Jennifer Lopez 2003-2005: Gigli and Rebirth What was Gigli? In August 2003, Lopez starred opposite Affleck in the romantic comedy Gigli. The film was a box office bomb, Did it win a Razzee award? I don't know. Did it hurt her music career? After placing her career on hiatus, Lopez released her fourth studio album, Rebirth, in February 2005.
How did Rebirth do?
How did Rebirth do?
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. 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." 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." Lopez's clothing lines and two fragrances generated over $300 million in revenue throughout 2004, which made her the 19th richest person under 40. 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". 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. 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." 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. The album produced the single "Get Right", which peaked at number one in the United Kingdom. In May, she starred alongside Jane Fonda in the romantic comedy Monster-in-Law, for which she received a salary of $15 million. The film's marketing played up Lopez's "Gigli-and-tabloid tarnished image", and it became a box office success. 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. CANNOTANSWER
The album produced the single "Get Right", which peaked at number one in the United Kingdom.
Jennifer Lynn "J.Lo" Lopez (born July 24, 1969) is an American singer, actress, and dancer. In 1991, she 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, she 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), and established herself as the highest-paid Latin actress in Hollywood.

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, and later starred in the psychological horror The Cell (2000). With the simultaneous release of her second studio album J.Lo and her romantic comedy The Wedding Planner in 2001, she became the first woman to have a number-one album and film in the same week. Her 2002 release, J to tha L–O! The Remixes, became the first remix album in history to debut atop the US Billboard 200. Later that year, she released her third studio album, This Is Me... Then and starred in the film Maid in Manhattan.

After starring in Gigli (2003), a critical and commercial failure, Lopez starred in the successful romantic comedies Shall We Dance? (2004) and Monster-in-Law (2005). Her fifth studio album, Como Ama una Mujer (2007), had the highest first week sales for a debut Spanish album in the United States. Following a relatively unsuccessful period, she returned to prominence in 2011 with her appearance as a judge on American Idol and released her seventh studio album, Love?. From 2016 to 2018, she starred in the police drama series Shades of Blue and performed a residency show, Jennifer Lopez: All I Have, at Planet Hollywood Las Vegas. She also produced and served as a judge on World of Dance (2017–2020). In 2019, she garnered critical acclaim for her performance as a stripper in the crime drama Hustlers.

Lopez is considered a pop culture icon, and is often described as a triple threat entertainer. With a cumulative film gross of US$3.1 billion and estimated global sales of 70 million records, she is considered the most influential Latin entertainer in North America. In 2012, Forbes ranked her the world's most powerful celebrity, and the 38th most powerful woman in the world. Time listed her among their 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", "I'm Real", "Ain't It Funny", "All I Have", and "On the Floor". For her contributions to the recording industry, she has a landmark star on the Hollywood Walk of Fame, and has received the Billboard Icon Award and the Michael Jackson Video Vanguard Award, among other honors. Her other ventures include beauty and clothing lines, fragrances, a production company, and a charitable foundation.

Early life
Lopez was born on July 24, 1969 in New York City and raised in the Castle Hill neighborhood of the Bronx. Her parents, David López and Guadalupe Rodríguez, were born in Puerto Rico and moved to the U.S. mainland as children. After serving in the army, David worked as a computer technician at Guardian Insurance Company. Guadalupe was a homemaker for the first ten years of Lopez's life and later worked as a Tupperware salesperson and a kindergarten and gym teacher. They divorced in the 1990s after 33 years of marriage.

Lopez is a middle child; she has an older sister, Leslie, and a younger sister, Lynda. The three shared a bedroom. Lopez has described her upbringing as "strict". She was raised in a Catholic family; she attended Mass every Sunday and received a Catholic education, attending Holy Family School and the all-girls Preston High School. In school, Lopez ran track on a national level, participated in gymnastics, and was on the softball team. She danced in school musicals and played a lead role in a production of Godspell.

There was "lots of music" in the typically Puerto Rican household, and Lopez and her sisters were encouraged to sing, dance and create their own plays for family events. West Side Story made a particular impression on the young Lopez and she wanted to be an entertainer from an early age. At the age of five, she began taking dance lessons at Ballet Hispánico on the Upper West Side. As a teenager, she learned flamenco, jazz, and ballet at the Kips Bay Boys & Girls Club and taught dance to younger students, including Kerry Washington. After graduating from high school, she had a part-time secretarial job at a law firm and studied business at New York's Baruch College for one semester. At age 18, she enrolled as a full-time student at Manhattan's Phil Black Dance Studio, where she had already taken night classes in jazz and tap dance. Her parents were unhappy with her decision to leave college to pursue a dance  career. Her mother asked her to move out of the family home and they stopped speaking for eight months. Lopez moved to Manhattan, sleeping in the dance studio's office for the first few months.

Career

Professional dancing and early acting roles (1989–1996) 
Lopez's first professional job came in 1989 when she spent five months touring Europe with the musical revue show Golden Musicals of Broadway. She was the only member of the chorus not to have a solo and later characterized it as a pivotal moment where she realized the importance of a "tough skin" in the entertainment business. In 1990, she danced alongside MC Hammer in an episode of Yo! MTV Raps and traveled around Japan for four months as a chorus member in Synchronicity. When she returned to the United States, she was hired as a backup dancer for New Kids on the Block's performance of "Games" at the 1991 American Music Awards. She also traveled around America with regional productions of the musicals Jesus Christ Superstar and Oklahoma! During this period, Lopez also danced in music videos including Doug E. Fresh's "Summertime", Richard Rogers' "Can't Stop Loving You", EPMD's "Rampage" and Samantha Fox's "(Hurt Me! Hurt Me!) But the Pants Stay On".

Lopez's most high-profile job as a professional dancer was as a Fly Girl on the sketch comedy television series In Living Color, which starred comedians including Jamie Foxx and Jim Carrey. At the New York audition, the show's choreographer, Rosie Perez, noticed that Lopez had "star quality" and "did not complain, not once" when asked to repeatedly perform the dance routine. Lopez moved to Los Angeles in late 1991 for the job; she filmed In Living Color during the day and attended acting classes taught by Aaron Speiser at night. The head of Virgin Records considered signing The Fly Girls as a girl group to rival the Spice Girls, but the deal fell apart. After appearing as a Fly Girl in seasons three and four of In Living Color, Lopez left to work as a backup dancer for Janet Jackson, and appeared in the music video for “That's the Way Love Goes”. She was scheduled to tour with Jackson on her Janet World Tour in late 1993 but opted to pursue an acting career instead.

Lopez's first professional acting job was a small recurring role on the television show South Central (1994). She was invited to audition for the pilot by a casting director who had seen her speak to camera during a behind-the-scenes In Living Color segment. Lopez then acquired an agent and was cast in the CBS show Second Chances and its spin-off Hotel Malibu. She appeared in the direct-to-video drama film Lost in the Wild (1993). For her first major movie role, in Gregory Nava's 1995 drama Mi Familia, Lopez received a nomination for the Independent Spirit Award for Best Supporting Actress. Lopez then starred in the action comedy Money Train (1995). Kenneth Turan of the Los Angeles Times said she "mostly holds her own" with co-stars Wesley Snipes and Woody Harrelson, while Stephen Holden of The New York Times praised her "scene-stealing charm". In 1996, Lopez had a supporting role opposite Robin Williams in the comedy Jack. She next starred opposite Jack Nicholson in the neo-noir thriller Blood and Wine (1997). David Rooney of Variety felt Lopez delivered in "juggling" the "smoldering and soulful sides" of the character but Lisa Schwarzbaum of Entertainment Weekly said she was "used as a place marker rather than as a real girl."

Movie and pop stardom (1997–2002) 
With her casting as the singer Selena Quintanilla-Pérez in the biopic Selena (1997), Lopez became the first Latina actress to earn $1 million. She was excited by the rare opportunity to "actually star" in a movie "in the title role" but expressed disappointment that other Latina actors were not being afforded the same opportunities. Despite having previously worked with the film's director on Mi Familia, Lopez participated in an intense auditioning process and spent time with the late singer's family in Corpus Christi, Texas before filming began. Roger Ebert of the Chicago Sun-Times described it as "a star-making performance" and particularly enjoyed the onstage scenes: "She has the star presence to look convincing in front of 100,000 fans." Kenneth Turan of the Los Angeles Times praised the "incandescent" performance. Later in 1997, Lopez starred opposite Ice Cube in the horror film Anaconda. While Joe Leydon of Variety found Anaconda "silly", he said the film deserved "a little credit" for being "the first movie of its kind to have a Latina and an African-American" as its stars. In the crime film U Turn (1997), Lopez appeared topless in a sex scene that was added by director Oliver Stone during filming. Speaking in 2003, Lopez said it was not something "I would have chosen to do" and that she and Stone fought over it: "It's hard being the only woman on a set ... But it actually worked in the movie ... This woman, Grace, had become a piece of flesh almost. Her body wasn't her own."

