بيانو

البيانو (معرب: البِيانُ) هو آلة موسيقية صوتية وترية تُضرب فيها السلاسل بواسطة المطارق وتُعزف باستخدام لوحة المفاتيح، اخترع الإيطالي بارتولوميو كريستوفوري البيانو حوالي عام 1700م، وقد أتت تسميتها بالبيانو اختصاراً لكلمة بيانوفورت، وهو مصطلح إيطالي ظهر في بدايات القرن الثامن عشر يعني الرّقة أو اللين. تصنع المفاتيح للبيانوهات الغالية من عاج الفيل
البناء والتكوين
يمكن أن يحتوي البيانو على ما يزيد عن 12،000 جزء فردي، تدعم ست وظائف وظيفية: لوحة المفاتيح، المطارق، المخمدات، الجسر، موجه الصوت، والسلاسل. أجزاء كثيرة من البيانو مصنوعة من مواد مختارة للقوة وطول العمر. وهذا ينطبق بشكل خاص على الحافة الخارجية. هو الأكثر شيوعا مصنوعة من الخشب الصلب، وعادة ما تكون القيقب الصلبة أو الزان، وكتفتها بمثابة متحرك أساسا كائن من الذي ب موجه صوت مرنة يمكن أن يهتز أفضل. وفقا لهارولد أ. كونكلين، فإن الغرض من الحافة القوية هو أن "... الطاقة الذبذبات ستبقى قدر الإمكان في بموجه الصوت بدلا من تبديد عديمة الفائدة في أجزاء القضية، وهي مشعات غير فعالة من صوت."الحافات الصلبة عادة ما تكون مصنوعة من الترقق رقيقة، وبالتالي مرنة، شرائط من الخشب الصلب، والانحناء لهم الشكل المطلوب مباشر بعد تطبيق الغراء. وقد تم تطوير نظام الخشب الرقائقي عازمة من قبل C.F. ثيودور ستينواي في عام 1880 للحد من وقت التصنيع والتكاليف. في السابق، تم بناء الحافة من عدة قطع من الخشب الصلب، انضمت وقشرة، واستمرت هذه الطريقة لاستخدامها في أوروبا بشكل جيد في القرن العشرين. استثناء حديث، بوسندورفر، الشركة المصنعة النمساوية للبيانو ذات جودة عالية، يبني الحافات الداخلية من الراتينجية الصلبة، نفس الخشب الذي مصنوعة من بموجه الصوت، والتي يتم تحجيم للسماح لها لثني. بدلا من عزل الحافة من الاهتزاز، و "مبدأ حالة الرنين" يسمح للإطار لأكثر صدى بحرية مع بموجه الصوت، وخلق تلوين إضافية وتعقيد الصوت العام.

ميكانيكية العمل
الأصوات الناتجة عن الضغط على لوحة مفاتيح تتحدد بقوّة هذا الضغط، حيث أنه كلما زادت قوة ضرب المطرقة للسلاسل نتج عنها صوتاً أقوى. وعادة ما يُحاط البيانو الصوتي بطبقة خشبية واقية تحيط بموجه الصوت والخيوط المعدنية، الضغط على مفتاح واحد أو أكثر من لوحة مفاتيح البيانو يؤدي إلى إصدار صوت طرقة مبطنّة (عادة مبطنة مع طبقة صوتية ثابتة) لضرب السلاسل، ترتد المطرقة من السلاسل جاعلةً السلاسل في وضع اهتزاز مستمر على نفس تردد الرنين. وتنتقل هذه الاهتزازات من خلال جسر إلى مُوَجّه الصوت التي تتضخم من خلال اقتران عدة أصوات. عند تحرير المفتاح يُوقف المثبط اهتزاز السلاسل ويتوقف الصوت. ويُتحكم بكيفية إيقاف المثبط للسلاسل عن طريق استخدام الدواسات في قاعدة الصك. وتُمكن دواسة الحفاظ على العزف من عزف عازف البيانو المقاطع الموسيقية المستحيلة، حيث تكون فيها النوتات خارج البيانو، مثل سبر وتر 10-نوت في السجل السفلي، في حين يستمر هذا الوتر مع دواسة الحفاظ، وتحويل كلتا يديه إلى نطاق ثلاثة أضعاف للعب لحن و أربيجيوس على رأس هذا وتر مستمر. على عكس الجهاز الأنابيب و هاربسيتشورد، واثنين من أدوات لوحة المفاتيح الرئيسية المستخدمة على نطاق واسع قبل البيانو تحتوي معظم البيانو الحديث على صف من 88 مفتاحا أبيض وأسود، و 52 مفتاحا أبيض للملاحظات الخاصة بالمقياس الرئيسي C (C و D و E و F و G و A و B) و 36 مفتاحا أسود أقصر، مفاتيح بيضاء  هناك نوعان رئيسيان من البيانو: البيانو الكبير والبيانو العمودي. ويستخدم البيانو الكبير للموسيقى المنفردة الكلاسيكية، والموسيقى غرفة والفن الأغنية وغالبا ما تستخدم في الجاز والحفلات الموسيقية البوب. البيانو المستقيم، الذي هو أكثر إحكاما، هو النوع الأكثر شعبية، كما أنها أفضل حجم للاستخدام في المنازل الخاصة لصناعة الموسيقى المحلية والممارسة.خلال القرن التاسع عشر، متأثرة بالاتجاهات الموسيقية لعصر الموسيقى الرومانسية، كانت الابتكارات مثل إطار الحديد الزهر (الذي يسمح بتوترات سلسلة أكبر بكثير) والتوتير قسامة أعطى البيانو الكبير صوت أكثر قوة، مع الحفاظ على نغمة أطول وأكثر ثراء. في القرن التاسع عشر، لعب بيانو العائلة نفس الدور الذي لعبه الراديو أو الفونوغراف في القرن العشرين؛ عندما أرادت عائلة من القرن التاسع عشر أن تسمع قطعة موسيقية أو سيمفونية نشرت حديثا، فإنها يمكن أن تسمع ذلك من خلال وجود أحد أفراد الأسرة يلعب على البيانو. خلال القرن التاسع عشر، أنتج ناشرو الموسيقى العديد من الأعمال الموسيقية في ترتيبات البيانو، بحيث يمكن لعشاق الموسيقى اللعب وسماع القطع الشعبية من اليوم في وطنهم. ويستخدم البيانو على نطاق واسع في الموسيقى الكلاسيكية والجاز والتقليدية والشعبية للعروض المنفردة والفردية، مرافقة، وتأليف، كتابة الأغاني والبروفة. على الرغم من أن البيانو هو ثقيل جدا، وبالتالي غير المحمولة ومكلفة (بالمقارنة مع غيرها من الأدوات المصاحبة المستخدمة على نطاق واسع، مثل الغيتار الصوتية)، وبراعة الموسيقية (أي نطاقه الملعب واسعة، والقدرة على العزف الحبال مع ما يصل إلى 10 الملاحظات ، أو أصوات أكثر صخامة أو ليونة وخطتين موسيقيتين مستقلتين أو أكثر في نفس الوقت)، وعدد كبير من الموسيقيين والهواة المدربين على اللعب، وتوافرها الواسع في أماكن الأداء والمدارس ومساحات بروفة جعلها واحدة من العالم الغربي معظم الآلات الموسيقية المألوفة. مع التقدم التكنولوجي،تم البيانو الكهربائية (1929)، البيانو الإلكترونية (1970)، والبيانو الرقمية (1980) كما تم تطويرها.

التاريخ
تطوّرت البيانو من آلات موسيقية وترية سابقة فيما يرى بعض مؤرخي الموسيقى، كالموسيقار اللبناني المصري سليم سحاب، أن البيانو هو تطور عن شكل القانون، إذ إنّ أول الآلات الوترية الذي يعمل بطريقةٍ تشبه البيانو تقريباً هو السنطور، ويعدّ أحد الآلات الوترية الشبيهة بالقانون تقريباً في شكلها، وفيما بعد تطورت آلاتٍ موسيقيةٍ متعددةٍ شبيهةٍ بالبيانو قبل اختراعه، إذ ظهرت آلاتٌ كالكلافيكورد في القرن الرابع عشر، فيعتبر الكلافيكورد أول الآلات الموسيقية ذات المفاتيح والأوتار معاً، وفيما بعد اختُرِع الهاربسكود أيضاً في القرن السادس عشر والذي استمر في تألقه حتى أواخر القرن الثامن عشر تقريباً إذ كان يستعمل في العروض العالمية وفي الحضارات المختلفة، وكان الهاربسكود يقوم بتقديم أصوات عاليةٍ وضخمةً إلّا أنّه يمنح تحكماً قليلاً في النوتات، أما البيانو فقد كان يُقدّم كلتا النوتات العالية والمنخفضة مع التحكم الكبير بهذه النوتات المختلفة، فهو يجمع الخصائص المهمّة للآلات الموسيقية وهو ما جعله يقتحم دور العرض في الأوبرا والحفلات الكبرى وفي شتى أنواع الموسيقى.

