the Dutch were Japan's sole window to the western world.


title: Dutch Golden Age

text: The collection of scientific learning introduced from Europe became known in Japan as "Rangaku" or Dutch Learning. The Dutch were instrumental in transmitting to Japan some knowledge of the industrial and scientific revolution then occurring in Europe. The Japanese purchased and translated numerous scientific books from the Dutch, obtained from them Western curiosities and manufactures (such as clocks) and received demonstrations of various Western innovations (such as electric phenomena, and the flight of a hot air balloon in the early 19th century). In the 17th and 18th centuries, the Dutch were arguably the most economically wealthy and scientifically advanced of all European nations, which put them in a privileged position to transfer Western knowledge to Japan.


title: Dutch Golden Age

text: The Dutch also dominated trade between European countries. The Low Countries were favorably positioned at a crossing of east–west and north–south trade routes and connected to a large German hinterland through the Rhine river. Dutch traders shipped wine from France and Portugal to the Baltic lands and returned with grain for countries around the Mediterranean Sea. By the 1680s, an average of nearly 1000 Dutch ships entered the Baltic Sea each year, to trade with markets of the fading Hanseatic League. The Dutch were able to gain control of much of the trade with the nascent English colonies in North America; and after the end of the war with Spain in 1648, Dutch trade with that country also flourished.


title: Dutch Golden Age

text: National industries expanded as well. Shipyards and sugar refineries are prime examples. As more and more land was utilized, partially through transforming lakes into polders such as the Beemster, Schermer and Purmer, local grain production and dairy farming soared.


title: Dutch Golden Age

text: In the Netherlands in the 17th century, social status was largely determined by income. The landed nobility had relatively little importance, since they mostly lived in the more underdeveloped inland provinces, and it was the urban merchant class that dominated Dutch society. The clergy did not have much worldly influence either: the Catholic Church had been more or less suppressed since the onset of the Eighty Years' War with Spain. The new Protestant movement was divided, although exercising social control in many areas to an even greater extent than under the Catholic Church.


title: Dutch Golden Age

text: That is not to say that aristocrats were without social status. On the contrary, wealthy merchants bought themselves into the nobility by becoming landowners and acquiring a coat of arms and a seal. Aristocrats also mixed with other classes for financial reasons: they married their daughters to wealthy merchants, became traders themselves or took up public or military office. Merchants also started to value public office as a means to greater economic power and prestige. Universities became career pathways to public office. Rich merchants and aristocrats sent their sons on a so-called Grand Tour through Europe. Often accompanied by a private tutor, preferably a scientist himself, these young people visited universities in several European countries. This intermixing of patricians and aristocrats was most prominent in the second half of the century.


title: Dutch Golden Age

text: After aristocrats and patricians came the affluent middle class, consisting of Protestant ministers, lawyers, physicians, small merchants, industrialists and clerks of large state institutions. Lower status was attributed to farmers, craft and tradesmen, shopkeepers, and government bureaucrats. Below that stood skilled laborers, maids, servants, sailors, and other persons employed in the service industry.


title: Dutch Golden Age

text: At the bottom of the pyramid were "paupers": impoverished peasants, many of whom tried their luck in a city as a beggar or day laborer.


title: Dutch Golden Age

text: Workers and laborers were generally paid better than in most of Europe, and enjoyed relatively high living standards, although they also paid higher than normal taxes. Farmers prospered from mainly cash crops needed to support the urban and seafaring population.


title: Dutch Golden Age

text: The central role of women in the 17th-century Dutch household revolved around the home and domestic tasks. In Dutch culture, the home was regarded as a safe-haven from the lack of Christian virtue and immorality of the outside world. Additionally, the home represented a microcosm of the Dutch Republic, in that the smooth running of an ideal household reflected the relative stability and prosperity of the government. The home was an integral part of public life in Dutch society. Public passersby could clearly view the entrance halls of Dutch homes decorated to show off a particular family's wealth and social standing. The home was also a place for neighbors, friends, and extended family to interact, further cementing its importance in the social lives of 17th-century Dutch burghers. The physical space of the Dutch home was constructed along gender lines. In the front of the house, the men had control over a small space where they could do their work or conduct business, known as the Voorhuis, while women controlled most every other space in the house, such as the kitchens and private family rooms. Although there was a clear separation in spheres of power between husband and wife (the husband had authority in the public realm, the wife in the domestic and private), women in 17th-century Dutch society still enjoyed a wide range of freedoms within their own sphere of control. Unmarried young women were known to enjoy various freedoms with their lovers and suitors, while married women enjoyed the right to publicly shame their husbands who patronized brothels. Moreover, married women could legally reject the sexual desires of their husbands if there were proof or reason to believe that a sexual encounter would result in the transmission of syphilis or other venereal diseases. Dutch women were also allowed to take communion alongside men, and widows were able to inherit property and maintain control over their finances and husband's wills. However, a woman's sphere of authority still primarily lay in household duties, though historical evidence exists showing certain cases of wives maintaining considerable control in family businesses. Manuals written by men instructing women and wives in various aspects of domestic duties proliferated, the most popular being Jacob Cats' "Houwelyck". As evidenced by numerous 17th-century Dutch genre paintings, the most important domestic tasks performed by women included supervising maids, cooking, cleaning, needlework, and spinning.


title: Dutch Golden Age

text: As seen in art and literature at the time, unmarried young women were valued for maintaining their modesty and diligence as this time in a woman's life was regarded to be the most precarious. From a young age, burgher women were taught various household related duties by their mothers, including reading, so as to prepare them for their lives as housewives. Dutch art at this time shows the idealized situation in which an unmarried young girl ought to conduct herself in situations such as courtship, which commonly included themes relating to gardens or nature, music lessons or parties, needlework, and receiving love letters. However, ideals of the young women espoused by genre painting and Petrarchian poetry did not reflect the reality. Accounts from travellers described the various freedoms young women were provided in the realm of courtship. The prevalence of Calvinist sermons regarding the consequences of leaving young women unsupervised also spoke to a general trend of a lack of parental oversight in the matters of young love.


title: Dutch Golden Age

text: Dutch writers, such as Jacob Cats, held the prevailing public opinion concerning marriage. He and other cultural authorities were influenced by Calvinist ideals that stressed an equality between husband and wife, considered companionship a primary reason for marriage, and regarded procreation as a mere consequence of that companionship. However, non-egalitarian ideas still existed regarding women as the weaker sex, and the image of the turtle was commonly used to express the separate spheres and strengths of both genders. In addition to supervising maids, cooking, cleaning, and prating needlework, women were also encouraged to maintain some financial control over domestic affairs, such as going to market and buying their own food.


title: Dutch Golden Age

text: Maternity and motherhood were highly valued in Dutch culture. Mothers were encouraged to breastfeed their children, as using a wet nurse would prevent a bond from forming between mother and child. The Dutch believed that a mother's milk came from the blood originally in her womb and that feeding the infant such substances would also reap physiological and health related benefits. Seventeenth-century Dutch society dictated that children should first begin to learn religion at home. Therefore, along with their husbands, women used family meal times to discuss religious topics and to focus on prayer.


title: Dutch Golden Age

text: Seventeenth-century Dutch culture maintained contradictory attitudes regarding the elderly, in particular, elderly women. Some Dutch writers idealized old age as a poetic transition from life to death. Others regarded aging as an illness in which one is gradually deteriorating until they reach their final destination, while some lauded the elderly as wise and people who deserve the highest forms of respect. However, treatises on behaviour for elderly women and widows stressed not necessarily their inherent wisdom, but that they should maintain piety, practice moderation, and live a relatively secluded life. Unlike other European artistic traditions, Dutch art rarely depicts elderly women as disgusting or grotesque creatures, but rather they are idolized as figures of piety and purity whom the younger generations of women can look up to.