Lopez starred opposite George Clooney in the crime caper Out of Sight (1998), Steven Soderbergh's adaptation of the Elmore Leonard novel of the same name. Cast as a deputy federal marshal who falls for a charming criminal, Lopez won rave reviews for her performance. Janet Maslin of The New York Times described it as her "best movie role thus far, and she brings it both seductiveness and grit; if it was hard to imagine a hard-working, pistol-packing bombshell on the page, it couldn't be easier here." Turan of the Los Angeles Times described Lopez as "an actress who can be convincingly tough and devastatingly erotic" and said the film solidified "her position as a woman you can confidently build a film around." Also in 1998, Lopez provided the voice of Azteca in the animated film Antz.

Lopez launched a music career in 1999 because, after Selena, she had missed "the excitement of the stage" and was "really feeling [her] Latin roots". Lopez's new manager Benny Medina sought to position her as "a brand name that will cross over into all media." Lopez recorded a Spanish-language demo for circulation among prospective labels. Tommy Mottola, the head of Sony Music's Work Group, signed her but suggested that she sing in English instead. Her debut album On the 6, named after the 6 Subway line which connected her childhood home in the Bronx to Manhattan, was filled with what Ed Morales of the Los Angeles Times described as "state-of-the-art dance pop ... even if Lopez's vocals are largely anonymous." The album was a success and Lopez's debut single, "If You Had My Love", topped the Billboard Hot 100, with another single, "Waiting for Tonight", reaching number eight. In 2000, Lopez and then-boyfriend Sean Combs attended the Grammy Awards, with Lopez wearing a plunging green Versace silk chiffon dress. The dress generated worldwide attention and became the most popular search query in Google's history, leading to the creation of Google Images. Lopez returned to the big screen in 2000, starring in the psychological thriller The Cell. David Edelstein of Slate remarked that the "imperious" Lopez was "trying to look waifishly expectant" while Amy Taubin of The Village Voice noted that she appeared to be engaged "in some kind of pouting competition" "in lieu of acting."

Lopez became the first woman to have a number one film and album simultaneously when, in early 2001, the romantic comedy The Wedding Planner, co-starring Matthew McConaughey, and her sophomore album J.Lo were released in the same week. In a review of The Wedding Planner, Bob Graham of the San Francisco Chronicle remarked that, while there was "no doubt of Lopez's screen poise or acting chops", she should choose comedic projects with "more bite." Jessica Winter of The Village Voice found her "bewilderingly miscast" as a "buttoned down, celibate" woman, writing that the movie "achieves the dubious but perversely impressive feat, for its 90-minute duration, of neutering Jennifer Lopez." The album J.Lo received mixed reviews. Jon Pareles of Rolling Stone was unimpressed by her "merely adequate, studio-assisted voice": "While dance pop doesn't necessarily demand great singers, Lopez is just scraping by." J.Lo ultimately became the best-selling release of her career, and included the singles "Love Don't Cost a Thing" and "I'm Real", the latter of which reached number one in the US. In other 2001 work, Lopez launched her first business venture, the clothing line J.Lo by Jennifer Lopez, and starred opposite Jim Caviezel in the romantic drama Angel Eyes. Lopez's performance was well-reviewed, with Mick LaSalle of the San Francisco Chronicle describing her as "an actress who can do things other movie stars can't do. She doesn't push, just thinks, and her thoughts and emotions burn into the film."

The romantic comedy Maid in Manhattan (2002), in which Lopez starred opposite Ralph Fiennes, became the highest-grossing film of her career. Reviewing Maid in Manhattan, A. O. Scott of The New York Times enjoyed Lopez as a romantic lead and said "her greatest skill as an actress -- and the key to her brain-addling sexiness -- may be her ability to melt without cracking the hard shell of composure she wears." She starred as an abused wife seeking revenge in the thriller Enough. An overworked Lopez suffered a nervous breakdown in 2001 while filming it. Upon its release in 2002, Ebert of the Chicago Sun-Times was unimpressed by the "tacky material" and was surprised to see "an actress like Jennifer Lopez" involved with the project. Nathan Rabin of The A.V. Club said "the film's idiocy works for Lopez: Every diva needs at least one camp classic on her résumé".

Lopez released two albums in 2002. The first was a remix album, J to tha L–O! The Remixes, featuring rappers Ja Rule, 50 Cent, Fat Joe and P Diddy. It debuted at number one on the Billboard 200, with its lead single Ain't It Funny (Murder Remix)" reaching the top of the Billboard Hot 100. Lopez's third studio album, This Is Me... Then, was released in late 2002. Jon Caramanica of The Village Voice was unimpressed by her studio-enhanced vocals and expressed bemusement as to how the "mega-millionaire Bronx-expat public-fantasy bombshell" was "making the least interesting music on the pop charts today." Despite having the highest opening sales of Lopez's career, the album charted at number six on the Billboard 200. The album's lead single "Jenny from the Block", peaked at number three on the Billboard Hot 100 while its second single, "All I Have", reached number one. In 2002 business ventures, Lopez opened Madre's, a Los Angeles restaurant serving Latin cuisine, and released her first fragrance, Glow by JLo. It became the top-selling fragrance in the US, and Lopez has since released over 18 fragrances as part of a licensing deal with Coty.

Box-office failures and declining record sales (2003–2010) 

Lopez became the subject of widespread media criticism in 2003 due to her public relationship with Affleck and the tabloid depiction of her as a demanding diva. Her perceived diva behavior and relationship with Affleck was also parodied on South Park in the episode “Fat Butt and Pancake Head”. The Guardian published an article exploring her "bilious" media coverage, with journalist Lawrence Donegan positing that "indefensible" misogyny and racism were to blame for her position as "the most vilified woman in modern popular culture". Lopez fired both her personal manager Benny Medina and her publicist in mid-2003;The New York Times reported that movie executives had become frustrated by having their communications with Lopez "largely filtered" through Medina. She became the face of Louis Vuitton's fall–winter advertising campaign and starred opposite Affleck in the romantic comedy Gigli (2003). The film was a box-office bomb and is considered one of the worst films of all time. Rex Reed of The Observer criticized the lead actors, writing that the film reminds the world how "pathetically incompetent they both are in the only two things that matter in career longevity - craft and talent." Lopez had a minor role opposite Affleck in the film Jersey Girl (2004). Following test audiences' negative reactions to the onscreen couple, Lopez's screen time was halved. Lopez later described this as the lowest point of her career and admitted she felt “eviscerated“ by the media coverage surrounding Gigli: "I lost my sense of self, questioned if I belonged in this business, thought maybe I did suck at everything. And my relationship self-destructed in front of the entire world. It was a two-year thing for me until I picked myself up again." Later in 2004, Lopez launched her second fashion label, Sweetface, and starred opposite Richard Gere in the romantic comedy-drama Shall We Dance?, which was a box-office success.

The marketing for the romantic comedy Monster-in-Law (2005), in which Lopez starred opposite Jane Fonda, played up her "Gigli-and-tabloid tarnished image", and it became a box office success. She released her fourth studio album, Rebirth, in early 2005. It was recorded during a period where Lopez felt "a little bit lost, trying to get my footing in a new life": "I had just gotten married [to singer Marc Anthony] ... I wasn't with Benny [Medina]." Alexis Petridis of The Guardian remarked that the album title "suggests even Lopez has realised that something is amiss with her career ... Despite the highlights, you're still left pondering the question: what happened to Jennifer Lopez?" While the album reached number two on the Billboard 200 and its lead single "Get Right" charted at number twelve on the Billboard Hot 100, the second and final single "Hold You Down" peaked at number 64. She returned the Billboard Hot 100 the following year, at number four, when she was a featured artist on "Control Myself", the lead single from LL Cool J's twelfth studio album.