وبعدها جاء البيانو الحديث الذي اخترع في فترة ما بين أواخر القرن السابع عشر و بدايات القرن الثامن عشر، إذ إنّ التاريخ الذي صُنع فيه البيانو الأول يعتبر غير معروفٍ بالتحديد، إلّا أنّ الفضل في صناعة البيانو يعود إلى صانع الآلات الموسيقية الإيطالي بارتولوميو كريستوفوري (4 مايو، 1655م) يعود له الفضل كمخترع آلة البيانو، حيث كان هو أول بيانو سُجّل ظهوره في التاريخ عام 1700م، وقد عمل كريستوفوري عليه قبل ذلك بعامين، في حين أن أشهر بيانو ابتكره كريستوفوري ظهر بعد ذلك بعشرين عاماً. وفي ذلك الوقت كانت الآلة اللوحية الأكثر انتشاراً آلة تسمى الهاربسكورد، المشكلة الأكبر في هذه الآلة أنه لم يكن يمكن عزف النوت الموسيقية عليها بدرجات متفاوتة من النعومة. لعزف نوته، يوجد في هذه الآلة وتد صغير يدعى plectrum (أداة لعزف الأوتار) تتحكم فيها لوحة أو لوحتي مفاتيح، لم يكن هناك طريقة سهلة لتعديل الصوت وإحداث فارق بسيط في النغمة، وبالرغم من أنه كان هناك عدة تعديلات لهذا الأمر (وآلات أخرى) حاولت حل هذه المشكلة، إلا أن كل هذه الأشياء لم تكن بالكفاءة المطلوبة.

البيانو يدين بشكل واضح للهاربسكورد، وفق الأحداث المسجلة في التاريخ، أطلق كريستوفوري على البيانو اركيكامبيلو والتي تعني “الهاربيسكورد القيثاري”، كما أنه عمل على تطوير الهاربيسكورد وإنتاج نسخ معدلة منه. ولكن البيانو شكل نقلة كبيرة في هذا الشكل من الآلات عن طريق استخدام مطرقه للعزف بدلا من الـ plectrum المستخدم في الهاربسكورد، هذا الأسلوب أعطى الآلة تنوعا رائعا في النغمات الصادرة كنتيجة لاستخدام المطارق لعزف النغمات، أعطى هذا الأمر ميزة رائعة للبيانو جعلته يتفوق تماما على الهاربيسكورد.، فكان البيانو الذي اخترعه أحد أفضل وأعذب الآلات الموسيقية حتى الآن، حيث أنّه في حين كانت أصوات الكلافيكورد رقيقةً جداً وناعمةً ولا تصلح للحفلات الموسيقية الضخمة كما في الاوبرا.

وقد استخدمت أجهزة الأنابيب منذ العصور القديمة، وعلى هذا النحو، فإن تطوير أجهزة الأنابيب مكنت بناة الصك لمعرفة المزيد عن إنشاء آليات لوحة المفاتيح لدرجات السبر. وكانت أول أدوات السلسلة ذات السلاسل الضيقة هي الدراسيم المطرقة، والتي كانت تستخدم منذ العصور الوسطى في أوروبا. خلال العصور الوسطى، كانت هناك عدة محاولات لإنشاء آلات لوحة المفاتيح الوترية مع سلاسل ضرب. بحلول القرن ال 17، كانت آليات أدوات لوحة المفاتيح مثل كلافيكورد و هاربسيكورد متطورة. في كلافيكورد، يتم ضرب السلاسل من خلال الظلال، بينما في هاربسيكورد، يتم انتقاؤها ميكانيكيا من قبل الزواحف عندما يخفض الأداء مفتاح. وقد أظهرت قرون من العمل على آلية هاربسيكورد على وجه الخصوص بناة الصك الطرق الأكثر فعالية لبناء القضية، بموجه الصوت، جسر، والعمل الميكانيكي لوحة المفاتيح تهدف إلى سلاسل سليمة.

Piano

The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700 (the exact year is uncertain), in which the strings are struck by hammers. It is played using a keyboard,[1] which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings.

The word piano is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from gravicembalo col piano e forte[2] and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" respectively,[3] in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, and the louder the sound of the note produced and the stronger the attack. The name was created as a contrast to harpsichord, a musical instrument that does not allow variation in volume. The first fortepianos in the 1700s had a quieter sound and smaller dynamic range.

An acoustic piano usually has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a padded hammer (typically padded with firm felt) to strike the strings. The hammer rebounds from the strings, and the strings continue to vibrate at their resonant frequency.[4] These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air. When the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument. The sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and then, while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord. Unlike the pipe organ and harpsichord, two major keyboard instruments widely used before the piano, the piano allows gradations of volume and tone according to how forcefully a performer presses or strikes the keys.

Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale (C, D, E, F, G, A and B) and 36 shorter black keys, which are raised above the white keys, and set further back on the keyboard. This means that the piano can play 88 different pitches (or "notes"), going from the deepest bass range to the highest treble. The black keys are for the "accidentals" (F♯/G♭, G♯/A♭, A♯/B♭, C♯/D♭, and D♯/E♭), which are needed to play in all twelve keys. More rarely, some pianos have additional keys (which require additional strings). Most notes have three strings, except for the bass, which graduates from one to two. The strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is usually classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked (as with a harpsichord or spinet); in the Hornbostel–Sachs system of instrument classification, pianos are considered chordophones. There are two main types of piano: the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music, and art song, and it is often used in jazz and pop concerts. The upright piano, which is more compact, is the most popular type, as it is a better size for use in private homes for domestic music-making and practice.

During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame (which allowed much greater string tensions) and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century; when a nineteenth-century family wanted to hear a newly published musical piece or symphony, they could hear it by having a family member play it on the piano. During the nineteenth century, music publishers produced many musical works in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, and for composing, songwriting and rehearsals. Although the piano is very heavy and thus not portable and is expensive (in comparison with other widely used accompaniment instruments, such as the acoustic guitar), its musical versatility (i.e., its wide pitch range, ability to play chords, louder or softer notes and two or more independent musical lines at the same time), the large number of musicians and amateurs trained in playing it, and its wide availability in performance venues, schools and rehearsal spaces have made it one of the Western world's most familiar musical instruments. With technological advances, amplified electric pianos (1929), electronic pianos (1970s), and digital pianos (1980s) have also been developed. The electric piano became a popular instrument in the 1960s and 1970s genres of jazz fusion, funk music and rock music.
The piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches. The first string instruments with struck strings were the hammered dulcimers,[5] which were used since the Middle Ages in Europe. During the Middle Ages, there were several attempts at creating stringed keyboard instruments with struck strings.[6] By the 17th century, the mechanisms of keyboard instruments such as the clavichord and the harpsichord were well developed. In a clavichord, the strings are struck by tangents, while in a harpsichord, they are mechanically plucked by quills when the performer depresses the key. Centuries of work on the mechanism of the harpsichord in particular had shown instrument builders the most effective ways to construct the case, soundboard, bridge, and mechanical action for a keyboard intended to sound strings.

Invention
See also: Bartolomeo Cristofori
The invention of the piano is credited to Bartolomeo Cristofori (1655–1731) of Padua, Italy, who was employed by Ferdinando de' Medici, Grand Prince of Tuscany, as the Keeper of the Instruments. Cristofori was an expert harpsichord maker, and was well acquainted with the body of knowledge on stringed keyboard instruments. He used his knowledge of harpsichord keyboard mechanisms and actions to help him to develop the first pianos. It is not known exactly when Cristofori first built a piano. An inventory made by his employers, the Medici family, indicates the existence of a piano by the year 1700; another document of doubtful authenticity indicates a date of 1698. The three Cristofori pianos that survive today date from the 1720s.[7][8] Cristofori named the instrument un cimbalo di cipresso di piano e forte ("a keyboard of cypress with soft and loud"), abbreviated over time as pianoforte, fortepiano, and later, simply, piano.[9]

While the clavichord allows expressive control of volume and sustain, it is too quiet for large performances in big halls. The harpsichord produces a sufficiently loud sound, especially when a coupler joins each key to both manuals of a two-manual harpsichord, but it offers no dynamic or accent-based expressive control over each note. A harpsichord cannot produce a variety of dynamic levels from the same keyboard during a musical passage (though a player can use a harpsichord with two manuals to alternate between two different stops [settings on the harpsichord that determine which set of strings sound], which could include a louder stop and a quieter stop). The piano offers the best of both instruments, combining the ability to play loudly and perform sharp accents. The piano can project more during piano concertos and play in larger venues, with dynamic control that permits a range of dynamics, including soft, quiet playing.[8]

Cristofori's great success was solving, with no known prior example, the fundamental mechanical problem of designing a stringed keyboard instrument in which the notes are struck by a hammer. The hammer must strike the string, but not remain in contact with it, because this would damp the sound and stop the string from vibrating and making sound. This means that after striking the string, the hammer must be lifted or raised off the strings. Moreover, the hammer must return to its rest position without bouncing violently, and it must return to a position in which it is ready to play almost immediately after its key is depressed so the player can repeat the same note rapidly. Cristofori's piano action was a model for the many approaches to piano actions that followed in the next century. Cristofori's early instruments were made with thin strings, and were much quieter than the modern piano, but they were much louder and with more sustain in comparison to the clavichord—the only previous keyboard instrument capable of dynamic nuance via the weight or force with which the keyboard is played.