title: Dutch Golden Age

text: Calvinism was the state religion in the Dutch Republic, though this does not mean that unity existed. Although the Netherlands was a tolerant nation compared to neighboring states, wealth and social status belonged almost exclusively to Protestants. The cities with a predominantly Catholic background, such as Utrecht and Gouda, did not enjoy the benefits of the Golden Age. As for the Protestant towns, unity of belief was also far from standard. At the beginning of the century bitter controversies between strict Calvinists and more permissive Protestants, known as Remonstrants, split the country. The Remonstrants denied predestination and championed freedom of conscience, while their more dogmatic adversaries (known as Contra-Remonstrants) gained a major victory at the Synod of Dort (1618–19). The variety of sects may well have worked to make religious intolerance impractical.


title: Dutch Golden Age

text: Renaissance Humanism, of which Desiderius Erasmus (c. 1466–1536) was an important advocate, had also gained a firm foothold and was partially responsible for a climate of tolerance.


title: Dutch Golden Age

text: Tolerance towards Catholics was not so easy to uphold, as religion had played an important part in the Eighty Years' War of independence against Spain (with political and economic freedom being other important motives). Intolerant inclinations, however, could be overcome by money. Thus Catholics could buy the privilege of holding ceremonies in a conventicle (a house doubling inconspicuously as a church), but public offices were out of the question. Catholics tended to keep to themselves in their own section of each town, even though they were one of the largest single denominations: for example, the Catholic painter Johannes Vermeer lived in the "Papist corner" of the town of Delft. The same applied to Anabaptists and Jews.


title: Dutch Golden Age

text: Overall, the country was tolerant enough to attract religious refugees from other countries, notably Jewish merchants from Portugal who brought much wealth with them. The revocation of the Edict of Nantes in France in 1685 resulted in the immigration of many French Huguenots, many of whom were shopkeepers or scientists. However, some figures, such as the philosopher Baruch Spinoza (1632–1677), experienced social stigma.


title: Dutch Golden Age

text: Due to its climate of intellectual tolerance, the Dutch Republic attracted scientists and other thinkers from all over Europe. In particular, the renowned University of Leiden (established in 1575 by the Dutch stadtholder Willem van Oranje as a token of gratitude for Leiden's fierce resistance against Spain during the Eighty Years' War) became a gathering place for intellectuals. Jan Amos Comenius, the Czech educator and writer, was known for his theories of education, but also as a pioneer of Czech Protestantism during the 17th century. To escape the Counter-Reformation, he migrated to the Dutch Republic and is buried in Naarden, North Holland. Comenius accepted the invitation of Laurens de Geer to visit Amsterdam, where he lived the last 14 years of his life (1656–1670). He published his most important works there: 43 volumes in all, about half of his total output. French philosopher and mathematician René Descartes (1596-1650) lived in Holland from 1628 until 1649. He also had his most important works published in Amsterdam and Leiden. Another French-born philosopher, Pierre Bayle, left France in 1681 for the Dutch Republic, where he became a professor of history and philosophy at the Illustrious School of Rotterdam. He lived in Rotterdam until his death in 1706. As Bertrand Russell noted in his "A History of Western Philosophy" (1945), "He [Descartes] lived in Holland for twenty years (1629–49), except for a few brief visits to France and one to England, all on business. It is impossible to exaggerate the importance of Holland in the 17th century, as the one country where there was freedom of speculation. Hobbes had to have his books printed there; Locke took refuge there during the five worst years of reaction in England before 1688; Bayle (of the "Dictionary") found it necessary to live there; and Spinoza would hardly have been allowed to do his work in any other country."


title: Dutch Golden Age

text: Dutch lawyers were famous for their knowledge of international law of the sea and commercial law. Hugo Grotius (1583–1645) played a leading part in the foundation of international law. He invented the concept of the "Free seas" or "Mare liberum", which was fiercely contested by England, the Netherlands' main rival for domination of world trade. He also formulated laws on conflicts between nations in his book "De lure Belli ac pacis" ("On the law of war and peace").


title: Dutch Golden Age

text: Christiaan Huygens (1629–1695) was a famous astronomer, physicist and mathematician. He invented the pendulum clock, which was a major step forward towards exact timekeeping. Among his contributions to astronomy was his explanation of Saturn's planetary rings. He also contributed to the field of optics. The most famous Dutch scientist in the area of optics is Antonie van Leeuwenhoek, who was the first to methodically study microscopic life—he was the first person to describe bacteria—thus laying the foundations for the field of microbiology. The "microscopes" were simple magnifiers, not compound microscopes. His skill in grinding lenses (some as small as 1mm in diameter) resulted in a magnification as high as 245x.


title: Dutch Golden Age

text: Famous Dutch hydraulic engineer Jan Leeghwater (1575–1650) gained important victories in the Netherlands' eternal battle against the sea. Leeghwater added a considerable amount of land to the republic by converting several large lakes into polders, pumping the water out with windmills.


title: Dutch Golden Age

text: Again due to the Dutch climate of tolerance, book publishers flourished. Many books on religion, philosophy, and science that might have been deemed controversial abroad were printed in the Netherlands and secretly exported to other countries. Thus during the 17th century, the Dutch Republic became more and more Europe's publishing house.


title: Dutch Golden Age

text: Cultural development in the Low Countries stood out from neighboring countries. With some exceptions (notably Dutch playwright Joost van den Vondel) the Baroque movement did not gain much influence. Its exuberance did not fit the austerity of the largely Calvinistic population. The major force behind new developments was the citizenry, notably in the western provinces: first and foremost in Holland, to a lesser extent Zeeland and Utrecht. Where rich aristocrats often became patrons of art in other countries, because of their comparative absence in the Netherlands this role was played by wealthy merchants and other patricians.


title: Dutch Golden Age

text: Centres of cultural activity were town militia (Dutch: "schutterij") and chambers of rhetoric ("rederijkerskamer"). The former were created for town defence and policing, but also served as a meeting-place for the well-to-do, who were proud to play a prominent part and paid well to see this preserved for posterity by means of a group portrait. The latter were associations at a city level that fostered literary activities, like poetry, drama and discussions, often through contests. Cities took pride in their associations and promoted them.


title: Dutch Golden Age

text: During the 15th century haute cuisine began to emerge, largely limited to the aristocracy, but from the 17th century onward dishes of this kind became available to the wealthy citizens as well. The Dutch Empire enabled spices, sugar, and exotic fruits to be imported to the country. By the late 17th century, tea and coffee consumption were increasing and becoming part of everyday life. Tea was served with sweets, candy or marzipan and cookies. A rich Dutch mealtime of the time contained many extravagant dishes and drinks.


title: Dutch Golden Age

text: Dutch Golden Age painting followed many of the tendencies that dominated Baroque art in other parts of Europe, such as Caravaggism and naturalism, but was the leader in developing the subjects of still life, landscape, and genre painting. Portraiture was also popular, but history painting – traditionally the most-elevated genre – struggled to find buyers. Church art was virtually non-existent, and little sculpture of any kind was produced. While art collecting and painting for the open market was also common elsewhere, art historians point to the growing number of wealthy Dutch middle-class and successful mercantile patrons as driving forces in the popularity of certain pictorial subjects.


title: Dutch Golden Age

text: This trend, along with the lack of Counter-Reformation church patronage that dominated the arts in Catholic Europe, resulted in the great number of "scenes of everyday life" or genre paintings, and other secular subjects. Landscapes and seascapes, for example, reflect the land reclaimed from the sea and the sources of trade and naval power that mark the Republic's Golden Age. One subject that is quite characteristic of Dutch Baroque painting is the large group portrait, especially of civic and militia guilds, such as Rembrandt van Rijn's "Night Watch". A special genre of still life was the so-called pronkstilleven (Dutch for 'ostentatious still life'). This style of ornate still-life painting was developed in the 1640s in Antwerp by Flemish artists such as Frans Snyders, Osias Beert, Adriaen van Utrecht and a whole generation of Dutch Golden Age painters. They painted still lifes that emphasized abundance by depicting a diversity of objects, fruits, flowers and dead game, often together with living people and animals. The style was soon adopted by artists from the Dutch Republic.