Lopez's next three movie projects were box office failures. She starred alongside Robert Redford and Morgan Freeman in the drama An Unfinished Life (2005). Ebert of the Chicago Sun-Times predicted that the typical review would be unkind: "It will have no respect for Jennifer Lopez, because she is going through a period right now when nobody is satisfied with anything she does ... Give Lopez your permission to be good again; she is the same actress now as when we thought her so new and fine." In 2006, she reunited with Gregory Nava, the director of both Mi Familia and Selena, to star in the crime drama Bordertown as a journalist investigating female homicides in Ciudad Juárez, Mexico. The film was negatively reviewed and received a direct-to-video release. David D'Arcy of Screen Daily found Lopez "unconvincing" as a journalist. In 2007, she starred opposite her then-husband Marc Anthony in the music biopic El Cantante, which told the story of Puerto Rican salsa singer Héctor Lavoe and his wife Puchi. While Lopez later expressed particular pride in her work, El Cantante did not perform well at the box office and she received largely negative reviews. Mick LaSalle of the San Francisco Chronicle described it as her "most mannered, least relaxed and least convincing performance to date".

Lopez released two studio albums in 2007. Her fifth album, Como Ama una Mujer, was her first to be recorded entirely in Spanish. Chris Willman of Entertainment Weekly acknowledged that the album offered "fairly persuasive proof" that Lopez can sing, but was unimpressed by the "flaccid torch songs." It reached number 10 on the Billboard 200; the lead single "Qué Hiciste" reached number 86 on the Billboard Hot 100 while the second single "Me Haces Falta" failed to chart. Lopez's sixth studio album Brave, released later that year, was her lowest-charting album worldwide. Jonathan Bernstein of Entertainment Weekly was disappointed that Lopez had returned to "listless vocals" for her "back-to-the-dance-floor album." The album debuted at number 12 on the Billboard 200 and 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 chart. While pregnant with twins, Lopez embarked upon her first ever concert tour, a show co-headlined by Anthony, in September 2007. She also created, produced and was featured in the MTV show DanceLife.

After giving birth to twins in February 2008, Lopez took a career break. Her restaurant Madre's closed permanently, as did her two fashion lines. After rehiring former manager Medina, Lopez released two songs in late 2009, "Louboutins" and "Fresh Out of the Oven". The songs were intended for her seventh studio album but failed to make an appearance on the Billboard charts, leading to her departure from Sony Music and Epic Records. Lopez's first theatrical role in three years was in the romantic comedy The Back-up Plan (2010). Manohla Dargis of The New York Times was unimpressed by the movie and described Lopez as "an appealing screen presence with a disappointing big-screen track record. That's probably not all her fault: romantic roles for women often are the provenance of the bland or the blonde."

American Idol and Vegas residency (2011–2018) 

A "big turning point" in Lopez's career came in 2011, when she joined the judging panel of the singing competition series American Idol. She accepted the job at a time when she was "not getting offered a whole bunch of movies" and the show returned her to prominence. Hannah Elliot of Forbes described it as "a remarkable comeback": "Idol humanized her. Viewers who knew only an attention-grabbing siren met a hardworking, self-made, empathetic single mother, who got emotional when contestants did well and when they failed." She returned as a judge for the eleventh season, earning a reported $20 million, and again for the thirteenth season, earning a reported $17.5 million. She became a brand ambassador for L'Oréal, Venus and Fiat, and launched the Jennifer Lopez Collection, a clothing and homeware line with Tommy Hilfiger for Kohl's.

After signing a new recording contract with Island Records, Lopez's seventh studio album, Love?, was released in early 2011. While the album itself was a moderate commercial success, the single "On the Floor" was one of the year's most successful songs. It reached number three on the Billboard Hot 100, becoming her highest-charting single as a lead artist since "All I Have". Lopez's greatest hits album, Dance Again... the Hits, was released in mid-2012 to fulfil her contractual obligations with her former label Epic Records. Lopez, who was divorcing Anthony and navigating the "breakup of a family", felt as if the album's sole single, "Dance Again", had come to her at the "perfect moment". "Dance Again" reached number 17 on the US Billboard Hot 100. Lopez launched the Dance Again World Tour, her first headlining concert tour, in mid-2012. It grossed over $1 million per show. Also that year, she launched Teeology, a luxury T-shirt brand.

Lopez returned to the big screen in 2012, starring alongside an ensemble cast in the film What to Expect When You're Expecting, which is based on the novel of the same name. Lopez voiced Shira, a saber tooth tiger, in the animated film, Ice Age: Continental Drift, the fourth film in the Ice Age franchise. Also in 2012, a talent show, ¡Q'Viva! The Chosen followed Lopez, Anthony, and director-choreographer Jamie King as they travelled across 21 countries in Latin America to find new talent for a Las Vegas show. In 2013, Lopez starred alongside Jason Statham in the crime thriller Parker, in which she played Leslie. Her performance earned positive reviews, with Chicago Tribune commending the role for giving Lopez "an opportunity to be dramatic, romantic, funny, depressed, euphoric and violent. The audience stays with her all the way". Lopez became the chief creative officer of nuvoTV and founded the mobile phone retail brand Viva Móvil. She was an executive producer of the television series The Fosters.

Lopez's eighth studio album, A.K.A., was released in mid-2014 through Capitol Records, experiencing lacklustre sales. The album produced three singles: "I Luh Ya Papi", featuring French Montana, "First Love", and "Booty", featuring Iggy Azalea. They reached 77, 87 and 18 respectively on the Billboard Hot 100. Also that year, Lopez released "We Are One (Ole Ola)", the official song for the 2014 FIFA World Cup along with Pitbull and Claudia Leitte. Lopez partnered with Endless Jewelry on a range of jewelry and released a book, True Love, which became a New York Times best-seller.

2015 saw the release of The Boy Next Door, an erotic thriller that Lopez both co-produced and starred in as a high school teacher who becomes involved with a student, which eventually leads to his dangerous obsession with her. The film received negative reviews from critics. Despite this, it became her most successful opening at the box office for a live action film since Monster-in-Law. Lopez had a voice role in the animated feature Home and contributed the single "Feel the Light" to the film's official soundtrack. Lopez also starred in the independent drama film Lila & Eve, alongside Viola Davis.

From 2016 to 2018, Lopez had a residency concert show, All I Have, at Planet Hollywood's Zappos Theater in Las Vegas. She performed 120 shows during the three-year run, grossing over $100 million in ticket sales. At the beginning of the residency, Lopez signed a multi-album deal with her former label Epic Records but, instead of an album, she opted to release standalone singles including "Ain't Your Mama", "Ni Tú Ni Yo","Amor, Amor, Amor", "El Anillo" and "Dinero", featuring DJ Khaled and Cardi B. The highest charting of these were "Ain't Your Mama" and "Dinero", reaching 76 and 80 respectively on the Billboard Hot 100, while the former's music video received over 800 million views on YouTube. In collaboration with Giuseppe Zanotti, Lopez designed a capsule collection of shoes and jewelry and, with Inglot Cosmetics, launched a limited-edition makeup collection.

From 2016 to 2018, Lopez produced and starred in NBC's crime drama series Shades of Blue  as Detective Harlee Santos, a single mother and police detective in New York City who goes undercover for the FBI to investigate her own squad. Lopez's performance received positive reviews. Lopez was executive producer and judge on NBC's World of Dance. Lopez reprised her voice role as Shira in the animated film Ice Age: Collision Course (2016).

In 2018, Lopez was named one of Times 100 most influential people in the world, and starred in the comedy film Second Act, directed by Peter Segal; she also produced the film, and recorded the single "Limitless" for its soundtrack. Second Act earned mixed reviews from critics, but performed well at the box office, grossing $72.3 million during its theatrical run.

Hustlers and Super Bowl LIV halftime show (2019–present) 

Lopez starred in the film Hustlers (2019), for which she also served as an executive producer, and which grossed over US$100 million in North American box office receipts alone. Directed by Lorene Scafaria, the film is inspired by a true story, following a group of Manhattan strippers who con wealthy men. Lopez's portrayal of a veteran stripper in Hustlers garnered acclaim from critics, with some deeming it the best performance of her acting career. The film also gave Lopez her highest opening weekend at the box office for a live action film (grossing $33.2 million), and garnered her nominations for Best Supporting Actress at the Golden Globe Awards, Screen Actors Guild Awards, Critics' Choice Movie Awards and Independent Spirit Awards. The success of Hustlers has been regarded by various media outlets as a comeback for Lopez. She was announced as the global face of the Coach brand and launched a collection of sunglasses with the brand Quay Australia. Also in September 2019, Lopez modeled an updated version of her Green Versace dress at Milan Fashion Week; her appearance generated $31.8 million in total media impact value.