Early fortepiano
Main article: Fortepiano
Cristofori's new instrument remained relatively unknown until an Italian writer, Scipione Maffei, wrote an enthusiastic article about it in 1711, including a diagram of the mechanism, that was translated into German and widely distributed.[8] Most of the next generation of piano builders started their work based on reading this article. One of these builders was Gottfried Silbermann, better known as an organ builder. Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern sustain pedal, which lifts all the dampers from the strings simultaneously. This innovation allows the pianist to sustain the notes that they have depressed even after their fingers are no longer pressing down the keys. As such, by holding a chord with the sustain pedal, pianists can relocate their hands to a different register of the
Silbermann showed Johann Sebastian Bach one of his early instruments in the 1730s, but Bach did not like the instrument at that time, saying that the higher notes were too soft to allow a full dynamic range. Although this earned him some animosity from Silbermann, the criticism was apparently heeded. Bach did approve of a later instrument he saw in 1747, and even served as an agent in selling Silbermann's pianos. "Instrument: piano et forte genandt"—a reference to the instrument's ability to play soft and loud—was an expression that Bach used to help sell the instrument when he was acting as Silbermann's agent in 1749.[10]

Piano-making flourished during the late 18th century in the Viennese school, which included Johann Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Streicher (daughter of Stein) and Anton Walter. Viennese-style pianos were built with wood frames, two strings per note, and leather-covered hammers. Some of these Viennese pianos had the opposite coloring of modern-day pianos; the natural keys were black and the accidental keys white.[11] It was for such instruments that Wolfgang Amadeus Mozart composed his concertos and sonatas, and replicas of them are built in the 21st century for use in authentic-instrument performance of his music. The pianos of Mozart's day had a softer, more ethereal tone than 21st century pianos or English pianos, with less sustaining power. The term fortepiano now distinguishes these early instruments (and modern re-creations) from later pianos.

Airlines

An airline is a company that provides air transport services for traveling passengers and freight. Airlines utilize aircraft to supply these services, and may form partnerships or alliances with other airlines for codeshare agreements. Generally, airline companies are recognized with an air operating certificate or license issued by a governmental aviation body.

Airlines vary in size, from small domestic airlines to full-service international airlines with double decker airplanes. Airline services can be categorized as being intercontinental, domestic, regional, or international, and may be operated as scheduled services or charters. The largest airline currently[when?] is American Airlines Group.
History
The first airlines
DELAG, Deutsche Luftschiffahrts-Aktiengesellschaft I was the world's first airline.[1] It was founded on November 16, 1909, with government assistance, and operated airships manufactured by The Zeppelin Corporation. Its headquarters were in Frankfurt. The first fixed wing scheduled airline was started on January 1, 1914, from St. Petersburg, Florida, to Tampa, Florida, operated by the St. Petersburg and Tampa Airboat Line.[2] The four oldest non-dirigible airlines that still exist are Netherlands' KLM (1919),[3] Colombia's Avianca (1919),[4] Australia's Qantas (1921),[5] and the Czech Republic's Czech Airlines (1923).[6]

European airline industry
Beginnings
The earliest fixed wing airline in Europe was Aircraft Transport and Travel, formed by George Holt Thomas in 1916; via a series of takeovers and mergers, this company is an ancestor of modern-day British Airways. Using a fleet of former military Airco DH.4A biplanes that had been modified to carry two passengers in the fuselage, it operated relief flights between Folkestone and Ghent. On 15 July 1919, the company flew a proving flight across the English Channel, despite a lack of support from the British government. Flown by Lt. H Shaw in an Airco DH.9 between RAF Hendon and Paris – Le Bourget Airport, the flight took 2 hours and 30 minutes at £21 per passenger.

On 25 August 1919, the company used DH.16s to pioneer a regular service from Hounslow Heath Aerodrome to Le Bourget, the first regular international service in the world. The airline soon gained a reputation for reliability, despite problems with bad weather, and began to attract European competition. In November 1919, it won the first British civil airmail contract. Six Royal Air Force Airco DH.9A aircraft were lent to the company, to operate the airmail service between Hawkinge and Cologne. In 1920, they were returned to the Royal Air Force.[7]

Other British competitors were quick to follow – Handley Page Transport was established in 1919 and used the company's converted wartime Type O/400 bombers with a capacity for 12 passengers,[8] to run a London-Paris passenger service.[9]

The first French airline was Société des lignes Latécoère, later known as Aéropostale, which started its first service in late 1918 to Spain. The Société Générale des Transports Aériens was created in late 1919, by the Farman brothers and the Farman F.60 Goliath plane flew scheduled services from Toussus-le-Noble to Kenley, near Croydon, England. Another early French airline was the Compagnie des Messageries Aériennes, established in 1919 by Louis-Charles Breguet, offering a mail and freight service between Le Bourget Airport, Paris and Lesquin Airport, Lille
The first German airline to use heavier than air aircraft was Deutsche Luft-Reederei established in 1917 which started operating in February 1919. In its first year, the D.L.R. operated regularly scheduled flights on routes with a combined length of nearly 1000 miles. By 1921 the D.L.R. network was more than 3000 km (1865 miles) long, and included destinations in the Netherlands, Scandinavia and the Baltic Republics. Another important German airline was Junkers Luftverkehr, which began operations in 1921. It was a division of the aircraft manufacturer Junkers, which became a separate company in 1924. It operated joint-venture airlines in Austria, Denmark, Estonia, Finland, Hungary, Latvia, Norway, Poland, Sweden and Switzerland.

The Dutch airline KLM made its first flight in 1920, and is the oldest continuously operating airline in the world. Established by aviator Albert Plesman,[11] it was immediately awarded a "Royal" predicate from Queen Wilhelmina.[12] Its first flight was from Croydon Airport, London to Amsterdam, using a leased Aircraft Transport and Travel DH-16, and carrying two British journalists and a number of newspapers. In 1921, KLM started scheduled services.

In Finland, the charter establishing Aero O/Y (now Finnair) was signed in the city of Helsinki on September 12, 1923. Junkers F.13 D-335 became the first aircraft of the company, when Aero took delivery of it on March 14, 1924. The first flight was between Helsinki and Tallinn, capital of Estonia, and it took place on March 20, 1924, one week later.

In the Soviet Union, the Chief Administration of the Civil Air Fleet was established in 1921. One of its first acts was to help found Deutsch-Russische Luftverkehrs A.G. (Deruluft), a German-Russian joint venture to provide air transport from Russia to the West. Domestic air service began around the same time, when Dobrolyot started operations on 15 July 1923 between Moscow and Nizhni Novgorod. Since 1932 all operations had been carried under the name Aeroflot.[13]

Early European airlines tended to favor comfort – the passenger cabins were often spacious with luxurious interiors – over speed and efficiency. The relatively basic navigational capabilities of pilots at the time also meant that delays due to the weather were commonplace

غابرييل باتيستوتا

غابرييل عمر باتيستوتا (بالإسبانية: Gabriel Omar Batistuta) لاعب كرة قدم أرجنتيني من مواليد (1 فبراير 1969)، اشتهر بلقب "باتي غول"، وقد اشتهر مع نادي فيورنتينا الإيطالي، وهو أفضل هداف في تاريخ الدوري الإيطالي برصيد 354 هدف من 387 مباراة، وعلى المستوى الدولي هو ثاني أكثر اللاعبين الأرجنتينيين تسجيلا للأهداف مع المنتخب، فقد سجل 56 هدف من 78 مباراة دولية، ويعتبر باتيستوتا اللاعب الوحيد الذي سجل هاتريك في بطولتين لـ كأس العالم.
مسيرته الكروية
كانت بداية باتيستوتا مع كرة القدم في نادي نيولز أولد بويز في موسم 1988–89، وقد لعب معهم 24 مباراة وسجل 7 أهداف، وفي موسم 1989–90 انتقل إلى نادي ريفر بليت، ولعب معهم 21 مباراة وسجل 17 هدف، ولكنه بسبب مشاكله مع مدرب الفريق اضطر إلى الانتقال إلى نادي بوكا جونيورز في موسم 1990–1991 ولعب معهم 34 مباراة وسجل 13 هدف.