title: Dutch Golden Age

text: Today, the best-known painters of the Dutch Golden Age are the period's most dominant figure Rembrandt, the Delft master of genre Johannes Vermeer, the innovative landscape painter Jacob van Ruisdael, and Frans Hals, who infused new life into portraiture. Some notable artistic styles and trends include Haarlem Mannerism, Utrecht Caravaggism, the School of Delft, the Leiden fijnschilders, and Dutch classicism.


title: Dutch Golden Age

text: Dutch architecture was taken to a new height in the Golden Age. Cities expanded greatly as the economy thrived. New town halls, weighhouses and storehouses were built. Merchants who had made their fortune ordered a new house along one of the many new canals that were dug out in and around many cities (for defense and transport purposes), a house with an ornamented façade that befitted their new status. In the countryside, many new castles and stately homes were built; but most of them have not survived.


title: Dutch Golden Age

text: Early in the 17th century late Gothic elements still prevailed, combined with Renaissance motives. After a few decades French classicism gained prominence: vertical elements were stressed, less ornamentation was used, and natural stone was preferred above bricks. In the last decades of the century this trend towards sobriety intensified. From around 1670 the most prominent feature of a house front was its entrance, with pillars on each side and possibly a balcony above it, but no further decoration.


title: Dutch Golden Age

text: The most famous Dutch architects of the 17th century were Jacob van Campen, Pieter Post, Philips Vingboons, Lieven de Key, and Hendrick de Keyser.


title: Dutch Golden Age

text: Dutch achievements in sculpture in the 17th century are less prominent than in painting and architecture, and fewer examples were created than in neighbouring countries, partly because of their absence in the interiors of Protestant churches, as objections to the Roman Catholic veneration of statues had been one of the contentious points of the Reformation. Another reason was the comparatively small class of nobles. Sculptures were commissioned for government buildings, private buildings (often adorning house fronts) and the exteriors of churches. There was also a market for grave monuments and portrait busts.


title: Dutch Golden Age

text: Hendrick de Keyser, who was active at the dawn of the Golden Age, is one of the few prominent home-grown sculptors. In the 1650s and 1660s, the Flemish sculptor Artus I Quellinus, along with his family and followers like Rombout Verhulst, were responsible for the classicizing decorations for the Amsterdam city hall (now the Royal Palace, Amsterdam). This remains the major monument of Dutch Golden Age sculpture.


title: Dutch Golden Age

text: The Golden Age was also an important time for developments in literature. Some of the major figures of this period were Gerbrand Bredero, Jacob Cats, Pieter Hooft, and Joost van den Vondel.


title: Dutch Golden Age

text: During this time, a climate of tolerance developed in comparison to other European states with strict censorship restrictions paving the way for the Dutch to become a powerhouse in the book trade. This transformation is described by modern historians as the 'Dutch miracle.' Additionally, the Dutch enjoyed high literacy rates, and Dutch entrepreneurs took advantage of this. As a result, seventeenth century Holland became a great centre for the production of news, Bibles, political pamphlets. Louis Elzevir and his descendants created what is considered one of the most eminent dynasties of the book trade. The House of Elzevir produced pocket editions of classical Latin texts which were scholarly, reliable, and reasonably priced. The Elzevir dynasty died out in 1712 and the 'Dutch miracle' waned as international competition caught up to the Dutch book trade.


title: Sharon Duncan-Brewster

text: (born 8 February 1976) is a British actress. She is known for her role as Crystal Gordon in "Bad Girls" during the first four series; her role as Trina Johnson on "EastEnders"; and her role as Maggie Cain in the autumn 2009 "Doctor Who" special, "The Waters of Mars". More recently, she has played Imperial Planetologist Dr. Liet-Kynes in Denis Villeneuve's adaptation of Frank Herbert's "Dune".


title: Sharon Duncan-Brewster

text: Duncan-Brewster portrayed the role of Crystal Gordon in the first four series of ITV prison drama series "Bad Girls". After leaving the programme at the end of its fourth series she guest-starred in "Holby City", "Waking the Dead", "Babyfather" and daytime soap opera "Doctors". From February to September 2009 Duncan-Brewster appeared on the BBC soap opera "EastEnders" as Trina Johnson, estranged wife of Lucas Johnson. She appeared in the 2009 "Doctor Who" special "The Waters of Mars" as Maggie Cain. Duncan-Brewster also appeared on the medical TV series "Body Story" in 1998, playing a club singer and influenza patient named Holly Jones. In 2011, Duncan-Brewster appeared in all four episodes of TV drama "Top Boy". She originated the role of "C" in the play "Crave" by Sarah Kane, and played the role of Catherine Hunter, who is Alex Hunter's mother, in the FIFA 17's story mode known as "The Journey". Duncan-Brewster reprised the role of Catherine Hunter in FIFA 18's The Journey: Hunter Returns and FIFA 19's The Journey: Champions. She also portrayed Kitty in the BBC One production of "The Long Song" in December 2018.


title: Asterisk

text: The asterisk ( ), from Late Latin , from Ancient Greek , "asteriskos", "little star", is a typographical symbol. It is so called because it resembles a conventional image of a heraldic star.


title: Asterisk

text: Computer scientists and mathematicians often vocalize it as star (as, for example, in "the A* search algorithm" or "C*-algebra"). In English, an asterisk is usually five- or six-pointed in sans-serif typefaces, six-pointed in serif typefaces, and six- or eight-pointed when handwritten. Its most common use is to call out a footnote. It is also often used to censor offensive words.


title: Asterisk

text: In computer science, the asterisk is commonly used as a wildcard character, or to denote pointers, repetition, or multiplication.


title: Asterisk

text: There is also a two thousand-year-old character used by Aristarchus of Samothrace called the , , which he used when proofreading Homeric poetry to mark lines that were duplicated. Origen is known to have also used the asteriskos to mark missing Hebrew lines from his Hexapla. The asterisk evolved in shape over time, but its meaning as a symbol used to correct defects remained.


title: Asterisk

text: In the Middle Ages, the asterisk was used to emphasize a particular part of text, often linking those parts of the text to a marginal comment. However, an asterisk was not always used.


title: Asterisk

text: One hypothesis to the origin of the asterisk is that it stems from the 5000-year-old Sumerian character dingir, , though this hypothesis seems to only be based on visual appearance.


title: Asterisk

text: When toning down expletives, asterisks are often used to replace letters. For example, the word "badword" might become "ba***rd", "b*****d", "b******" or even "*******". Vowels tend to be censored with an asterisk more than consonants, but the intelligibility of censored profanities with multiple syllables such as "b*dw*rd" and "b*****d" or "ba****d", or uncommon ones is higher if put in context with surrounding text.


title: Asterisk

text: When a document containing classified information is published, the document may be "sanitized" (redacted) by replacing the classified information with asterisks. For example, the Intelligence and Security Committee Russia report.


title: Asterisk

text: In colloquial usage, an asterisk attached to a sporting record indicates that it is somehow tainted. This is because results that have been considered dubious or set aside are recorded in the record books with an asterisk rendering to a footnote explaining the reason or reasons for concern.


title: Asterisk

text: The usage of the term in sports arose during the 1961 baseball season in which Roger Maris of the New York Yankees was threatening to break Babe Ruth's 34-year-old single-season home run record. Ruth had amassed 60 home runs in a season with only 154 games, but Maris was playing the first season in the American League's newly expanded 162-game season. Baseball Commissioner Ford Frick, a friend of Ruth's during the legendary slugger's lifetime, held a press conference to announce his "ruling" that should Maris take longer than 154 games both records would be acknowledged by Major League Baseball, but that some "distinctive mark" [his term] be placed next to Maris', which should be listed alongside Ruth's achievement in the "record books". The asterisk as such a mark was suggested at that time by New York Daily News sportswriter Dick Young, not Frick. The reality, however, was that MLB actually had no direct control over any record books until many years later, and it all was merely a suggestion on Frick's part. Within a few years the controversy died down and all prominent baseball record keepers listed Maris as the single-season record holder.