In addition to her 2019 international concert tour, It's My Party, which grossed an estimated $54.7 million from thirty-eight shows, Lopez co-headlined the Super Bowl LIV halftime show in 2020 alongside Shakira and performed at the 2021 inauguration of President Joe Biden in Washington, D.C., where she sang "This Land Is Your Land" and "America the Beautiful", while also reciting the last phrase of the Pledge of Allegiance in Spanish. She also released a number of singles between 2019 and 2021, including: "Medicine" featuring French Montana, "Pa' Ti + Lonely" with Maluma and "Cambia el Paso" with Rauw Alejandro. In January 2021, Lopez launched her skincare line, JLo Beauty.

Lopez next starred opposite Owen Wilson in the romantic comedy Marry Me in February 2022. The action-comedy Shotgun Wedding, in which she stars opposite Josh Duhamel, will be released in June 2022. In October 2021, the action feature The Mother, directed by Niki Caro, began filming in Canada. In mid-2021, Lopez signed a multi-year deal with Netflix to produce a range of films and television shows through Nuyorican Productions.

Personal life
Lopez was in a nearly decade-long relationship with David Cruz, her high school boyfriend, until the mid-1990s. She was married to Cuban waiter Ojani Noa from February 1997 to January 1998. In subsequent court cases, Noa was prevented from publishing a book about their marriage and from using private honeymoon footage of Lopez in a documentary. Lopez was in an on–off relationship with record producer and rapper Sean Combs (then-known as "Puff Daddy") from 1999 to early 2001. On the night of December 27, 1999, Lopez and Combs were arrested and charged with criminal possession of a weapon and possession of stolen property, after leaving the scene of a shooting at a Times Square nightclub. Charges against Lopez were dropped within an hour while Combs was acquitted of all charges at trial in early 2001. They broke up shortly thereafter. Lopez later said that, while she had "cared very much" about Combs, their "crazy, tumultuous" relationship "was always something I knew would end." She was married to Cris Judd, her former backup dancer, from September 2001 to June 2002.

After divorcing Judd, Lopez was in a relationship with actor and filmmaker Ben Affleck from mid-2002 to early 2004, after they met on the set of Gigli in late 2001. They later worked together on the music video for "Jenny from the Block" and the film Jersey Girl (2004). Their relationship was extensively publicized. Tabloids referred to the couple as "Bennifer", a portmanteau Vanity Fair described as "the first of that sort of tabloid branding". They became engaged in November 2002 but their planned wedding on September 14, 2003, was postponed with four days' notice because of "excessive media attention". They ended their engagement in January 2004. Years later, Lopez said Affleck's discomfort with media scrutiny was one reason for their split and described it as her "first real heartbreak": "I think different time, different thing, who knows what could've happened."

Lopez was married to singer Marc Anthony from June 2004 to July 2011; they had previously dated for a few months in the late 1990s. Their wedding took place five months after the end of her relationship with Affleck; she later described it as "a Band-Aid on the cut" and recalled a "rocky start" to the marriage. Lopez gave birth to fraternal twins, Maximilian David and Emme Maribel, on Long Island in February 2008. People paid a reported US$6 million for the first photographs of the twins, making them the most expensive celebrity pictures ever taken at the time. The couple announced their separation in July 2011. Anthony filed for divorce in April 2012 and it was finalized in June 2014. Lopez retained primary physical custody of the two children.

Lopez had an on-off relationship with her former backup dancer Casper Smart from October 2011 to August 2016. She dated New York Yankees baseball player Alex Rodriguez from February 2017 to early 2021. They became engaged in March 2019 but postponed their wedding twice due to the COVID-19 pandemic. In response to tabloid speculation about the state of their relationship, they released a statement in March 2021, saying they were "working through some things". They announced the end of their relationship in April 2021.

In April 2021, Lopez and Affleck were reported to be dating again, with Lopez publicly confirming their rekindled relationship that July. In the years after their breakup, they had remained in contact and spoken highly of each other in the press.

Other activities

Philanthropy

Following the September 11 attacks, Lopez was heavily involved in charitable activities. Joining various other artists, she was featured on charitable singles such as "What's Going On" and "El Ultimo Adios (The Last Goodbye)", which benefited people affected by the tragedy. One dollar from each ticket sold at Lopez and Anthony's co-headlining North American concert tour, which grossed an estimated $10 million, was donated to Run for Something Better—a charitable organization supporting physical fitness programs for children. In February 2007, Lopez was honored with the Artists for Amnesty prize by the human rights organization Amnesty International, for her work in the film Bordertown, which shed light on the hundreds of feminicides in Ciudad Juárez. Lopez described it as "one of the world's most shocking and disturbing, underreported crimes against humanity".

In 2009, Lopez launched the Lopez Family Foundation (originally known as the Maribel Foundation) alongside her sister, Lynda. The nonprofit organization seeks to increase the availability of healthcare for underprivileged women and children, offering a telemedicine program supported by a partnership with the Children's Hospital Los Angeles. The foundation has led to the expansion of medical facilities in Panama and Puerto Rico, and created the Center for a Healthy Childhood at the Montefiore Medical Center in the Bronx.

In December 2012, Lopez held a charity drive that would affect her three favorite charities: the Gloria Wise Boys and Girls Club, the Children's Hospital of Los Angeles as well as the American Red Cross, mainly benefiting victims of Hurricane Sandy, which devastated parts of her hometown, New York City. In May 2015, she became the first national celebrity spokesperson for the Children's Miracle Network Hospitals and the BC Children's Hospital Foundation (BCCHF), appearing in a campaign entitled "Put Your Money Where the Miracles Are". That September, Lopez was announced as the first Global Advocate for Girls and Women at the United Nations Foundation. This role sees her mobilizing action to address challenges faced by girls and women around the world, including maternal health care programs, education and violence against women. In September 2017, following Hurricane Irma and Hurricane Maria, Lopez announced that she would be donating $1 million from the proceeds of her Las Vegas residency to humanitarian aid for Puerto Rico. Along with ex-husband Marc Anthony, she launched a humanitarian relief campaign entitled Somos Una Voz (English: We Are One Voice), an effort supported by various celebrities to rush supplies to areas affected by Hurricane Maria. Lopez and Anthony presented a subsequent concert and telethon for disaster relief, "One Voice: Somos Live!", which raised over $35 million. She was also among various artists featured on Lin-Manuel Miranda's charity single "Almost Like Praying" which benefits Puerto Rico.

Political views
Lopez is an avid supporter of LGBT rights, and has raised millions of dollars for HIV/AIDS research. In June 2013, amfAR presented Lopez with its humanitarian award for her philanthropic work. That September, she was awarded the Ally for Equality award presented by the Human Rights Campaign, for her support of the LGBT community. The following year, she received the GLAAD Vanguard Award. In July 2016, Lopez released a single entitled "Love Make the World Go Round", a collaboration with Lin-Manuel Miranda, which benefits victims of the Orlando nightclub shooting. She was also featured on the song "Hands" along with numerous other artists, also benefiting those affected by the Orlando shooting. Among numerous other artists, Lopez signed an open letter from Billboard magazine to the United States Congress in 2016, which demanded action on gun control.

Lopez endorsed President Barack Obama in his 2012 presidential campaign, speaking in television advertisements and attending a fundraising event for Obama in Paris. She endorsed Democratic presidential nominee Hillary Clinton in 2016, headlining a free concert in Florida in support of her that October. In June 2020, Lopez attended a Black Lives Matter movement protest in Los Angeles, in connection with the broader George Floyd protests. Lopez has also been an active advocate for the Time's Up movement.

In 2013, Lopez performed at the birthday of Turkmenistan President Gurbanguly Berdymukhamedov. Doing so, she garnered widespread backlash for performing for the leader of a "repressive, authoritarian regime". Her publicist released an apology.