انتقل في عام 1991 إلى نادي فيورنتينا الإيطالي، وفي هذا النادي نال باتيستوتا شهرته الكبيرة، وساعدهم على تقديم مستويات متميزة في التسعينات هو وزميلة روي كوستا وسجل فيها 168 هدف، وقد ساعد روما على الفوز بالدوري الإيطالي في عام 2001، ولعب باتيستوتا مع نادي روما الإيطالي 63 مباراة وسجل فيها 30 هدف، وأعير في شهر يناير 2003 إلى نادي إنتر ميلان الإيطالي، ولكنه لعب معهم 12 مباراة وسجل هدفين فقط، وفي موسم 2003–04 انتقل إلى النادي العربي القطري، واستطاع في أول موسم أن يسجل 25 هدف في 18 مباراة في الدوري القطري، ليصبح هدافا للدوري وهدافا للعرب، ولكن في الموسم الذي تلاه عانى كثيرا من الإصابة ولعب ثلاثة مباريات ولم يسجل فيها أي هدف، واعتزل بعد ذلك بسبب كثرة إصاباته.
الإنجازات
النادي
الأرجنتين ريفر بليت

الدوري الأرجنتيني (1): 1989–90

الأرجنتين بوكا جونيورز
الدوري الأرجنتيني (1): 1991
إيطاليا فيورنتينا
الدوري الإيطالي الدرجة الثانية (1): 1993–94
كأس إيطاليا (1): 1995–96
كأس السوبر الإيطالي (1): 1996
إيطاليا روما
الدوري الإيطالي (1): 2000–01
كأس السوبر الإيطالي (1): 2001
المنتخب
الأرجنتين الأرجنتين

كوبا أمريكا (2): 1991 – 1993

كأس القارات (1): 1992

الفردية
هداف كوبا أمريكا (1): 1991 – 1995

هداف الدوري الإيطالي الدرجة الأولى (1): 1995

هداف كأس إيطاليا (1): 1995–96

هداف الدوري القطري 2003–04

الحذاء البرونزي في كأس العالم 1994

الحذاء الفضي في كأس العالم 1998

ثالث أفضل لاعب في العالم في عام 1999

أفضل لاعب في الأرجنتين سنة 1998

الهداف التاريخي لنادي فيورنتينا على مر التاريخ

ثاني هدافي منتخب الأرجنتين عبر التاريخ

Gabriel Batistuta

Gabriel Omar Batistuta (Spanish pronunciation: [ɡaˈβɾjel oˈmaɾ βatisˈtuta];[b] born 1 February 1969) is an Argentine retired professional footballer. After beginning his career in Argentina in 1988 with Newell's Old Boys, followed by River Plate and Boca Juniors where he won titles, the prolific striker played most of his club football with Fiorentina in Italy; he is their all-time top scorer in Serie A with 152 goals.[2]

When Fiorentina was relegated to Serie B in 1993, Batistuta stayed with the club and helped it return to the top-flight league a year later. He became an icon in Florence; the Fiorentina fans erected a life-size bronze statue of him in 1996, in recognition of his performances for the club.[3] Despite winning the Coppa Italia and the Supercoppa Italiana with the club in 1996, he never won the Italian league with Fiorentina, but when he moved to Roma in 2000 for €36 million – then the highest fee ever paid for a player over the age of 30 – he finally won the Serie A title to crown his career in Italy.[4] After a brief loan spell with Inter Milan in 2003, he played his last two seasons in Qatar with Al-Arabi before he retired in 2005.[5]

At international level, Batistuta was Argentina's all-time leading goalscorer with 54 goals in 77 official matches,[a] a record he held until 21 June 2016, when he was surpassed by Lionel Messi.[6] He participated in three FIFA World Cups, scoring 10 goals, making him Argentina's all-time top scorer in the competition, and the joint eighth-highest World Cup goalscorer of all time.[7] Batistuta is the only player in football history to score two hat-tricks in different World Cups. With the Argentina national team he won two consecutive Copa América titles (1991 and 1993), the 1993 Artemio Franchi Trophy, and the 1992 FIFA Confederations Cup.

Regarded as one of the best strikers of his generation, noted in particular for powerful strikes from volleys or from distance while on the run, in 1999, Batistuta placed third for the FIFA World Player of the Year award.[3][8] In 2004 he was named by Pelé in the FIFA 100 list of the world's greatest living players.[9] During his playing career, Batistuta was nicknamed Batigol ([batiˈɣol])[10] as well as El Ángel Gabriel ([el ˌaŋxel ɣaˈβɾjel]; Spanish for Angel Gabriel).
Early and personal life
Batistuta was born on 1 February 1969 to slaughterhouse worker Omar Batistuta and school secretary Gloria Zilli, in the town of Avellaneda, province of Santa Fe, Argentina, but grew up in the near city of Reconquista. He has three younger sisters, Elisa, Alejandra, and Gabriela.[11] Batistuta is a Roman Catholic. At the age of 16, he met Irina Fernández, his future wife, at her quinceañera, a rite of passage on her 15th birthday. On 28 December 1990, they were married at Saint Roque Church
The couple moved to Florence, Italy, in 1991, and a year later their first son, Thiago, was born.[14] Thanks to good performances in the Italian championship and with the Argentina national team, Batistuta gained fame and respect. He filmed several commercials and was invited onto numerous TV shows, but in spite of this, Batistuta always remained a low-profile family man.[12] In 1997, Batistuta's second son, Lucas, was born, and a third son, Joaquín, followed in 1999. He now has a fourth son Shamel. In 2000, Batistuta and his family moved to Rome, where he played for Roma. Two years after Shamel was born, Batistuta was loaned to Inter. In 2003, after 12 years in Italy, the family moved to Qatar where Batistuta had accepted a lucrative celebrity playing contract with a local team, Al-Arabi, ending his career there in 2005.[15] He moved back to Argentina in 2007.[16]

Despite having completed his coaching badges in Argentina, he currently has no involvement with football, instead (primarily as he has difficulty walking) he prefers to play polo and golf, he was quoted saying 'I don't like football, it's only my job'.[17][18] In later interviews with FIFA he expanded, “I lived and breathed football”, adding, “when I was playing football I never enjoyed it that much, I was never happy ... if I scored two goals, I wanted a third, I always wanted more. Now it's all over I can look back with satisfaction, but I never felt that way when I was playing.”[19][20] In 2006 he expressed an interest in coaching Australia's national team and Argentina's team.[21] During the 2006 FIFA World Cup he worked as a commentator for Televisa Deportes. Batistuta currently runs his own construction company in Argentina. He also worked as technical secretary in the professional football club Colón, joining the club's staff in January 2012, and leaving at the end of the 2012–13 season.[22]

Speaking in a television interview in Argentina in 2014, Batistuta said the pain suffered in his ankles after retiring in 2005 became so intense that he "urinated in bed with the toilet only a few steps away. I couldn't move." He visited a doctor he knew asking his legs be amputated, but the doctor turned down his request.[23] Although he later underwent surgery to relieve the pressure on his cartilage and tendons, and his condition improved slightly, in a 2017 interview he stated that he still had difficulty walking and faced mobility issues as a result of the stresses and injuries he faced throughout his football career due to overexerting himself.[24] He has however still been able to take part in charity football games, and in 2014 he scored twice – one a trademark finish with a powerful 35 yard strike into the roof of the net – in a game in Italy.
As a child, Batistuta preferred other sports to football. Because of his height he played basketball, but after Argentina's victory in the 1978 FIFA World Cup, in which he was particularly impressed by the skills of Mario Kempes, he devoted himself to football.[27] After playing with friends on the streets and in the small Grupo Alegria club, Batistuta joined the local Platense junior team. While with Platense he was selected for the Reconquista team that won the provincial championship following victory over Newell's Old Boys. Batistuta's two goals drew the attention of the opposition team’s coach Marcelo Bielsa, and he signed a professional contract with Newell’s in 1988.[28]