title: Asterisk

text: Nevertheless, the stigma of holding a tainted record remained with Maris for many years, and the concept of a real or figurative asterisk denoting less-than-accepted "official" records has become widely used in sports and other competitive endeavors. A 2001 TV movie about Maris's record-breaking season was called "61*" (pronounced "sixty-one asterisk") in reference to the controversy.


title: Asterisk

text: Uproar over the integrity of baseball records and whether or not qualifications should be added to them arose again in the late 1990s, when a steroid-fueled power explosion led to the shattering of Maris' record. Even though it was obvious - and later admitted - by Mark McGwire that he was heavily on steroids when he hit 70 home runs in 1998, ruling authorities did nothing to the annoyance of many fans and sportswriters. Three years later self-confessed steroid-user Barry Bonds pushed that record out to 73, and fans once again began to call for an asterisk in the sport's record books.


title: Asterisk

text: Fans were especially critical and clamored louder for baseball to act during the 2007 season, as Bonds approached and later broke Hank Aaron's career home run record of 755.


title: Asterisk

text: After an investigation by MLB revealed the Houston Astros' involvement in a sign-stealing scheme during the 2017 season, where they won the World Series, fans appalled by what they perceived to be overly lenient discipline against the Astros players nicknamed the team the "Houston Asterisks".


title: Asterisk

text: In recent years, the asterisk has come into use on baseball scorecards to denote a "great defensive play."


title: Asterisk

text: During the first decades of the 21st century, the term "asterisk" to denote a tainted accomplishment caught on in other sports first in North America and then, due in part to North American sports' widespread media exposure, around the world.


title: Asterisk

text: Many programming languages and calculators use the asterisk as a symbol for multiplication. It also has a number of special meanings in specific languages, for instance:


title: Asterisk

text: In the B programming language and languages that borrow syntax from it, such as C, PHP, Java, or C#, comments in the source code (for information to people, ignored by the compiler) are marked by an asterisk combined with the slash:


title: Asterisk

text: Some Pascal-like programming languages, for example, Object Pascal, Modula-2, Modula-3, and Oberon, as well as several other languages including ML, Wolfram Language (Mathematica), AppleScript, OCaml, Standard ML, and Maple, use an asterisk combined with a parenthesis:


title: Asterisk

text: Each computing language has its own way of handling comments; and similar notations are not universal.


title: Asterisk

text: In linguistics, an asterisk is placed before a word or phrase to indicate that it is not used, or there are no records of it being in use. This is used in several ways depending on what is being discussed. It may be used to indicate reconstructed words in proto-languages for which there are no records of the pronunciation, grammar and words.


title: Asterisk

text: In historical linguistics, the asterisk marks words or phrases that are not directly recorded in texts or other media, and that are therefore reconstructed on the basis of other linguistic material (see also comparative method).


title: Asterisk

text: A double asterisk indicates a form that would be expected according to a rule, but is not actually found. That is, it indicates a "reconstructed" form that is not found or used, and in place of which "another" form is found in actual usage:


title: Asterisk

text: In most areas of linguistics, but especially in syntax, an asterisk in front of a word or phrase indicates that the word or phrase is not used because it is ungrammatical.


title: Asterisk

text: An asterisk before a parenthesis indicates that the lack of the word or phrase inside is ungrammatical, while an asterisk after the opening bracket of the parenthesis indicates that the existence of the word or phrase inside is ungrammatical.


title: Asterisk

text: Since a word marked with an asterisk could mean either "unattested" or "impossible", it is important in some contexts to distinguish these meanings. In general, authors retain asterisks for "unattested", and prefix , **, †, or for the latter meaning. An alternative is to append the asterisk (or another symbol, possibly to differentiate between even more cases) at the end.


title: Asterisk

text: In optimality theory, asterisks are used as "violation marks" in tableau cells to denote a violation of a constraint by an output form.


title: Asterisk

text: In phonetic transcription using the International Phonetic Alphabet, an asterisk was sometimes historically used to denote that the word it preceded was a proper noun. See this example from W. Perrett's 1921 transcription of Gottfried Keller's "":


title: Asterisk

text: The asterisk has many uses in mathematics. The following list highlights some common uses and is not exhaustive.


title: Asterisk

text: The asterisk is used in all branches of mathematics to designate a correspondence between two quantities denoted by the same letter – one with the asterisk and one without.


title: Asterisk

text: In fine mathematical typography, the Unicode character (in HTML, ∗) is available. This character also appeared in the position of the regular asterisk in the PostScript symbol character set in the "Symbol" font included with Windows and Macintosh operating systems and with many printers. It should be used in fine typography for a large asterisk that lines up with the other mathematical operators.


title: Asterisk

text: A Star of Life, a six-bar star overlaid with the Rod of Asclepius (the symbol of health), may be used as an alternative to cross or crescent symbols on ambulances.


title: Asterisk

text: In many scientific publications, the asterisk is employed as a shorthand to denote the statistical significance of results when testing hypotheses. When the likelihood that a result occurred by chance alone is below a certain level, one or more asterisks are displayed. Popular significance levels are <0.05 (*), <0.01 (**), and <0.001 (***).


title: Asterisk

text: On a tone dialling telephone keypad, the asterisk (called "star", or less commonly, "palm" or "sextile") is one of the two special keys (the other is the key almost invariably replaced by the number sign (called 'pound sign' (US), 'hash' (other countries), or 'hex'), and is found to the left of the zero.) They are used to navigate menus in systems such as voice mail, or in vertical service codes.


title: Asterisk

text: The Unicode standard has a variety of asterisk-like characters, compared in the table below. (Characters will display differently in different browsers and fonts.) The reason there are so many is chiefly because of the controversial decision to include in Unicode the entire Zapf Dingbats symbol font.


title: Map of the Soul: 7

text: Map of the Soul: 7 is the fourth Korean-language studio album by South Korean boy band BTS. The album was released on February 21, 2020, by Big Hit Entertainment. It is the follow-up to their 2019 extended play "", with five of its songs appearing on the album. Described by BTS as "deeply personal", the album is influenced by their journey and growth of seven years since their debut. "Map of the Soul: 7" has been described as a pop, R&B, and hip-hop record that contains influences from urban contemporary genres like rock, trap, and EDM. Lyrically, it touches upon themes of reflection, introspection, and self-acceptance.


title: Map of the Soul: 7

text: For the album, BTS worked with Halsey, Ed Sheeran, Troye Sivan and Sia. The record was primarily produced by Pdogg, also in the producing credits were Suga, Jimin, Fred Gibson, Hiss Noise, El Capitxn, Supreme Boi, and Arcades, among others. Upon release, "Map of the Soul: 7" received critical acclaim, with praise towards the record's reflective narrative and cohesive production that experiments with various styles.


title: Map of the Soul: 7

text: "Map of the Soul: 7" was a huge commercial success, reaching number one in over 20 countries and becoming the world's best-selling album of 2020. BTS became the first Asian group to top the charts in all of the top-five music markets in the world. In the United States, it became BTS' fourth consecutive album to debut at number one album on the "Billboard" 200 chart, earning 422,000 album-equivalent units (including 347,000 sales) in its first week. In under nine days of its release, the album sold more than 4.1 million copies for the first time in Gaon Album Chart's history, setting the "Guinness World Record" for the best-selling album in South Korea and was certified quadruple million by the Korea Music Content Association (KMCA). It was certified platinum in the United States and Japan, and earned gold certifications in seven other countries.