Artistry

Influences and musical style
Lopez has cited Madonna as her "first big musical influence", explaining "It was all about Madonna for me. She inspired me to want to sing, to dance, to work hard." Other "big influences in [her] life" include Tina Turner, James Brown, and Michael Jackson. Growing up, she was influenced by Latin music styles ranging from salsa to bachata, and artists including Celia Cruz and Tito Puente. It was the 1979 hip hop song "Rapper's Delight" by The Sugarhill Gang that she said changed her life. She was also "hugely inspired in her youth" by Rita Moreno's performance in the 1961 musical film West Side Story. Lopez has cited Janet Jackson as a major inspiration for her own dance and videos, stating that she "probably started dancing" because of Jackson's music video for "The Pleasure Principle". She has said that she also looks to the careers of Cher and Diana Ross, and has been influenced by younger artists such as Lady Gaga.

According to author Ed Morales in The Latin Beat: The Rhythms And Roots Of Latin Music From Bossa Nova To Salsa And Beyond (2003), Lopez's music explores the "romantic innocence" of Latin music, while strongly identifying with hip hop. Her debut album On the 6 fuses the influence of Latin music with R&B and hip hop, which Lopez described as Latin soul. To the contrary, Morales described it as "state-of-the-art dance pop". Dee Lockett, writing for the Chicago Tribune, stated that songs such as "Waiting for Tonight" made Lopez "arguably the leading artist in the dance-pop movement at the time". While primarily sung in English, she speaks in Spanish and asserts her Latin heritage throughout the album, which is apparent in the song "Let's Get Loud". She has also recorded bilingual songs, including the Latin pop song "Cariño", for her second album J.Lo. A departure from her previous albums, This Is Me... Then blends 1970s soul with "streetwise" hip hop.

Described as autobiographical, much of Lopez's music has centered around the "ups and downs" of love. The lyrical content of This Is Me... Then is largely focused on her relationship with Ben Affleck, with the song "Dear Ben" being described as the album's "glowing centerpiece". Her first full-length Spanish-language album, Como Ama una Mujer features introspective lyrics about romance, heartache and self-loathing. When explaining her seventh studio album Love?, Lopez stated: "There's still so much to learn and that's why the question mark." Other recurrent themes in Lopez's music have included her upbringing in the Bronx and women's empowerment.

Critics have considered Lopez's voice to be limited, and overshadowed by the production of her music, while remaining "radio-friendly". Rob Sheffield of Rolling Stone remarked: "Instead of strained vocal pyrotechnics, Lopez sticks to the understated R&B murmur of a round-the-way superstar who doesn't need to belt because she knows you're already paying attention ... She makes a little va-va and a whole lot of voom go a long way." Meanwhile, AllMusic's Stephen Thomas Erlewine called her voice "slight" and wrote: "Lopez was never, ever about singing; she was about style". Entertainment Weekly criticized her vocal performance for lacking the trademark "husky-voiced voluptuousness" she has in her films. J. D. Considine of The Baltimore Sun regards Lopez as having a "breathy" stylistic range, but lacking personality.

Dance and stage

Considered one of dance's "greatest success stories", Refinery29 ranked Lopez at number two on "11 Of Pop's Most Iconic Dancers" in 2015. Lopez felt an emotional connection to dance since her youth, when she specialized in ballet, jazz and flamenco. Her career commenced on the variety television sketch comedy series In Living Color, where she was a part of an ethnically diverse dance group known as the Fly Girls. Since beginning her music career, Lopez has become known for her body-emphasizing music videos, which often include dance routines. CNN's Holly Thomas noted that "Lopez's years of professional dance experience gave her a captivating, commanding presence in her videos." Some of these videos have been the subject of controversy, including "Jenny from the Block", "Dance Again" and "Booty". Her provocatively choreographed music video for "If You Had My Love" allowed Lopez to become a dominant figure on MTV networks worldwide. Madeline Roth of MTV wrote: "Her diverse videography encompasses some of the most memorable visuals of the 21st century", with Rolling Stone writer Brittany Spanos observing that her "dancing skills and ability to toy with her own celebrity have made her videos an important part of the new millennium's pop canon".

On stage, Lopez is recognized for her showmanship and sex appeal, and often includes costumes such as bodysuits as part of her performance. Author Priscilla Peña Ovalle stated in Dance and the Hollywood Latina: Race, Sex and Stardom (2011) that Lopez was one of the Latin stars who "used dance to gain agency as working performers with mainstream careers, yet many of their roles paradoxically racialized and sexualized their bodies". Troy Patterson of Entertainment Weekly also observed that she used her body for emphasis on stage, "She turned herself out as the fly girl hyperversion of postfeminist power, flaunting her control by toying with the threat of excess. In consequence, her star went supernova." Her signature movements include "clock-wise pivoting with salsa hip circles and sequential torso undulations". While being noted to lip sync in the early stages of career, Lopez's Dance Again World Tour was praised for showcasing live vocals and choreography synchronously. In a review of her Las Vegas residency All I Have, Los Angeles Times writer Nolan Feeney remarked that her dancing is "undoubtedly the centerpiece of the show".

Lopez's provocative stage performances have also drawn scrutiny at times. In May 2013, her performance on the finale of the television series Britain's Got Talent was deemed inappropriate for family-friendly television, and drew viewer complaints to Ofcom. Following her controversial performance at the musical festival Mawazine in 2015, Moroccan Prime Minister Abdelilah Benkirane called it "indecent" and "disgraceful", while an education group claimed that she "disturbed public order and tarnished women's honor and respect".

Public image

Writing of Lopez's image, Andrew Barker of Variety observed: "Despite a carefully cultivated image as an imperious pop empress in ludicrously expensive outfits, her signature hits bear the titles 'I'm Real' and 'Jenny From the Block'. She managed the perilous transition from actress to music star without ever seeming to pick either as a primary gig. She established herself as an oft-provocative sex symbol while her demeanor made it abundantly clear that she's not asking you to come hither." In 2002, Lynette Holloway of The New York Times described Lopez as overexposed. She wrote: "Forgive yourself if you are seeing Jennifer Lopez in your sleep. She is everywhere." Holloway noted her image to be "a dash of ghetto fabulousness" and "middle-class respectability" for mass appeal. Entertainment Weekly observed a change in her public profile upon joining American Idol in 2011, writing: "Gone was her old cut-a-bitch swagger; J. Lo 2.0 is an all-embracing, Oprahfied earth ." Television presenter Ray Martin describes her as a "showbiz phenomenon".

Lopez is widely celebrated for her callipygian figure. She has been credited with influencing a change in mainstream female body image. In Latin Sensations (2001), Herón Marquez wrote: "Because she wasn't rail thin, Lopez had broken the mold and allowed millions of women to feel good about their bodies. Suddenly, it was okay for women to have hips, curves, and a big backside." Vanity Fair described her buttocks as "in and of themselves, a cultural icon". Details magazine named Lopez the "Sexiest Woman of the Year" in 1998, and she topped FHMs "100 Sexiest Women in the World" list twice. In 2011, she was named "The Most Beautiful Woman" by People. The following year, VH1 ranked her the fourth on their list of "100 Sexiest Artists", while Vibe magazine named her the most "lustable" celebrity of the past twenty years. In 2014, Lopez stated, "There's this funny notion in America that you can't be a mom and be sexy (...) It's the craziest thing I've ever heard... The truth is that women can be sexy until the day they die."

Lopez has been a tabloid fixture and has admitted to having a "less-than-perfect" public image. The media has drawn comparisons between Lopez and actress Elizabeth Taylor, due to her numerous failed relationships, and Lopez has been dubbed a "modern-day Liz Taylor" by the media. Lynn Hirschberg of W compared her glamorous public persona to that of Taylor. Her style was described by Billboards Lauren Savage as "scantily clad". She has received a bad reputation as being a demanding "diva", something which she denies. In 2003, The Observer remarked that Lopez was "the woman immortalised in a million headlines as 'Hollywood's most demanding diva' ... Lopez must wonder what heinous crime she has committed to become the most vilified woman in modern popular culture."

Legacy and cultural impact

Lopez is regarded as the most influential Latin performer in North America, credited with breaking ethnic barriers in the entertainment industry. In 1999, Lopez said the "responsibility" of being a role model for the Latin community initially "kind of scared me because you don't want to let anybody down and you don't want to do anything wrong ... I've always wanted to be the best that I can be and I think that's more what they look to, y'know, 'She's up there. She's doing it. She's from the same place we are." In 1999, The Record newspaper observed that she was responsible for the introduction of a Latina presence in the film industry, which was a "whites-only preserve" for much of its history. Described as a "multidimensional artist who had turned into a financial powerhouse", Lopez became the highest-paid actress of Hispanic descent in history. Miriam Jiménez Román stated in The Afro-Latin Reader: History and Culture in the United States (2009) that "[she] was able to traverse the difficult racial boundaries". In 2012, business magazine Forbes suggested that Lopez "may be the most powerful entertainer on the planet", and named her "the world's most powerful Latino celebrity".