Newell's Old Boys
At Newell's Old Boys under Bielsa, who would later become Batistuta's national coach with the Argentina national team, things did not come easily for him during his first year with the club. He was away from home, his family, and his girlfriend Irina, sleeping in a room at the stadium, and had a weight problem that slowed his progress.[28] At the end of that year, Batistuta was loaned to a smaller team, Deportivo Italiano, with whom he participated in the Carnevale Cup in Italy, ending as top scorer with three goals. Under the guidance of Bielsa, whom Batistuta described in his autobiography as the most important coach he has ever had, and “the one who taught me how to train on rainy days, he taught me everything”, he was physically transformed, fed encouragement, and was set on the path into the player he was to become.[28][29]

River Plate
In mid-1989, Batistuta made the leap to one of Argentina's biggest clubs, River Plate, where he scored 17 goals. He was drawn out of the team by the new manager Daniel Passarella in the mid-season, apparently with no specific reason. According to Batistuta, they never had a dispute.[30] Passarella declared at that time "when Batistuta finds a team that be able to play to him he will be lethal" and highlighted his professionalism.[31]

Boca Juniors
In 1990, Batistuta joined River Plate's arch rivals, Boca Juniors. He initially found it hard to find his best form, in part not playing in his position. However, at the beginning of 1991, Óscar Tabárez became Boca Juniors' new manager and he gave Batistuta the support and put him into his best place in the field, the centre of attack. Batistuta finished the season as the league's top scorer as Boca Juniors won the championship.[30]

Fiorentina
While playing for Argentina in the 1991 Copa América, the vice-president of Fiorentina was impressed by Batistuta's skills and signed him. He had a fine start in Serie A, scoring 13 goals in his debut season. However, the following season, in 1992–93, Fiorentina lost in the relegation battle and were demoted to Serie B, despite Batistuta's 16 league goals. The club returned to Serie A after one season in Serie B, with the contribution of 16 goals from Batistuta and the management of Claudio Ranieri, as Fiorentina captured the 1993–94 Serie B title.
At Fiorentina, Batistuta found his best form. He was the top scorer of the 1994–95 Serie A season with 26 goals, and he broke Ezio Pascutti's 32-year-old record by scoring in all of the first 11 matches of the season.[33][34] In the 1995–96 season, Batistuta, alongside Rui Costa and Francesco Baiano, helped the club to go on a 15-match unbeaten run, as they eventually ended the season with a fourth-place league finish. Fiorentina also won the Coppa Italia and Supercoppa Italiana over A.C. Milan; in the two-legged Coppa Italia final against Atalanta, Batistuta scored a goal in each fixture as Fiorentina won 3–0 on aggregate.[32][35] The next season was less successful, as Fiorentina finished in a disappointing ninth place in the league, although the team managed to reach the semi-finals of the 1996–97 UEFA Cup Winners' Cup, losing out to eventual champions Barcelona,[36] despite scoring a goal in a 1–1 away draw in the first leg.[37] Scoring over 20 league goals in each of the next three seasons – made all the more impressive given Serie A was the strongest league in the world and the hardest to score in with the best defences – as well as spectacular powerful strikes against Arsenal and Manchester United in the UEFA Champions League, Batistuta came third for FIFA World Player of the Year in 1999.[8][38] Batistuta and Ronaldo were the two best strikers in Serie A, with their duels the most anticipated in Italy.[39]

After his failure to win the Italian championship with Fiorentina, Batistuta started considering a transfer to a bigger team. In an effort to keep Batistuta, Fiorentina hired Giovanni Trapattoni as coach and promised to do everything to win the Scudetto. After an excellent start to the season, Batistuta suffered an injury that kept him out of action for more than a month. Losing momentum, Fiorentina lost the lead and finished the season in third place, although the result enabled them to participate in the Champions League the following season.[40]

In addition to the fans erecting a life-size bronze statue of him in Florence, Bastituta was inducted into the club’s hall of fame in 2014. An emotional Batistuta told the audience at the ceremony: “From the moment I arrived at Fiorentina I wanted a place in the history of the club – and now I can say I

Jennifer Lopez

Jennifer Lynn Lopez[2] (born July 24, 1969), nicknamed J-Lo, is an American actress, singer, dancer, fashion designer, producer and businesswoman. In 1991, Lopez began appearing as a Fly Girl dancer on In Living Color, where she remained a regular until she decided to pursue an acting career in 1993. For her first leading role in the 1997 Selena biopic of the same name, Lopez received a Golden Globe nomination and became the first Latin actress to earn over US$1 million for a film. She went on to star in Anaconda (1997) and Out of Sight (1998), later establishing herself as the highest-paid Latin actress in Hollywood.[3]

Lopez ventured into the music industry with her debut studio album On the 6 (1999), which helped propel the Latin pop movement in American music.[4] With the simultaneous release of her second studio album J.Lo and her romantic comedy The Wedding Planner in 2001, Lopez became the first woman to have a number one album and film in the same week. Her 2002 remix album, J to tha L–O! The Remixes, became the first in history to debut at number one on the U.S. Billboard 200. Later that year, she released her third studio album This Is Me... Then, and appeared in Maid in Manhattan.

After starring in Gigli (2003), a critical and commercial failure, Lopez subsequently starred in the successful romantic comedies Shall We Dance? (2004) and Monster-in-Law (2005). Her fifth studio album, Como Ama una Mujer (2007), received the highest first-week sales for a debut Spanish album in the United States. Following an unsuccessful period, she returned to prominence in 2011 with her appearance as a judge on American Idol, and released her seventh studio album Love?. In 2016, she began starring in the crime drama series Shades of Blue and commenced a residency show, Jennifer Lopez: All I Have, at Planet Hollywood Las Vegas. Since 2017, Lopez has produced and served as a judge on World of Dance.

With a cumulative film gross of US$3 billion and estimated global sales of 80 million records, Lopez is regarded as the most influential Latin performer in the United States. In 2012, Forbes ranked her as the most powerful celebrity in the world, as well as the 38th most powerful woman in the world.[5] Time listed her among the 100 most influential people in the world in 2018. Her most successful singles on the US Billboard Hot 100 include: "If You Had My Love", "Love Don't Cost a Thing", "I'm Real", "Ain't It Funny", "Jenny from the Block", "All I Have", and "On the Floor", which is one of the best-selling singles of all time.[6] For her contributions to the music industry, Lopez has received a landmark star on the Hollywood Walk of Fame, the Billboard Icon Award and the Michael Jackson Video Vanguard Award among other honors. Her other ventures include clothing lines, fragrances, a production company, and a charitable foundation
Early life
Jennifer Lynn Lopez was born on July 24, 1969,[7] in The Bronx borough of New York City,[8] to Puerto Rican parents[2] Guadalupe Rodríguez[9] and David López.[10] She has an older sister, Leslie, and a younger sister, Lynda, a journalist.[11] David worked the night shift at the Guardian Insurance Company before becoming a computer technician at the firm, while Guadalupe was a homemaker. When Lopez was born, the family was living in a small apartment in the Castle Hill neighborhood. A few years later, her parents had saved up enough money to be able to purchase a two-story house, which was considered a big deal for the relatively poor family.[12] At the age of five, Lopez began taking singing and dancing lessons. She toured New York with her school when she was seven years old. Her parents stressed the importance of work ethic and being able to speak English. They encouraged their three daughters to put on performances at home—singing and dancing in front of each other and their friends so that they would stay "out of trouble".[13] Lopez spent her entire academic career in Catholic schools, finishing at Preston High School.[14] In school, Lopez did gymnastics, ran track on a national level, and was a member of the school's softball team.[15] She excelled athletically rather than academically, competing in national track championships.[13]

While attending her final year of high school, Lopez learned about a film casting that was seeking several teenage girls for small roles. She auditioned and was cast in My Little Girl (1986), a low-budget film co-written and directed by Connie Kaiserman.[16] Lopez acted as Myra, a young woman at a center for troubled girls. After she finished filming her role in the film, Lopez realized that she wanted to become a "famous movie star". To please her parents, though, she enrolled in Baruch College, only to drop out after one semester. She told her parents about her dream of becoming a movie star, but they insisted that it was a "really stupid" idea and that "no Latinos did that". The differences in opinions led Lopez to move out of their family home and into an apartment in Manhattan. During this period, Lopez performed in regional productions of the musicals Jesus Christ Superstar and Oklahoma!. From there, she was hired for the chorus in a Golden Musicals of Broadway, which toured Europe for five months. She was unhappy with the role, as she was the only member of the chorus not to have a solo. She later got a job on the show Synchronicity in Japan, where she acted as a dancer, singer, and choreographer.[12]