title: Map of the Soul: 7

text: The album was supported by two singles, both entering the US "Billboard" Hot 100: "Black Swan" debuted and peaked at number 57, while "On" reached number 4, becoming the band's first top-five hit on the chart. "Map of the Soul: 7" won Album of the Year at the 2020 Genie Music Awards, 2020 Mnet Asian Music Awards, 2020 Melon Music Awards, and the 46th People's Choice Awards, while "On" won Best Pop, Best Choreography, and Best K-pop at the 2020 MTV Video Music Awards. The band promoted the album with televised live performances on "The Late Late Show with James Corden" and "The Tonight Show Starring Jimmy Fallon", and various South Korean music programs including "M Countdown", "Music Bank", and "Inkigayo". The group also announced their fourth world tour, the Map of the Soul Tour.


title: Map of the Soul: 7

text: Following the release of their sixth extended play "" (2019), BTS took an "extended period of rest and relaxation" in the midst of their Love Yourself World Tour to "recharge and prepare to present themselves anew as musicians and creators" and to "enjoy the lives of young people in their 20s". Prior to "Map of the Soul: 7"s official announcement, music journalists and fans speculated that "Map of the Soul" would be a trilogy, and upcoming albums would be titled following the themes of Jungian psychology—Persona, Shadow and Ego. RM later confirmed that the record was originally intended to be part of a trilogy until the group changed plans and went on an extended break. He commented, "We thought, 'Why don't we combine them into one album?' Shadow means our wounds and Ego is about accepting our fate. So 7 is a very appropriate title since we've come back after seven months." Prior to the album's release, "Map of the Soul: 7" was listed as one of the most anticipated albums of 2020 by "Billboard", "Rolling Stone", "Vogue", "Vulture" and numerous others.


title: Map of the Soul: 7

text: "Map of the Soul: 7" is a continuation of their previous EP "Map of the Soul: Persona", which itself was based on Murray Stein's "Jung's Map of the Soul". The album expands on the themes and concepts of human psychology - "persona", "shadow" and "ego" and traces back the band's journey and growth of 7 years since their debut. Consisting of twenty tracks with fifteen new tracks and five from their previous release, the record is their longest studio album till date. Talking about the creative process behind the album, Suga stated, "It took us a little longer, and this is our first full album in quite a while. But making an album isn't just making the music. We have the songs, there's the choreography and a lot of other elements that come with it, so it took some time." Described by BTS as "deeply personal", "Map of the Soul: 7" is self-referential that sees the group looking deeper to share their individual stories through their music.


title: Map of the Soul: 7

text: "Map of the Soul: 7" has been described as a pop, R&B, and hip-hop album that incorporates rock, trap and EDM influences in its beats and production. It explores a broad range of other musical styles and genres including emo rap, rap-rock, pop-rock, Latin pop, pop-rap, electropop, disco-funk, synth-pop and Afro pop. Instrumentation through the record is provided by guitar strings and drums. Sonically, the concept album is diverse with rap songs, slow-paced sentimental ballads, and prog-style music. Lyrically, the album touches upon themes of reflection, introspection and the band's path to self acceptance. In an interview with Zach Sang, Suga explained: "One message that penetrates the album as a whole is that you must face your inner shadow, but resist becoming submerged into its depths."


title: Map of the Soul: 7

text: "Map of the Soul: 7" opens with the solo track "", a hip hop and trap song, performed by RM. It samples "Intro: Skool Luv Affair" from the band's 2014 EP "Skool Luv Affair" and employs guitars, "scratchy riffs" and AutoTune in its production. The track uses an echoing backdrop to create a retro sound similar to the works of American group Beastie Boys. RM raps the verses aggressively over Warped Tour-esque rock guitars, "pitched choruses" and Game Boy samples. Lyrically, the song directly references to Jung's archetypes and sees RM trying to answer the question, "Who am I?" AllMusic said that the song "delve[s] into the struggle between the darkness within and a manicured outer image." The following track, "Boy With Luv" is a playful and fun bubblegum-pop, nu-disco and electropop song, with disco, EDM, funk, synths and '80s pop elements. It features vocals from American singer Halsey, who performs mainly on the song's chorus and hook. Serving as a parallel track to the band's 2014 song "Boy In Luv", the lyrics are about finding happiness and joy in the smallest things in life.


title: Map of the Soul: 7

text: R&B track, "Make It Right" is co-written by British singer Ed Sheeran. Driven by synthesizers, the band makes use of falsetto-heavy vocals and belting, singing the verses "with a breathy, close-miked intensity." The production further includes a looped horn throughout the song that was compared to the '00s sound of Amerie's "1 Thing" and Mario's "Let Me Love You". "The New York Times" noted the song "has some of [Sheeran's] signature soft-soul gestures, but BTS renders them with complexity." The fourth track, "Jamais Vu" is the first sub-unit song on the album performed by band members Jungkook, J-Hope and Jin. A ballad, "Jamais Vu" lyrically talks about the emotion when something familiar feels weirdly foreign. Described by RM as "the joy and pain of creating something", the fifth track "Dionysus" derives its name from the eponymous Greek god of debauchery and excess. A rap rock, synth-pop and hip hop song, "Dionysus" includes multi-part hooks, a trap breakdown and double-time drums in the ending chorus. Featuring Jin's "rocking adlibs" throughout the song, it is driven by rock instrumentals in which BTS use "metal inspired high notes", "angry rap verses" and "autotuned vocals." Lyrically, the song talks about stardom, legacy and artistic integrity by using drinking as a metaphor to the band's desire to create lasting art. Noah Yoo of "Pitchfork" compared the song to Kendrick Lamar's 2012 single "Swimming Pools (Drank)" which is also "a meditation on alcoholism" and described "Dionysus" as "a moment of existential introspection disguised as a party-starter."


title: Map of the Soul: 7

text: The sixth song on the album is a solo track "Interlude: Shadow" performed by Suga and samples the intro track of the band's first EP "O!RUL8,2?" (2013). The emo rap track starts off with a medium-paced beat in an arrangement of electric guitar. During the song's lyrics, Suga raps about the fear and insecurities that come with fame and success. Rob Sheffield of "Rolling Stone" called it "a prime example of BTS at top strength: a pop moment that feels both intimately personal and exuberantly universal". "Black Swan" is an emo hip hop track which uses instrumentation from trap drum beats and doleful lo-fi-style guitar tunes. It also features cloud rap and contains a catchy hook. Set in an arrangement of somber instrumentals, the lyrics confess the fear of losing passion for music. Built over a rhapsodic melody, the song features distorted vocals and traditional 12-stringed Korean instrument gayageum. It was served as the first official single for the album. "NME" called it "a haunting, melancholy curveball" that deviates "from an immediate, radio-friendly choice", putting "artistry ahead of mass appeal". Several critics have compared the track to the band's 2018 single, "Fake Love". "Filter" is a Latin pop-esque song performed by Jimin, featuring his different sides as a person. "My Time" performed by Jungkook is a strobing R&B song about forgoing the teenage experiences because of his career. "Billboard" noted the use of "gritty" guitar riffs in the song, adding a mild rock effect to it. Co-written by Troye Sivan, "Louder Than Bombs" is a trap-inflected electropop ballad. It features metronomic beat and falsetto vocal harmonies led by bass.