Upon launching her music career in the late 1990s, Lopez contributed to the "Latin explosion" occurring in entertainment at the time. Writing for The Recording Academy, Brian Haack described her as the "breakout female star" of the Latin pop movement in American music. She was featured on the cover of the first issue of Latina magazine in 1996, with editor Galina Espinoza stating in 2011 that there is "no recounting of modern Latina history without Jennifer". Around the time her career began to burgeon, the emphasis on Lopez's curvaceous figure grew; scholar Sean Redmond wrote that this was a sign of her role and social power in the cultural changes occurring in the United States. In August 2005, Time listed Lopez as one of the most influential Hispanics in America, remarking: "Why? Because over a decade ago, she was an anonymous background dancer on the second-rated sketch-comedy show. Today she's known by two syllables." In February 2007, People en Español named her the most influential Hispanic entertainer. In 2014, scientists named a species of aquatic mite found in Puerto Rico, Litarachna lopezae, after Lopez.

Lopez is considered a global icon, and is often described as a triple threat performer.  VH1 ranked her at number 15 on their list of 200 Greatest Pop Culture Icons, number 16 on 100 Greatest Women In Music, and number 21 on 50 Greatest Women of the Video Era. Lopez has been cited as an influence or inspiration by a range of entertainers, including Jessica Alba, Adrienne Bailon, Kat DeLuna, Mike Doughty, Fifth Harmony, Becky G, Selena Gomez, Ryan Guzman, Kelly Key, Q'orianka Kilcher, Demi Lovato, Normani, Rita Ora, Pitbull, Ivy Queen, Francia Raisa, Naya Rivera, Bebe Rexha, Rosa Salazar, Gwen Stefani, Stooshe, and Kerry Washington.

In 2019, the Council of Fashion Designers of America presented her with its Fashion Icon Award for her "long-standing and global impact on fashion". The Green Versace "Jungle Dress" that Lopez wore at the 42nd Annual Grammy Awards in 2000 was voted the fifth most iconic red carpet dress of all time in a poll run by The Daily Telegraph. The images of Lopez wearing the dress became the most popular search query of all time at that point, and subsequently led to the creation of Google's image search. Her style has influenced a range of celebrities, including Kelly Rowland, Kim Kardashian, and Jennifer Love Hewitt. Her record-breaking fragrance line has become the most successful celebrity line in the world, with sales exceeding $2 billion . Her first fragrance, Glow by JLo, has been credited with influencing the rise of celebrity fragrances in the 2000s, with perfume critic Chandler Burr stating: "Elizabeth Taylor was one of the first [to have her own scent], but Glow kicked the whole thing into overdrive." Following the success of Lopez's appointment as a judge on American Idol in 2010, a trend of networks hiring "big names" for judging panels on reality shows ensued. The Hollywood Reporter branded this "The J.Lo Effect".

Achievements

, Lopez has sold more than 70 million records worldwide, and her films have grossed a cumulative total of . She remains the only female entertainer to have a number one album and film simultaneously in the United States.
With her second studio album J.Lo (2001), Lopez became the first female solo recording artist under Epic Records to achieve a number one album in the United States since its inception in 1953. Her album J to tha L-O! The Remixes was acknowledged by the Guinness World Records as the first number one remix album in the United States. In 2010, Lopez was honored by the World Music Awards with the Legend Award for her contribution to the arts. Lopez's return to prominence the following year with her single "On the Floor"—among the best-selling singles of all time, and its music video recognized as the "Highest Viewed Female Music Video of All Time" by Guinness World Records in 2012—is regarded as one of the greatest musical comebacks in history. In 2013, she was presented with the prestigious landmark 2,500th star on the Hollywood Walk of Fame for her musical contributions, and Univision presented her with the World Icon Award in its Premios Juventud. In 2014, she became the first female recipient of the Billboard Icon Award. Billboard magazine ranked her as the ninth greatest dance club artist of all time in 2016. In 2017, she was awarded the Telemundo Star Award. In 2018, Lopez received the Michael Jackson Video Vanguard Award at the 2018 MTV Video Music Awards, making her the first Latin performer to claim the prize since its introduction in 1984.

Discography

On the 6 (1999)
J.Lo (2001)
This Is Me... Then (2002)
Rebirth (2005)
Como Ama una Mujer (2007)
Brave (2007)
Love? (2011)
A.K.A. (2014)
Marry Me (2022)

Filmography

Films starredNurses on the Line: The Crash of Flight 7 (1993)Money Train (1995)Jack (1996)Blood and Wine (1997)Selena (1997)Anaconda (1997)U Turn (1997)Out of Sight (1998)Antz (1998)The Cell (2000)The Wedding Planner (2001)Angel Eyes (2001)Enough (2002)Maid in Manhattan (2002)Gigli (2003)Shall We Dance? (2004)Monster-in-Law (2005)An Unfinished Life (2005)El Cantante (2006)Bordertown (2007)The Back-up Plan (2010)What to Expect When You're Expecting (2012)Ice Age: Continental Drift (2012)Parker (2013)The Boy Next Door (2015)Lila & Eve (2015)Home (2015)Ice Age: Collision Course (2016)Second Act (2018)Hustlers (2019)Marry Me (2022)
 Shotgun Wedding (2022)The Mother'' (2022)

Tours and residencies

Headlining tours
 Dance Again World Tour (2012)
 It's My Party Tour (2019)

Co-headlining tours
 Jennifer Lopez & Marc Anthony en Concierto (2007)
 Enrique Iglesias & Jennifer Lopez Tour (2012)

Residencies
 Jennifer Lopez: All I Have (2016–2018)

See also
 History of women in Puerto Rico
 Jennifer Lopez videography
 List of artists who reached number one in the United States
 List of Puerto Ricans
 Mami (hip hop)
 Nuyorican
 List of most-followed Instagram accounts

References

Further reading

External links

  – official site
  – official beauty site
 
 
 
 
 

 
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The Rebirth of Agony is the 7th album by Leæther Strip.

Track listing
 You Know Where To Put It
 Life is Painful (Bastard)
 Switch On - Switch Off
 Lies to Tell
 My Mind is My Master
 How Do I Know?
 The Edge of Anger
 I Want You Hard
 Take Care of Me
 Anger is a Part of Me
 Make My Blood Boil
 Fool!

Leæther Strip albums Rebirth in Buddhism refers to the teaching that the actions of a person lead to a new existence after death, in an endless cycle called saṃsāra. This cycle is considered to be dukkha, unsatisfactory and painful. The cycle stops only if moksha (liberation) is achieved by insight and the extinguishing of craving. Rebirth is one of the foundational doctrines of Buddhism, along with karma, Nirvana and moksha.

The rebirth doctrine, sometimes referred to as reincarnation or transmigration, asserts that rebirth does not necessarily take place as another human being, but can also lead to an existence in one of the six realms of existence, which also include heaven realms, the animal realm, the ghost realm and hell realms. Rebirth, as stated by various Buddhist traditions, is determined by karma, with good realms favored by kushala (good or skillful karma), while a rebirth in evil realms is a consequence of akushala (bad karma). While nirvana is the ultimate goal of Buddhist teaching, much of traditional Buddhist practice has been centered on gaining merit and merit transfer, whereby one gains rebirth in the good realms and avoids rebirth in the evil realms.

The rebirth doctrine has been a subject of scholarly studies within Buddhism since ancient times, particularly in reconciling the rebirth doctrine with its anti-essentialist anatman (not-self) doctrine. The various Buddhist traditions throughout history have disagreed on what it is in a person that is reborn, as well as how quickly the rebirth occurs after each death. 

Some Buddhist traditions assert that vijñana (consciousness), though constantly changing, exists as a continuum or stream (santana) and is what undergoes rebirth. Some traditions like Theravada assert that rebirth occurs immediately and that no "thing" (not even consciousness) moves across lives to be reborn (though there is a causal link, like when a seal is imprinted on wax). Other Buddhist traditions such as Tibetan Buddhism posit an interim existence (bardo) between death and rebirth, which may last as many as 49 days. This belief drives Tibetan funerary rituals. A now defunct Buddhist tradition called Pudgalavada asserted there was an inexpressible personal entity (pudgala) which migrates from one life to another.