Career
1991–1996: Career beginnings
Lopez was selected as a backup dancer for the New Kids on the Block in 1991 and performed with them during their performance of "Games" at the 18th Annual American Music Awards.[17] Shortly after, Lopez gained her first regular high-profile job as a Fly Girl dancer on the television program In Living Color. She applied for the job after one of the cast members was unable to continue with the show. Out of 2,000 applicants, Lopez made it to the finals. She was the runner-up but eventually received the role when the winner was unable to accept the job. She moved to Los Angeles to film the series and remained a regular cast member until 1993, when she decided to pursue a full-time acting career. Prior to leaving the show, Lopez briefly worked as a backup dancer for American recording artist Janet Jackson.[18] Lopez was set to tour with Jackson on her Janet World Tour in late 1993 but backed out as she wanted to do her "own thing".[19]

Lopez received her first professional acting gig in the direct-to-video drama film Lost in the Wild (1993), co-starring with Lindsay Wagner and Robert Loggia.[20] Later in 1993, Lopez signed a deal with CBS to co-star in the television series Second Chances. Lopez received her first major big-screen role in Gregory Nava's 1995 drama My Family portraying Young Maria.[21] Although her role was uncredited, Lopez received an Independent Spirit Award for Best Supporting Female nomination for her performance.[21] In November 1995, Lopez starred in Money Train alongside Wesley Snipes and Woody Harrelson as New York City transit cops. In August 1996, Lopez had a supporting role in the comedy Jack.[22]

1997–1999: Breakthrough with Selena and On the 6
In February 1997, Lopez starred alongside Jack Nicholson and Stephen Dorff in the neo-noir thriller Blood and Wine.[23] Lopez starred as the title role of the Selena biopic of the same name in March.[24] Despite having previously worked with the film's director on My Family, Lopez was subjected to an intense auditioning process before she was cast in the film.[25] Kenneth Turan of the Los Angeles Times stated that even in the "forgettable films" Money Train, and Jack, Lopez's "presence and ability made her seem just one role away from stardom" and with Selena she's "seized the opportunity and turned in an incandescent presentation that is especially strong during the film's numerous musical numbers". He concluded by calling the film not just a celebration of Selena's life, but also of the actress who portrayed her.[26] The announcement was described as the "role of a lifetime." from news outlets and Lopez's salary for the film was reported at $1 million,[27][28] which made Lopez the highest-paid Hispanic actress in history. After filming Selena, Lopez was "really feeling [her] Latin roots" and cut a demo in Spanish.[29] Lopez's manager then sent the song, titled "Vivir Sin Ti" (Living without You), to Sony Music Entertainment's Work Group, who showed an interest in signing Lopez. Tommy Mottola, the head of the label suggested to her that she sing in English instead.[30]

In April, Lopez starred in the horror film Anaconda alongside Ice Cube and Jon Voight.[31] Lopez starred alongside Sean Penn and Billy Bob Thornton in the crime film U Turn in October. The film, which is based on the novel Stray Dogs by John Ridley, received somewhat positive reviews from critics.[32] In June, Lopez starred opposite George Clooney in Out of Sight, Steven Soderbergh's adaptation of Elmore Leonard's novel of the same name (1996).[33] Cast as a deputy federal marshal who falls for a charming criminal, Lopez won rave reviews for her performance.[34] Lopez provided the voice of Azteca in the computer-animated film Antz in October.[35]

Lopez's debut single, "If You Had My Love", was released in May 1999, as she began to ready her first album.[36][37] Lopez became the first artist to top the Billboard Hot 100 with a debut single since Britney Spears did so with her single "...Baby One More Time" four months prior.[38] During production of her debut album, On the 6, Lopez was aware that she received her recording contract on the basis of her looks and an already established name in the entertainment industry, and she wanted to prove she had musical talent.[39] Prior to the debut of her music, critics wondered why she would take the risk of launching a music career. It was noted that: "If the album was a flop, not only would it embarrass Lopez, but it might even damage her career."[40] "Waiting for Tonight", the third single from On the 6, is widely considered to be Lopez's best song.[41] Lopez's musical success came as a surprise to critics; its launch made the "popular actor even more popular". Both the music industry and the public became intrigued by "this woman who seemed to have so many different talents".[40] By the end of 1999, Lopez successfully converted herself from a film star to a pop star.[42] She joined a select few in achieving this feat, becoming the first since Vanessa Williams (1992) and Martika (1989).[38]

2000–2002: Film success, J.Lo and This Is Me... Then
On February 23, 2000, Lopez, accompanied by then boyfriend Sean Combs, wore a plunging exotic green Versace silk chiffon dress on the red carpet of the 42nd Annual Grammy Awards. The dress "had a low-cut neck that extended several inches below her navel, where it was loosely fastened with a sparkly brooch and then opened out again," exposing her midriff and then as cut along the front of the legs like a bath robe.[43] The dress generated controversy and media attention, with images of Lopez in the dress being downloaded from the Grammy website over half a million times 24 hours after the event.[44] Lopez was surprised by the enormous media coverage, declaring that she had no idea "it was going to become such a big deal".[45] Lopez returned to the big-screen in August, starring in the psychological thriller The Cell opposite Vincent D'Onofrio.[46]

During the process of recording her second album, Lopez decided to tweak her image as she began to develop into a sex symbol. She started going by J.Lo, something fans often called her.[47] She subsequently named the album J.Lo. Released on January 23, 2001, it was a commercial success, debuting at number one on the US Billboard 200.[48] During the same week, her romantic comedy film The Wedding Planner in which she starred opposite Matthew McConaughey opened atop the box office. This made her the first woman to have a number one film and album simultaneously in the United States.[49] The album was preceded by the release of its lead single, "Love Don't Cost a Thing", which reached number one on the Billboard Mainstream Top 40 chart. It was followed by the single "Play".[50] In April 2001, Lopez launched J.Lo by Jennifer Lopez, her own clothing and accessory company. Lopez felt that "the voluptuous woman [was] almost ignored" in the fashion industry, and therefore her company specialized in clothing women of all shapes.[47] The following month, she starred in the romantic drama film Angel Eyes, which performed disappointingly at the box office and generated mixed reviews.[51] After several months, J.Lo was declining on the charts; this prompted Mottola to recruit rapper Ja Rule to create an urban-oriented remix of the song "I'm Real". This led to the release of "I'm Real (Murder Remix)", which quickly reached number one on the Billboard Hot 100. Its success resulted in J.Lo being reissued to include the single, which was number one in the United States during the week of the September 11 attacks.[50] J.Lo became the best-selling album of Lopez's career, having sold 3.8 million copies in the US and moved over 12 million units worldwide.[52][53]

Having redefined Lopez's sound with "I'm Real (Murder Remix)", Epic decided to release further remixes in order to "keep the momentum going".[54] A remix album entitled J to tha L–O! The Remixes was subsequently released on February 5, 2002. It debuted at the summit of the Billboard 200, making it the first remix album to do so. Its lead single, "Ain't It Funny (Murder Remix)", featuring Ja Rule and Caddillac Tah, reached number one in the US.[55] J to tha L–O! The Remixes became one of the best-selling remix albums of all time, selling 1.5 million copies in the US.[56] It produced two more singles: "I'm Gonna Be Alright" and "Alive", a ballad co-written by her husband at the time, Cris Judd. In April 2002, Lopez opened her restaurant, Madrè's.[47] The following month, she starred in the thriller film Enough, which was described by the Boston Herald as a "kick-but, female empowerment" film.[57] While filming Enough, which required an overworked Lopez to practice Krav Maga, she suffered a nervous breakdown. She recalled feeling "sick and weird", refusing therapeutic help or medication. She confessed, "I was like – I don't want to move, I don't want to talk, I don't want to do anything."[58] In September, she released her first fragrance, Glow by JLo. It performed strongly despite predictions that it would fail, and became the top-selling fragrance in the US.[59]

Lopez's third studio album, This Is Me... Then, was released on November 25, 2002. It was dedicated to actor Ben Affleck, her fiancé at the time. The album's lead single "Jenny from the Block", was later described by Sam Lansky of MTV News as her most iconic single.[60] In the song, Lopez "intones her modest childhood roots".[61] The album itself performed strongly, selling 2.6 million copies in the US.[56] Its second single, "All I Have", peaked at number one in the US. That December, Lopez starred opposite Ralph Fiennes in the romantic comedy Maid in Manhattan, which became the highest-grossing film of her career.[62]