title: Map of the Soul: 7

text: The album's lead single "ON" is a loud, lively hip-hop anthem that kicks off with an implosive drumroll in a marching band-style and incorporates choral harmonies and trap beats. The song's title makes reference to BTS's 2013 single "N.O.". The lyrics "Can't hold me down/ ‘Cuz you know I’m a fighter" and "bring the pain on" emphasizes the album's theme of fighting against darkness, accepting faults and moving forward. "Variety" describes it "an exhortation to their fans, but also homage to their own career." "UGH" is an onomatopoeic hip hop track, featuring the rappers of the band (RM, J-Hope, and Suga) expressing their anger towards malicious haters in the backdrop of "distinctly" East Asian riffs, turbulent strings, gunshot effects, and plinking synths. The song was compared to the works of Outkast and Travis Scott. "00:00 (Zero O'Clock)" is a sincere soft-pop ballad performed by the vocalists (Jin, Jungkook, V, and Jimin) and features soothing falsettos, vocal harmonies and a trap beat. Lyrically, it is about reminding everyone to stay happy no matter what they are going through and that every day is a fresh start. "Friends" is a pop-rock song with a calypso beat and is performed by Jimin and V. The track portrays their close friendship through its playful lyrics. "Inner Child" sung by V, is a sweeping, soaring track full of celestial metaphors that talks about the challenging times he faced. Jin's "Moon" is an upbeat guitar-driven pop-rock track that charts the love for their fans. "Respect" is a pop-rap track featuring RM and Suga in which they examine the meaning of the word. "We Are Bulletproof: The Eternal" is a continuation of BTS's 2013 song "We Are Bulletproof : Part 2." The pensive electro-influenced piano ballad sums up the entire journey of "Bangtan Sonyeondan" (방탄소년단): the Korean name and meaning behind the band. The album closes with J-Hope's solo "Outro: Ego", featuring samples from their 2013 debut album "2 Cool 4 Skool". The song uses an afrobeat sound in its production. The lyrics see him reflecting on his career and the decisions and hardships he faced. The song ends on a note of declaration of self and ego.


title: Map of the Soul: 7

text: "Map of the Soul: 7"'s branding, artwork and album design centers around a layered number '7' brand mark, designed by graphic studio Sparks Edition to represent BTS's seven-year long journey. Each individual BTS member's identity and personality was embodied by a different typeface '7' within the layered brand mark. Four different designs of the brand mark were developed to accompany the concept photos of each album version.


title: Map of the Soul: 7

text: BTS released 4 album versions for "Map of the Soul: 7" containing different concept photos. Version 1 saw the group clad in white, depicting the members as swans with a "desire for perfection". In a darker theme, Version 2 portrays them as fallen angels with jet-black wings, alluding to their single "Black Swan" and represents "unquenchable thirst". Version 3 finds them seated in a luxuriant Dionysian feast, holding golden chalices, conveying a "sense of calling and will." Version 4 stands out as a stark contrast to the previous darker themes and is done up in the manner of year-book photos. It focuses on the personalities of each individual member depicting their "true selves".


title: Map of the Soul: 7

text: On January 7, 2020, the group announced that the album would be called "Map of the Soul: 7", with pre-orders starting on January 9. A "comeback map" for the album was released on January 8 revealing a schedule split into four phases. The map included multiple dates, including the release dates for the album's two lead singles. On January 9, the group released the official "comeback trailer" for their album, titled "Interlude: Shadow", performed by member Suga. "Black Swan", announced as the album's first single, was released on January 17, 2020 and debuted at number 57 on the US "Billboard" Hot 100 and number 46 on the UK Official Singles Chart. The single additionally peaked at number seven on the Gaon Digital Chart and number two on the US Digital Song Sales chart. It was supported by two music videos. The first music video was in the form of an "art film" featuring an interpretive dance performance by Slovenian modern dance troupe MN Dance Company released on YouTube on January 17, 2020. A second official music video of BTS performing in an opulent theater was later released on YouTube on March 4, 2020, without any prior announcement. The group performed the song for the first time on "The Late Late Show with James Corden" on January 28. The band released a second comeback trailer featuring J-Hope's song "Outro: Ego" on February 2. From February 9 through February 12, the band released a collection of four different series of concept photos, "offering fans new insights into what to expect from the album", according to "Paper"s Matt Moen. On February 17, the group revealed the tracklist, consisting of twenty tracks, of which the first five were from "Map of the Soul: Persona". The album also included an alternative version of the lead single "ON" in collaboration with Australian singer Sia, as the twentieth track of the digital-only release. On February 20, the day before the album was released, BigHit released details about the songs. On February 21, a 30-second clip of the lead single "On" was released on TikTok, 12 hours ahead of the official release of the song. TikTok reportedly crashed momentarily due to a large number of fans trying to access it and also inspired a dance challenge. The same day BTS held a "Comeback Special" on VLIVE broadcasting site from New York, a few hours ahead of the album's release.


title: Map of the Soul: 7

text: Ten months after release of "Map of the Soul: Persona" (2019), "Map of the Soul: 7" was released worldwide on February 21, 2020, by Big Hit Entertainment in conjunction with a dance-oriented music video titled "Kinetic Manifesto Film: Come Prima" for the lead single "On". The video amassed 46.5 million videos within its first day of release, making it the fifth most-watched YouTube video in 24 hours. A second cinematic official music video for "On" was released on February 27. With 1.54 million concurrent viewers within minutes of its release, the video broke the record for the biggest YouTube premier of all time and became the fastest Korean video on YouTube to reach 10 million views. The music video garnered 43.8 million views on its first day, surpassing Taylor Swift's "Look What You Made Me Do", making it the seventh most-viewed video on YouTube in the first 24 hours. Commercially, "On" debuted at number 4 on the "Billboard" Hot 100 with 86,000 downloads and 18.3 million U.S. streams, marking BTS's biggest sales week for a song. The song is the group's highest-charting single on the chart and their first top 5, following "Boy With Luv" featuring Halsey which peaked at number 8 and "Fake Love" which peaked at No. 10, making BTS the first Korean artist to have most Top Ten hits on the Hot 100. It also debuted atop "Billboard" Digital Songs Sales chart and the Gaon Digital Chart. The song won Best Pop, Best K-pop and Best Choreography at the 2020 MTV Video Music Awards. The music video was also successful, receiving a nomination for Best Pop Video - International at the 2020 UK Music Video Awards.


title: Map of the Soul: 7

text: Following the album release, the band performed "On" for the first time at the main concourse of Grand Central Station on "The Tonight Show Starring Jimmy Fallon", for what has been called "one of the most high-production episodes" of the show. BTS also appeared on "The Late Late Show With James Corden", NBC "Today Show", "MTV" "Fresh Out" and "The Tonight Show Starring Jimmy Fallon". In South Korea, BTS held a global press conference in Seoul, on February 24, 2020, to promote the album. For the next two weeks, BTS made several appearances on South Korean music programs, including KBS "Music Bank", Mnet's "M Countdown" and SBS "Inkigayo" to perform the singles "Black Swan" and "On".


title: Map of the Soul: 7

text: In October 2021, it was announced that the upcoming Marvel Studios film "Eternals" would feature the song "Friends".


title: Map of the Soul: 7

text: In January 2020, BTS and Big Hit Entertainment launched "Connect, BTS", ahead of the release of "Map of the Soul: 7". "Connect, BTS" is a global public art project involving 22 contemporary artists across five cities: London, Berlin, Buenos Aires, Seoul and New York. Galleries in these cities hosted artistic events throughout January until the end of March. According to the "Connect, BTS" website, the project was developed by international curators who "resonated with BTS' philosophy" and "aims to redefine the relationships between art and music, the material and immaterial, artists and their audiences, artists and artists, theory and practice." The project kicked off on January 14 at London's Serpentine Galleries with the launch of "Catharsis", a digital recreation of an ancient forest by Danish artist Jakob Kudsk Steensen. Other works include a "drawing in space" on New York's Brooklyn Bridge by British sculptor Antony Gormley using 11 kilometres of aluminium tubing. In Argentina, local contemporary artist Tomás Saraceno launched his environmentally-conscious "Aerocene Pacha" project that successfully flew a human above the Salinas Grandes into the sky using a solar-powered hot air balloon; it set several new world records for propane-free flight. In Seoul, the Dongdaemun Design Plaza featured installations by British artist Ann Veronica Janssens and Korean artist Yiyun Kang which were a "re-imagining of BTS' signature dance movements", while a performance art program called "Rituals of Care" with 17 artists was hosted in Berlin's Martin-Gropius-Bau.


title: Map of the Soul: 7

text: On January 21, 2020, BTS officially announced their fourth worldwide concert tour and second stadium tour titled Map of the Soul Tour to promote "Map of the Soul: Persona" and "Map of the Soul: 7". The tour was set to begin on April 25, 2020, at the Levi's Stadium in the United States but after initial tour dates in Seoul were cancelled due to the COVID-19 pandemic, the group's label postponed all additional dates. A two-day virtual pay-per-view concert titled "BTS Map of the Soul ON:E" was held on October 10–11, 2020, drawing 993,000 concurrent viewers.