Buddhist terminology and doctrine 
There is no word corresponding exactly to the English terms "rebirth", "metempsychosis", "transmigration" or "reincarnation" in the traditional Buddhist languages of Pāli and Sanskrit. Rebirth is referred to by various terms, representing an essential step in the endless cycle of samsara, terms such as "re-becoming" or "becoming again" (Sanskrit: punarbhava, Pali: punabbhava), re-born (punarjanman), re-death (punarmrityu), or sometimes just "becoming" (Pali/Sanskrit: bhava), while the state one is born into, the individual process of being born or coming into the world in any way, is referred to simply as "birth" (Pali/Sanskrit: jāti). The entire universal process of beings being reborn again and again is called "wandering about" (Pali/Sanskrit: ).

Some English-speaking Buddhists prefer the term "rebirth" or "re-becoming" (Sanskrit: punarbhava; Pali: punabbhava) to "reincarnation" as they take the latter to imply an entity (soul) that is reborn. Buddhism denies there is any such soul or self in a living being, but does assert that there is a cycle of transmigration consisting of rebirth and redeath as the fundamental nature of existence.

Historical context 
Before the time of the Buddha, many ideas on the nature of existence, birth and death were in vogue. The ancient Indian Vedic and Sramana schools affirmed the idea of soul, karma and cycle of rebirth. The competing Indian materialist schools denied the idea of soul, karma and rebirth, asserting instead that there is just one life, there is no rebirth, and death marks complete annihilation. From these diverse views, Buddha accepted the premises and concepts related to rebirth, but introduced innovations. According to various Buddhist scriptures, Buddha believed in other worlds,

Buddha also asserted that there is karma, which influences the future suffering through the cycle of rebirth, but added that there is a way to  end the cycle of karmic rebirths through nirvana. The Buddha introduced the concept that there is no soul (self) tying the cycle of rebirths, in contrast to themes asserted by various Hindu and Jaina traditions, and this central concept in Buddhism is called anattā; Buddha also affirmed the idea that all compounded things are subject to dissolution at death or anicca. The Buddha's detailed conception of the connections between action (karma), rebirth and causality is set out in the twelve links of dependent origination.

In Early Buddhism 
There are many references to rebirth in the Early Buddhist texts (henceforth EBTs). Some key suttas which discuss rebirth include Mahakammavibhanga Sutta (Majjhima Nikaya "MN" 136); Upali Sutta (MN 56); Kukkuravatika Sutta (MN 57); Moliyasivaka Sutta (Samyutta Nikaya "SN" 36.21); and Sankha Sutta (SN 42.8). 

There are various terms which refer to the rebirth process, such as Āgati-gati, Punarbhava and others. The term Āgati literally means 'coming back, return', while Gati means 'going away' and Punarbhava means 're-becoming'. Numerous other terms for rebirths are found in the Buddhist scriptures, such as Punagamana, Punavasa, Punanivattati, Abhinibbatti, and words with roots of *jati and *rupa.

According to Damien Keown, the EBTs state that on the night of his awakening, the Buddha attained the ability to recall a vast number of past lives along with numerous details about them. These early scriptures also state that he could remember "as far as ninety one eons" (Majjhima Nikaya i.483).

Bhikkhu Sujato notes that there are three main principles of rebirth in early Buddhism:

 Rebirth is regarded as an ongoing process to be escaped from in the search for liberation.
 Rebirth is determined by one's own mind, particularly one's ethical choices.
 The practice of Buddhism aims at ending rebirth.

According to Bhikkhu Anālayo, the Buddhist teaching of Dependent Origination is closely connected with the doctrine of rebirth. One of the 12 elements of Dependent Origination is "birth" (jati), which according to Anālayo refers to the rebirth of living beings. He cites SN 12.2 and its parallel in Samyukta Agama "SA" 298 as evidence. SN 12.2 defines "birth" in the context of Dependent Origination as "the birth of the various beings into the various orders of beings, their being born, descent into the womb, production, the manifestation of the aggregates, the obtaining of the sense bases." 

The early Buddhist conception of rebirth is one in which consciousness is always dependent on other factors, mainly name and form (nama-rupa) which refers to the physical body and various cognitive elements (such as feeling, perception and volition). Because of this, consciousness (viññana) is seen as supported by the body and its cognitive apparatus and cannot exist without it (and vice versa). However, consciousness can jump from one body to another (this is compared to how a spark from a hot iron can travel through the air in AN 7.52). This process applies to the very moment of conception, which requires a consciousness to enter the womb. This is indicated by Dirgha Agama "DA" 13 and its parallels (DN 15, Madhyama Agama "MA" 97). DA 13 states: [The Buddha said]: Ananda, in dependence on consciousness there is name and form. What is the meaning of this? If consciousness did not enter the mother's womb, would there be name and form? [Ananda] replied: No.The same sutra states that if consciousness were to depart from the womb, the fetus could not continue to grow. Drawing on these sutras and others (such as SN 22.8 and SA 1265) Anālayo concludes that "consciousness appears to be what provides the transition from one body to another". However, according to Sujato, the EBTs indicate that it is not just consciousness which undergoes rebirth, but some form of all the five aggregates.

The EBTs also seem to indicate that there is an in-between state (antarābhava) between death and rebirth. According to Bhikkhu Sujato, the most explicit passage supporting this can be found in the Kutuhalasāla Sutta, which states that "when a being has laid down this body, but has not yet been reborn in another body, it is fuelled by craving."

Another term which is used to describe what gets reborn in the EBTs is gandhabba ("spirit"). According to the Assalayana Sutta (and its parallel at MA 151), for conception to be successful, a gandhabba must be present (as well as other physiological factors).

According to the EBTs, this rebirth consciousness is not a tabula rasa (blank slate), but contains certain underlying tendencies (anusaya) which in turn "form an object for the establishment of consciousness" (SA 359, SN 13.39). These subliminal inclinations are thus a condition for continued rebirth and also carry imprints from past lives.

According to the EBTs, past life memories can be retrieved through the cultivation of deep meditative states (samadhi). The Buddha himself is depicted has having developed the ability to recollect his past lives as well as to access the past life memories of other conscious beings in texts like the Bhayabherava Sutta (MN 4, the parallel Agama text is at Ekottara Agama 31.1) and the Mahapadana Sutta (DN 14, parallel at DA 1). Another key point affirmed by the EBTs is that the series of past lives stretches so far back into the past that a beginning point cannot be found (see e.g. SN 15.3 and SA 938).

Cosmology and liberation 

In traditional Buddhist cosmology the rebirth, also called reincarnation or metempsychosis, can be in any of six realms. These are called the Gati in cycles of re-becoming, Bhavachakra. The six realms of rebirth include three good realms – Deva (heavenly, god), Asura (demigod), Manusya (human); and three evil realms – Tiryak (animals), Preta (ghosts), and Naraka (hellish). The realm of rebirth is conditioned by the karma (deeds, intent) of current and previous lives; good karma will yield a happier rebirth into good realm while bad karma is believed to produce rebirth which is more unhappy and evil.

The release from this endless cycle of rebirth is called nirvana (Pali: nibbana)]] in Buddhism. The achievement of nirvana is the ultimate goal of Buddhist teaching. However, much of traditional Buddhist practice has been centered on gaining merit and merit transfer, whereby an individual gains rebirth for oneself or one's family members in the good realms, and avoids rebirth in the evil realms.

An important part of the early Buddhist soteriology is the four stages of awakening. With each stage, it was believed that one abandons certain mental defilements or "fetters". Furthermore, each stage of awakening was believed to be associated with being closer to the ending of rebirth in the following manner:

 The Sotāpanna (Stream-enterer) - Still has up to seven rebirths left
 Sakadāgāmi (Once Returner) - Will only return for one more human rebirth
 Anāgāmi - Will only return once more to a heavenly realm
 Arahant - Has cut off rebirth completely, will not be reborn

Right View and Rebirth 
According to the early Buddhist texts, accepting the truth of rebirth (glossed as the view that "there is this world & the next world" in suttas like MN 117) is part of right view, the first element of the noble eight-fold path. While some scholars like Tilmann Vetter and Akira Hirakawa have questioned whether the Buddha saw rebirth as important, Johannes Bronkhorst argues that these views are based on scant evidence from the EBTs. He further writes that "in so far as the texts allow us to reach an answer...the Buddha did believe in rebirth."