2003–2005: Gigli and Rebirth
In August 2003, Lopez starred opposite Affleck in the romantic comedy Gigli. The film was a box office bomb, and is considered one of the worst films of all time. The film's poor reception was attributed to negative press preceding its release, as well as the media attention surrounding Lopez and Affleck's engagement which largely overshadowed the film.[62][63] Lopez would later describe this as the lowest point of her career, saying "[It] was very tough", "the tabloid press had just come into existence at the time, so I was like a poster child for that moment."[64] In October of that year, she released her next fragrance, Still Jennifer Lopez. Lopez also launched her next fashion label, Sweetface. It was described by Andy Hilfiger as a "more intellectual, more inspirational collection than J-Lo by Jennifer Lopez. Less sporty, more suede."[65] Lopez's clothing lines and two fragrances generated over $300 million in revenue throughout 2004, which made her the 19th richest person under 40.[49]

In March 2004, Lopez had a minor role in the film Jersey Girl, alongside Affleck. Her character, Gertrude Steiney, dies during childbirth within the first 15 minutes of the film. From the intense media scrutiny following the couple's break-up, it was noted that "they may need to put Lopez in a coffin on the poster if they want anyone to come".[66] In October, Lopez co-starred alongside Richard Gere in the drama Shall We Dance?, a re-make of the 1996 Japanese film of the same title. The film was successful at the box office, and was considered a rebound for Lopez following Gigli.[62]

After placing her career on hiatus, Lopez released her fourth studio album, Rebirth, in February 2005. According to Lopez, Rebirth "came about because I was on such a roller-coaster ride, that was my career from my first album to my last album, and I did a bunch of movie projects in between. I finally took some time just for myself, and [when] I came back, this was the first project I did. I felt like it was a new beginning for me, like I was, in a way, reborn."[67] Tracy Hopkins of NBC's Today Music noted that after "fawning" over Affleck on This Is Me... Then", Lopez "wisely keeps her love life out of the spotlight" on Rebirth and only references her relationship with Anthony on a few tracks.[68] The album produced the single "Get Right", which peaked at number one in the United Kingdom.[69] In May, she starred alongside Jane Fonda in the romantic comedy Monster-in-Law, for which she received a salary of $15 million.[70] The film's marketing played up Lopez's "Gigli-and-tabloid tarnished image", and it became a box office success.[62][71] In August, Lopez starred alongside Robert Redford and Morgan Freeman in An Unfinished Life, a drama film based on the novel of the same name.

2006–2009: Career disappointments and Como Ama una Mujer
In April 2006, Lopez reappeared on the Billboard Hot 100 as a featured artist on "Control Myself", the lead single from LL Cool J's twelfth studio album Todd Smith. The song peaked at number four on the chart following its release as a music download, making it the pair's second collaboration to reach the top five.[72] Bordertown, a film based on the Female homicides in Ciudad Juárez, made its premiere at the Cannes Film Festival on May 18, 2006. Lopez, who also acts as the film's producer, stars as Lauren Adrian, an American news reporter for the Chicago Sentinel who wants to be assigned to the Iraq front-lines to cover the war.[73] Bordertown received a direct-to-video release.[62] DanceLife, a reality series following the lives of seven dancers trying to break into the world of professional dance, aired on MTV from January 15 to March 5, 2007. Lopez produced, created and was featured in the show.[74] According to the album's co-producer Estéfano, Lopez's fifth studio album Como Ama una Mujer would "prove critics wrong" with its "big songs that require a voice"; referring to the criticism of Lopez having a "limited" vocal tone.[75][76] The album's lead single "Qué Hiciste" reached number one on Billboard's Hot Latin Songs chart. Lopez performed the song on the sixth season of American Idol on April 11, 2007, becoming the first person to perform a Spanish song on the series.[69] The album received the highest first-week sales in the United States for a debut Spanish album and the highest digital sales.[77][78]

In September 2007, Lopez starred in the biographical film El Cantante, which is based on the life of the late salsa singer Héctor Lavoe. In the film, Lavoe is portrayed by then-husband Marc Anthony while Lopez plays Lavoe's wife Puchi.[79] Lopez revealed that she felt her performance in the film El Cantante should have earned her an Oscar.[80] "I feel like I had that [Oscar worthy role] in 'El Cantante,' but I don't think the academy members saw it".[80] El Cantante did not perform well at the box office, earning just $7.6 million.[62] Lopez performed the song "Toma de Mí" for the film's soundtrack. Lopez and Anthony also launched their co-headlining North American concert tour on September 28.[81] Lopez's sixth studio album Brave, released in October, was her lowest-charting album worldwide.[82] The album produced two singles, "Do It Well" and "Hold It Don't Drop It". The first peaked at number 31 on the Billboard Hot 100 chart, while the latter failed to make any significant impact on the charts. A five-part miniseries, Jennifer Lopez Presents: Como Ama una Mujer, based on the lyrics of Como Ama una Mujer aired on Univision from October 30 to November 27, 2007. She placed her career on hiatus after giving birth to twins in February 2008.[83] In late 2009, Lopez released two songs for her seventh studio album, Love? ("Louboutins" and "Fresh Out of the Oven"); however, the songs failed to make an appearance on the Billboard charts which led to her departure from Epic Records.[84]

2010–2012: Career rejuvenation with American Idol and touring
Lopez parted ways with Epic Records in February 2010, citing that she had fulfilled her contractual obligations and now wished to release her seventh studio album Love? under a new label.[85] Her departure from the label temporarily halted production on the album, which commenced in 2009. Upon signing a new contract with Island Records, recording resumed on the album.[86] The New York Daily News revealed that Lopez would be taking some of the records recorded under Sony Music Entertainment to her new label so that they could be included on the album.[87] In April, Lopez starred in the romantic comedy The Back-up Plan, her first theatrical role in three years.[83] In June, following the departure of Ellen DeGeneres from American Idol, it was reported that Lopez was in talks to join season ten's judging panel.[88][89][90] During this same time, Lopez and Anthony were being considered for a role on The X Factor for their appeal to Latin and International markets.[91] It was officially announced in September that Lopez would be joining the tenth season of American Idol. MTV stated that the deal was "mutually beneficial to all those involved", while CNN reported that Lopez was viewing it as a decision to revive her career, while American Idol producers believed that Lopez and Steven Tyler's appointments would strengthen viewing figures.[92] In October, Lopez released her fourteenth fragrance, Love and Glamour. The perfume was inspired by Lopez's forthcoming "return to the spotlight"

It Chapter 2

It Chapter Two is a 2019 American supernatural horror film and the sequel to the 2017 film It, both based on the 1986 novel It by Stephen King. The film is directed by Andy Muschietti and written by Gary Dauberman. Set in 2016, 27 years after the events depicted in the first film, it stars James McAvoy, Jessica Chastain, Bill Hader, Isaiah Mustafa, Jay Ryan, James Ransone, and Andy Bean as the adult versions of the Losers Club. Jaeden Martell, Sophia Lillis, Finn Wolfhard, Chosen Jacobs, Jeremy Ray Taylor, Jack Dylan Grazer, and Wyatt Oleff reprise their roles as the younger Losers, while Bill Skarsgård also returns as Pennywise the Dancing Clown.

Talks for an IT sequel began in February 2016. By September 2017, New Line Cinema announced the sequel would be released in September 2019, with Dauberman writing the script and Muschietti expected to direct. Principal photography began in June 2018, at Pinewood Toronto Studios and on locations in and around Port Hope, Oshawa, and Toronto, Ontario, and wrapped on October 31, 2018. The film was produced by New Line Cinema and Vertigo Entertainment.