title: Map of the Soul: 7

text: "Map of the Soul: 7" was well-received by critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 82, based on twelve reviews, indicating "universal acclaim". Aggregator AnyDecentMusic? gave it a 7.6 out of 10, based on their assessment of the critical consensus.


title: Map of the Soul: 7

text: Rob Sheffield from "Rolling Stone" called "Map of the Soul: 7" BTS's "most smashing album yet, showing off their mastery of different pop styles", praising the broad and diverse sounds that flow cohesively through the album. Writing for "Clash", Deb Aderinkomi also praised the album's sonic diversity, stating "Although the sound of the album is wide-ranging, it holds continuity through its lyrics and general sentiment." Sophia Simon-Bashall of "The Line of Best Fit" described the album as "an impressive, exciting and moving album with slick production" and concluded positively that the album is "a love letter to pain, to the shadows that live within us.[...]It’s a reminder that where there is dark, there is light, and it always possible to find it." AllMusic's Neil Z.Yeung praised the album's concept and production, writing "they transform contemporary trends from the worlds of hip-hop, pop, and dance into a fittingly unique BTS experience." August Brown of the "Los Angeles Times" wrote that the album is "about being in a band, about the relationships that form and get tested in the crucible of insane fame" along with "the darkest, strangest and yet most relevant and ambitious music BTS has made yet." He commented that the record references to "their roots as a hip-hop act,[...] but attuned to today's misty, hard-kicking sonics and bolstered by everything they've learned in the intervening years as pop stars".


title: Map of the Soul: 7

text: Writing for "NME", Rhian Daly deemed "Map of the Soul: 7" "as an album full of big ideas, strong conviction and unguarded emotion." Reviewing for "The Independent", Roisin O’Connor called the album "a gorgeous tapestry" where "recurring themes speak to a duality in which they weave myriad emotions". "Stereogum"s Chris DeVille compared "Map of the Soul: 7" to the Beatles's "White Album" writing,"7 is something like BTS’ very own White Album, a collection held together less by a cohesive sound than a familiar convergence of personalities." Corey van den Hoogenband of "Exclaim!" described it as an album "literally written for—and to—the members and fans" in which "the group made a conscious decision to experiment and give more of themselves [...] focus[ing] on exactly what makes BTS special: its members." "Billboard"s Tamar Herman summarized the album as "a bright sonic soundscape; a celebration of everything that BTS has become". Jochan Embley of "Evening Standard" wrote that the album is "an impeccably polished collection, written well and performed admirably." In "The New York Times", music critic Jon Caramanica opined that ""7" captures a group sure of its place in the pop hierarchy and beginning to itch about what to do next — unsurprising, given that BTS is reaching the point of self-awareness that all superstars eventually reach, but can often be hidden in the hyperstylized world of K-pop." In a review published by "Uproxx", Derrick Rossignol wrote: ""Map of the Soul: 7" is a reflective album lyrically, and an adventurous one instrumentally, as the group brings disparate influences under their glossy pop umbrella." Chester Chin, in her review for "The Star", found the record sonically darker and felt that the band had reached the juncture on the album in their musical career "when the pursuit of artistry far outweighs those of commercial sensibilities." Do-heon Kim from "IZM" considered the record "as a narrative that summarizes and epitomises the history of the K-pop boy band while also delving deeper on a personal level that retraces the past of BTS."


title: Map of the Soul: 7

text: According to Dreamus, the distributor for "Map of the Soul: 7", stock preorders for the album surpassed 3.42 million copies over the first six days of the pre-order period, overtaking the group's own record set with "Map of the Soul: Persona's" 2.68 million pre-orders. On February 6, "Forbes" reported that the album had surpassed 4 million pre-orders worldwide. By February 18, album pre-orders had crossed 4.02 million.


title: Map of the Soul: 7

text: "Map of the Soul: 7" debuted atop the US "Billboard" 200 with 422,000 album-equivalent units, including 347,000 pure album sales, becoming BTS's fourth number-one album in the country and the highest first-week figures of BTS's albums in the US to date. It also marked the biggest first week sales for an album in 2020 and maintained the record until The Weeknd's "After Hours" was released on March 20. The album outsold the next six highest-ranking albums on the "Billboard" 200 combined. The album's lead single, "On" debuted at number four on the "Billboard" Hot 100 with 86,000 downloads and 18.3 million U.S. streams, marking BTS' biggest sales week for a song at the time. The song was the group's highest-charting single on the chart at that time and their first top five, following "Boy With Luv" featuring Halsey which peaked at number eight and "Fake Love" which peaked at No. 10, making BTS the Korean artist with the most top-ten hits on the Hot 100. In November 2020, "Map of the Soul: 7" was certified platinum by the Recording Industry Association of America (RIAA), which denotes one million album-equivalent units. It is their second album to be awarded platinum following "" (2018). In Canada, the album debuted at number one with 23,000 album-equivalent units, becoming the group's third chart-topping album following "Love Yourself: Answer" and "Map of the Soul: Persona".


title: Map of the Soul: 7

text: In South Korea, the album debuted atop the Gaon Album Chart, giving BTS their thirteenth number one. The album sold over 2.65 million copies in its first six hours and a record-breaking 3.37 million copies in its first week, achieving the highest first week sales in Hanteo Chart history and surpassing their previous record of 2.13 million copies with "Map of the Soul: Persona"; it outsold the next nineteen best-selling albums of 2020 combined. In under nine days of the album's release, "Map of the Soul: 7" sold 4.1 million copies, marking the highest sales achieved by an album in a month and over a single year in the Gaon Album Chart's history, surpassing the monthly and annual sales of "Map of the Soul: Persona" and making it the best-selling album in the history of South Korea. It is also the first Korean album to sell more than 4 million copies since Gaon Chart's inception. In April, it became the first album certified as "Quadruple Million" by Gaon since the body implemented certifications in 2018; BTS are the only artist to achieve this. Following the release of "Map of the Soul: 7", BTS became the best-selling artist in South Korea of all time, having sold 20.32 million albums cumulatively.


title: Map of the Soul: 7

text: In Japan, the album became the group's fifth number one, selling more than 370,000 copies in its release week. It was certified Platinum by Recording Industry Association of Japan (RIAJ) in February 2020, denoting 250,000 shipments. Four months later, in June, Oricon announced that "Map of the Soul: 7" had topped the mid-year Album Chart ranking with 429,000 copies sold, making BTS the first foreign artist in 36 years to do so since Michael Jackson with "Thriller" (1984), and the first male artist in three years since SMAP in 2017 with their greatest hits album "SMAP 25 Years". In the United Kingdom, the album debuted atop the Official Albums Chart giving the group their second consecutive number one. It moved around 36,000 units, with 32,000 being from pure sales. The album is certified Silver by the British Phonographic Industry for selling over 60,000 copies in the country. The album debuted atop the German albums chart, making BTS the first Asian group to top the chart. It debuted at number one on the Irish Albums Chart, making BTS the Korean artist to score a number one in that country. The album debuted at number one on Australia's ARIA Albums Chart becoming BTS' fifth top ten entry, and their second consecutive number one following "Map of the Soul: Persona". In France, the album debuted at number one on the SNEP Albums Chart, moving 23,502 equivalent units, making the group's first number one in that country. With "Map of the Soul: 7", BTS became the first Asian group to top the album charts in the top five music markets in the world—the United States, the United Kingdom, Japan, Germany, and France.


title: Map of the Soul: 7

text: At the end of 2020, "Billboard" revealed that "Map of the Soul: 7" ranked at number two on the list of the ten top-selling albums of the year in the US, according to MRC Data, with 674,009 copies sold, only behind Taylor Swifts "Folklore", which sold over 1 million copies. "Map of the Soul: 7" was also the number one physical album of the year in America, with 646,000 hard copies sold. In South Korea, it topped Gaon's annual album chart with a cumulative 4,376,975 copies sold, marking the fifth consecutive year that BTS had the best-selling album in their home country. The International Federation of the Phonographic Industry (IFPI) named "Map of the Soul: 7" the best-selling album of 2020 globally, both in pure sales and across all consumption formats, spanning physical sales, digital downloads, and streaming platforms. The album received the IFPI's first ever Global Album All Format Chart Award. BTS was also the only act with multiple albums in both charts.


title: Map of the Soul: 7

text: In February 2021, "Map of the Soul: 7" became the first BTS album to spend its entire first year on the US "Billboard" 200—it charted for 52 consecutive weeks—and the second longest charting Asian album after "Love Yourself: Answer" (2018). As of September 2021, the album has remained on the chart for 82 consecutive weeks.


title: Ayda Field

text: Ayda Field (born Ayda Sabahat Evecan, May 17, 1979) is a Turkish-American model and actress. She is best known for being a regular panellist on British television show "Loose Women", a judge on the British "The X Factor", alongside her husband, singer Robbie Williams, and for her roles in "Fresh Meat" and "Days of Our Lives".


title: Ayda Field

text: Field was born in Los Angeles, California, to a Turkish father Haldun Evecan, and an American mother, film producer Gwen Field. Her father is Muslim and her mother is Jewish.


title: Ayda Field

text: Field first became known on the NBC soap opera "Days of Our Lives", but has subsequently specialised in comedy roles. She was a regular on "Blue Collar TV", guest starred in the sitcom "Eve" and appeared as Jeannie Whatley on NBC's "Studio 60 on the Sunset Strip". On the Fox sitcom "Back to You," she played Montana Diaz Herrera (aka Sally Lerner), News 9's weather woman. She also appeared in ten episodes of "Season One".


title: Ayda Field

text: Field joined the cast of a sitcom pilot titled "Making It Legal" (playing a lawyer named "Elise") but ABC did not pick up the pilot. In June 2008, she was cast in the female lead on ABC's untitled David Kohan/Max Mutchnick comedy pilot, replacing Sarah Lafleur.


title: Ayda Field

text: Field made her UK TV debut in the final series of "Fresh Meat" in 2016. In that year, she appeared in the ITV/Netflix series "Paranoid". Also in 2016, Field joined ITV's "Loose Women" as a guest panellist.


title: Ayda Field

text: In 2018, she joined "The X Factor UK" judging panel alongside her husband Robbie Williams, show creator Simon Cowell and One Direction's Louis Tomlinson where she replaced Sharon Osbourne.


title: Ayda Field

text: Field married English singer-songwriter Robbie Williams at his home in Mulholland Estates, Beverly Hills on August 7, 2010. They have four children.


title: Blackburn Buccaneer

text: The Blackburn Buccaneer is a British carrier-capable attack aircraft designed in the 1950s for the Royal Navy (RN). Designed and initially produced by Blackburn Aircraft at Brough, it was later officially known as the Hawker Siddeley Buccaneer when Blackburn became a part of the Hawker Siddeley Group, but this name is rarely used.


title: Blackburn Buccaneer

text: The Buccaneer was originally designed in response to the Soviet Union's "Sverdlov"-class cruiser construction programme. Instead of building a new fleet of its own, the Royal Navy could use the Buccaneer to attack these ships by approaching at low altitudes below the ship's radar horizon. The Buccaneer could attack using a nuclear bomb, or conventional weapons. It was later intended to carry short-range anti-shipping missiles to improve its survivability against more modern ship-based anti-aircraft weapons.


title: Blackburn Buccaneer

text: The Buccaneer entered Royal Navy service in 1962. The initial production aircraft suffered a series of accidents due to insufficient engine power, which was quickly addressed in the Buccaneer S.2, equipped with more powerful Rolls-Royce Spey jet engines. The Buccaneer was also offered as a possible solution for the Royal Air Force (RAF) requirement for a supersonic interdictor carrying nuclear weapons. It was rejected as not meeting the specification in favour of the much more advanced supersonic BAC TSR-2, but the cost of the TSR-2 programme led to its cancellation, only to be followed by the cancellation of its selected replacement, the General Dynamics F-111K. The RAF purchased Buccaneers and American Phantom IIs as TSR-2 substitutes, the Buccaneer entering service in 1969.


title: Blackburn Buccaneer

text: The Royal Navy retired the last of its large aircraft carriers in 1978, moving their strike role to the British Aerospace Sea Harrier, and passing their Buccaneers to the RAF. After a crash in 1980 revealed metal fatigue problems, the RAF fleet was reduced to 60 aircraft, while the rest were scrapped. The ending of the Cold War led to a reduction in strength of the RAF, and the accelerated retirement of the remaining fleet, with the last Buccaneers in RAF service being retired in 1994 in favour of the Panavia Tornado. The South African Air Force (SAAF) also procured the type. Buccaneers saw combat action in the first Gulf War of 1991, and the South African Border War.


title: Blackburn Buccaneer

text: Following the end of the Second World War, the Royal Navy soon needed to respond to the threat posed by the rapid expansion of the Soviet Navy. Chief amongst Soviet naval developments in the early 1950s was the ; these vessels were classifiable as light cruisers, being fast, effectively armed, and numerous. Like the German "pocket battleships" during the Second World War, these new Soviet cruisers presented a serious threat to the merchant fleets in the Atlantic. To counter this threat, the Royal Navy decided not to use a new ship class of its own, but instead introduce a specialised strike aircraft employing conventional or nuclear weapons. Operating from the Navy's fleet carriers, and attacking at high speed and low level, it would offer a solution to the "Sverdlov" problem.


title: Blackburn Buccaneer

text: A detailed specification was issued in June 1952 as Naval Staff Requirement "NA.39", calling for a two-seat aircraft with folding wings, capable of flying at at sea level, with a combat radius of at low altitude, and at higher cruising altitudes. A weapons load of was required, including conventional bombs, the Red Beard free-fall nuclear bomb, or the Green Cheese anti-ship missile. Based on the requirement, the Ministry of Supply issued specification "M.148T" in August 1952, and the first responses were returned in February 1953. Blackburn's design by Barry P. Laight, "Project B-103", won the tender in July 1955. For reasons of secrecy, the aircraft was called "BNA" (Blackburn Naval Aircraft) or "BANA" (Blackburn Advanced Naval Aircraft) in documents, leading to the nickname of "Banana Jet". The first prototype made its maiden flight from RAE Bedford on 30 April 1958.


title: Blackburn Buccaneer

text: The first production Buccaneer model, the "Buccaneer S.1", entered squadron service with the Fleet Air Arm (FAA) in January 1963. It was powered by a pair of de Havilland Gyron Junior turbojets, producing of thrust. This mark was somewhat underpowered, and as a consequence, could not achieve take off if fully laden with both fuel and armament. A temporary solution to this problem was the "buddy system": aircraft took off with a full load of weaponry and minimal fuel, and would subsequently rendezvous with a Supermarine Scimitar that would deliver the full load of fuel by aerial refuelling. The lack of power meant, however, that the loss of an engine during take-off, or landing at full load, when the aircraft was dependent on flap blowing, could be catastrophic.


title: Blackburn Buccaneer

text: The long-term solution to the underpowered S.1 was the development of the "Buccaneer S.2", fitted with the Rolls-Royce Spey engine, which provided 40% more thrust. The turbofan Spey also had significantly lower fuel consumption than the pure-jet Gyron, which provided improved range. The engine nacelles had to be enlarged to accommodate the Spey, and the wing required minor aerodynamic modifications as a result. Hawker Siddeley announced the production order for the S.2 in January 1962. All Royal Navy squadrons had converted to the improved S.2 by the end of 1966. However, 736 Naval Air Squadron also used eight S.1 aircraft taken from storage to meet an extra training demand for RAF crews until December 1970.