It Chapter Two premiered at the Regency Village Theater in Los Angeles on August 26, 2019, and was theatrically released in the United States by Warner Bros. Pictures on September 6, 2019. Much like its predecessor, It Chapter Two received praise from critics for its acting (particularly Hader and Skarsgård), themes, and faithfulness to the novel, though criticism was aimed at its runtime and lack of scares compared to its predecessor
Cast
The Losers' Club
James McAvoy as Bill Denbrough:[4]
The stuttering yet resourcefully determined former leader of the Losers' Club who, out of revenge for the demise of his younger brother Georgie, fights his killer, Pennywise, during the summer of 1989. He promises that he and the other losers will return to Derry if It comes back. As an adult, Bill is a successful mystery novelist, and is married to a successful actress named Audra Phillips.
Jaeden Martell as young Bill Denbrough
Jessica Chastain as Beverly Marsh:
The only female member of the Losers' Club, who was abused physically and sexually by her father, was bullied at school over false rumors of promiscuity, and was Bill and Ben's love interest. As an adult, she has become a successful fashion designer in Chicago while enduring several abusive relationships that include her marriage to Tom Rogan.
Sophia Lillis as young Beverly Marsh
Jay Ryan as Ben Hanscom:[5]
A member of the Losers' Club who fought against It and was bullied as a child because of being overweight. As an adult, he is fit and a successful architect living in Nebraska.
Jeremy Ray Taylor as young Ben Hanscom
Bill Hader as Richie Tozier:[4]
Bill's bespectacled best friend and fellow member of the Losers' Club, whose loud mouth and foul language often get him into trouble. As an adult, Richie becomes a successful stand-up comic in Los Angeles, contrary to his occupation as a disc jockey from the novel.
Finn Wolfhard as young Richie Tozier
Isaiah Mustafa as Mike Hanlon:[6]
A member of the Losers' Club who fought against It. As an adult, Mike is the only one to stay behind in Derry and becomes the town librarian and summons the other Losers back to Derry when It resurfaces. Mike also has a serious substance abuse problem stemming from being traumatized by the events in his childhood.
Chosen Jacobs as young Mike Hanlon
James Ransone as Eddie Kaspbrak:[7]
A member of the Losers' Club who is the epitome of a hypochondriac, overly exaggerated by the immense number of objects in his medicine cabinet. As an adult, Eddie is a successful risk assessor living in New York City and is married to Myra, who is very similar to his Munchausen syndrome by proxy-stricken mother Sonia.
Jack Dylan Grazer as young Eddie Kaspbrak
Andy Bean as Stanley Uris:[7]
A member of the Losers' Club who fought against It. As an adult, Stan becomes a partner in a large Atlanta-based accounting firm and is married to Patty Blum, a teacher.
Wyatt Oleff as young Stanley Uris
Forms of It
Bill Skarsgård as Robert "Bob" Gray / Pennywise the Dancing Clown:
An ancient, trans-dimensional monster that awakens every twenty-seven years to feed on the fear of children that it murders. Pennywise the Dancing Clown is It's favorite and primary form. It was overpowered and seriously wounded by the Losers' Club in 1989, forcing it into early hibernation. This defeat motivates the being to rebuild its strength and exact revenge against the Losers' Club once they return to Derry.
Javier Botet as Hobo / The Witch:
Botet reprises his role from the first film as Hobo, a leper man who encountered a young Eddie at the 29 Neibolt Street house. Botet also portrays The Witch, another one of It's forms.
Jackson Robert Scott as Georgie Denbrough:
Bill's deceased younger brother. His arm was bitten off by Pennywise in October 1988, which culminated in the events of the summer of 1989.
Joan Gregson as Mrs. Kersh:
An apparently sweet and gentle elderly woman, but is actually an insidious monster, who lives in Beverly Marsh's childhood home.
Other characters
Teach Grant as Henry Bowers:[8]
A psychopath who terrorized the Losers' Club in the summer of 1989 before he was committed for murdering his father and two friends. As an adult he is a patient at an insane asylum before escaping to try to kill the Losers' Club.
Nicholas Hamilton as young Henry Bowers
Stephen Bogaert as Alvin Marsh:
Beverly's abusive father. He reprises his role from the first film.
Molly Atkinson as Sonia Kaspbrak / Myra:
Atkinson reprises her role as Sonia, Eddie's Munchausen syndrome by proxy-stricken mother, from the first film. Atkinson also portrays Myra, Eddie's obese and needy wife, who is very similar to his obese domineering mother.
Jess Weixler as Audra Denbrough (nee Phillips):[8]
A successful actress and Bill's wife.
Will Beinbrink as Tom Rogan:
Beverly's abusive husband.[9]
Xavier Dolan as Adrian Mellon:[9]
A young gay Derry citizen that is attacked with his boyfriend Don by a group of youths during a festival before being killed by It.
Taylor Frey as Don Hagarty:
Adrian's boyfriend who is also attacked by a group of youths during a festival. He also witnesses Adrian being killed by It.
Jake Weary as John "Webby" Garton:
One of the bullies who brutally attacked Adrian and Don.
Erik Junnola as Steve Dubay:
Webby's best friend and one of the bullies who brutally attacked Adrian and Don.
Connor Smith as Christopher Unwin:
A friend of Webby and Steve and one of the bullies who brutally attacked Adrian and Don.
Luke Roessler as Dean:
A young boy who meets Bill near the storm drain where Georgie was killed in 1988. He is later killed by It at the Funland.
Ryan Kiera Armstrong as Victoria Fuller:
A young girl killed by Pennywise after his awakening.
Katie Lunman as Betty Ripsom:
A missing girl who disappeared in the sewers of Derry in 1989.
Joe Bostick as Mr. Keene:
The town's pharmacist.
Juno Rinaldi as Gretta Keene:
Mr. Keene's daughter who bullied Beverly in childhood.
Megan Charpentier as young Gretta Keene
Owen Teague as Patrick Hockstetter:
Henry's deceased friend who was killed by Pennywise in the sewers in 1989.
Jake Sim as Belch Huggins:
Henry's deceased friend. Belch was murdered by Henry in 1989.
Logan Thompson as Vic Criss:
Henry's deceased friend. Vic, alongside Belch, was murdered by Henry in 1989.
Martha Girvin as Patty Uris (nee Blum):
Stanley's wife.
Additionally, Stephen King cameos as a pawn shop owner, the film's director Andy Muschietti cameos as a customer at the pharmacy, and director Peter Bogdanovich cameos the director of the film based on Bill's novel. Brandon Crane, who portrayed the young Ben in the miniseries adaptation, appears as a cameo. Maturin the Turtle was reported to be in the film early on,[10] however he was not included in the final film.

Production
Development
On February 16, 2016, producer Roy Lee, in an interview with Collider, mentioned a second film, remarking, "[Dauberman] wrote the most recent draft working with [Muschietti], so it's being envisioned as two movies".[11]

On July 19, 2017, Muschietti revealed that the plan is to get production underway for the sequel to It next spring, adding,[12][13] "We'll probably have a script for the second part in January [2018]. Ideally, we would start prep in March. Part one is only about the kids. Part two is about these characters 27 years later as adults, with flashbacks to 1989 when they were kids."[14][15]

On July 21, 2017, Muschietti spoke of looking forward to having a dialogue in the second film that does not exist within the first, stating, "... it seems like we're going to do it. It's the second half, it's not a sequel. It's the second half and it's very connected to the first one."[16][17] Muschietti confirmed that two cut scenes from the first film will hopefully be included in the second, one of which being the fire at the Black Spot from the book.[18]

On September 25, 2017, New Line Cinema announced that the sequel would be released on September 6, 2019,[19] with Gary Dauberman[20] and Jeffrey Jurgensen[21] writing the script. Andy Muschietti was also expected to return to direct the sequel.[22]

Casting
In an interview in July 2017, the child actors from the first film were asked which actors they would choose to play them in the sequel. Sophia Lillis chose Jessica Chastain and Finn Wolfhard chose Bill Hader,[23] both of whom would end up cast in those roles.

In September 2017, Muschietti and his sister mentioned that Chastain would be their top choice to play the adult version of Beverly Marsh.[24] In November 2017, Chastain herself expressed interest in the project.[25] Finally, in February 2018, Chastain officially joined the cast to portray the character,[26] making the film her second collaboration with Muschietti after Mama. By April 2018, Hader and James McAvoy were in talks to join the cast to play adult versions of Richie Tozier and Bill Denbrough respectively.[4] In May 2018, James Ransone, Andy Bean, and Jay Ryan joined the cast to portray adult versions of Eddie Kaspbrak, Stanley Uris, and Ben Hanscom respectively.[7][27][5]

In June 2018, Isaiah Mustafa joined the cast to portray the adult version of Mike Hanlon, while Xavier Dolan and Will Beinbrink were also cast as Adrian Mellon and Tom Rogan respectively.[6][9] Later, Teach Grant was cast to play the adult version of Henry Bowers, previously played by Nicholas Hamilton in the first film, and Jess Weixler also joined the film to play Bill's wife.[8] This also marks the second collaboration between McAvoy, Chastain, Hader, Weixler and Beinbrink after The Disappearance of Eleanor Rigby. In September 2018, it was revealed that Javier Botet would appear in the film in an undisclosed role.[28]

Filming
Principal photography on the film began on June 19, 2018,[29] at Pinewood Toronto Studios and on locations in and around Port Hope,[30] Oshawa[31] and Toronto, Ontario, and wrapped on October 30, 2018.[32][33]

Post-production
The visual effects were provided by Atomic Arts and Method Studios, Supervised by Brooke Lyndon-Stanford, Justin Cornish, Josh Simmonds and Nicholas Brooks as the Production Supervisor with help from Cubica, Lola VFX, Make VFX, Rodeo FX and Soho VFX.[34] The young actors will be digitally de-aged to match their respective ages during filming of the first film.[35]