As noted by Anālayo, a standard definition of wrong view in the EBTs "explicitly covers the denial of rebirth and the fruition of karma". The denial of rebirth is rejected as an "annihilationist" view in the Brahmajala Sutta (DN 1, Chinese parallel at DA 21, a Tibetan parallel also exists).  The Samaññaphala Sutta (parallel at DA 27) also critiques the view of a school of ancient Indian materialism called Carvaka (which rejected rebirth and held that "all are destroyed at death"). According to this Sutta, to hold this view while living in a time when the Buddha's teachings are available is equivalent to being born dumb and dull.

However, Anālayo argues that since there are different definitions of right view in the early texts, this "leaves open the possibility that someone may engage in practices related to the Buddhist path to liberation without necessarily pledging faith in rebirth. It does not leave open the possibility of denying rebirth outright, however, since that would amount to holding wrong view". Because of this, Anālayo writes that the question of rebirth may simply be set aside without going as far as to deny rebirth and affirm annihilation.

An advice given in various EBTs is not to waste time speculating about what one might have been in the past and what they will be in the future. Such advice can be found in the Sabbasava Sutta (MN 2, with a parallel at MA 10). In contrast to this, various early texts regularly recommend the direct recollection of one's own past lives as one of the three higher knowledges which correspond to the realizations attained by the Buddha on the night of his awakening. According to Anālayo, there is a major difference between direct access to our past lives through mental training (which is encouraged) and theoretical speculation (which is not).

Some early discourses also depict various Buddhist monks who seriously misunderstood the nature of rebirth. In one discourse, the Mahatanhasankhaya sutta (MN 38, MA 201), a monk comes to the conclusion that it is this very same consciousness that will be reborn (as opposed to a dependently originated process). In another discourse, the Mahapunnama sutta (MN 109, SA 58), a monk misapplies the doctrine of not-self to argue that there is nobody who will be affected by the fruition of karma.

Later Developments and Theories 

While the vast majority of Buddhists accept some notion of rebirth, they differ in their theories about the rebirth mechanism and precisely how events unfold after the moment of death. Already at the time of the Buddha there was much speculation about how to explain how rebirth occurs and how it relates to the doctrines of not-self and impermanence. 

After the death of the Buddha, the various Buddhist schools which arose debated numerous aspects of rebirth, seeking to provide a more systematic explanation of the rebirth process. Important topics included the existence of the intermediate state, the exact nature of what undergoes rebirth, the relationship between rebirth and not-self, and how karma affects rebirth.

Both the Sarvāstivāda-Vaibhāṣika and the Theravāda tradition interpreted the teaching of the 12 factors (nidana) of dependent origination by using a three life model (the previous life, the present life and the future life). However, their Abhidharma works also state that the 12 factors of dependent origination can be understood as active in the present moment.

Karma and what gets reborn 
An important question which was debated by Indian Buddhist thinkers was the question of what exactly gets reborn, and how this is different from the Indian concept of an attā (ātman, unchanging self), which Buddhism rejects. The early Buddhist texts sometimes speak of an "evolving consciousness" (Pali: samvattanika viññana, M.1.256) or a "stream of consciousness" (Pali: viññana sotam, D.3.105) as that which transmigrates. However, according to Bruce Matthews, "there is no single major systematic  exposition on this subject" in the Pali Canon.

Some Buddhist scholars such as Buddhaghosa, held that the lack of an unchanging self (atman) does not mean that there is a lack of continuity in rebirth, since there is still a causal link between lives. The process of rebirth across different realms of existence was compared to how a flame is transferred from one candle to another. 

Various Indian Buddhist schools like the Sautrantika, Mahasamghika and the Mahasisaka held that the karmic link between lives could be explained by how karmic effects arose out of "seeds" which were deposited in a mental substratum. The Sautrantika Elder Srilata defended the theory of a "subsidiary element" (anudhatu or *purvanudhatu) which corresponds to the seed theory. The Sautrantika school held this was a "transmigrating substratum of consciousness". It argued that each personal action "perfumes" the individual stream of consciousness and leads to the planting of a seed that would later germinate as a good or bad karmic result. This allowed them to explain what underwent the process of rebirth.

The Sarvāstivāda-Vaibhāṣika school on the other hand did not make use of the seed theory, since they held an eternalist theory of time, which held that phenomena (dharmas) in the past, present and future exist. Because of this, they argued that after an action was done by a person, it still continued to exist, and to be in a state of "possession" (prāpti) vis a vis the mindstream (santana) of the person who performed the action. According to Vaibhāṣikas, it was this which guaranteed the capacity of past karma to produce an effect long after it had been performed.  

The seed theory was defended by the influential Buddhist philosopher Vasubandhu in his Abhidharmakosha. It is also present in the Viniscayasamgrahani of the Yogacarabhumi. The Sarvastivada Abhidharma master Saṃghabhadra states that the seed theory was referred to by different names including: subsidiary elements (anudhatu), impressions (vasana); capability (samarthya), non-disappearance (avipranasa), or accumulation (upacaya). 

The seed theory was adopted and further developed by the Yogacara school into their doctrine of the "container consciousness" (alaya-vijñana), which is a subliminal and constantly changing stream of consciousness that stores the seeds and undergoes rebirth. Asanga's Mahāyānasaṃgraha equated the alaya-vijñana with similar teachings found in other Buddhist schools which indicates that the idea of a rebirth consciousness was widespread. He states that this is the same idea which is called "root-consciousness" (mula-vijñana) by the Mahasamghika schools and what the Sthavira schools call the bhavaṅga. 

According to Lobsang Dargyay, the Prāsaṇgika branch of the Madhyamaka school (which is exemplified by the philosopher Chandrakirti), attempted to refute every concept for a support or a storehouse of karmic information (including the alaya-vijñana). Instead, some Prāsaṇgika philosophers argue that a karmic action results in a potential which will ripen later. This potential is not a thing and does not need a support. However, other Madhyamaka thinkers (which are classified as "Svatantrikas" by Tibetans scholars), generally adopted the Sautrantika concept of tendencies stored in the stream of consciousness.  

The Theravāda school's doctrine of the bhavaṅga (Pali, "ground of becoming", "condition for existence") is another theory that was used to explain rebirth. It is seen as a mental process which conditions the next mental process at the moment of death and rebirth (though it does not actually travel in between lives, see below).

The Pudgalavada school of early Buddhism accepted the core premise of Buddhism that there is no ātman, but asserted that there is a "personal entity" (pudgala, puggala) that retains karmic merit and undergoes rebirth. This personal entity was held to be neither different nor identical to the five aggregates (skandhas). This concept was attacked by Theravada Buddhists in the early 1st millennium CE. The personal entity concept was rejected by the mid-1st millennium CE Pali scholar Buddhaghosa, who attempted to explain rebirth mechanism with "rebirth-linking consciousness" (patisandhi-citta). It was also criticized by northern Buddhist philosophers like Vasubandhu.

Intermediate existence 
Another topic which gave rise to much debate in among Indian Buddhists was the idea of the intermediate existence (antarabhāva). According to Andre Bareau, the Indian Buddhists schools were split on this issue. While the Sarvāstivāda, Sautrantika, Pudgalavada, Pūrvaśaila and late Mahīśāsaka accepted this doctrine, the Mahāsāṃghika, early Mahīśāsaka, Theravāda, Vibhajyavāda and the Śāriputrābhidharma (possibly Dharmaguptaka) rejected it in favor of an immediate leap of the consciousness from one body to the next.

In the Abhidharmakosha, Vasubandhu defends the theory of the intermediate existence. He argues that each intermediate being is made up of the five aggregates, that it arises in the place of death and carries the "configuration of the future being." Furthermore, according to Vasubandhu, this conscious intermediate being becomes aroused on seeing their future parents joined in intercourse and it becomes envious of one of the parents. Because of this desire and hatred, it becomes attached to the womb where it conditions the first moment of "birth existence" (pratisamdhi). 

In Tibetan Buddhism, the intermediate existence (Tibetan: bardo) concept developed elaborate descriptions of numerous visions experienced during the process of dying, including visions of peaceful and wrathful deities. These ideas led to various maps for navigating the intermediate existence which are discussed in texts like the Bardo Thodol.

In contrast to this, the Theravāda scholar Buddhaghosa argued that rebirth occurs in one instant as part of a process called "rebirth-linking" (patisandhi). According to Buddhaghosa, at death, the sense faculties dissolve one by one until only consciousness is left. The very last moment of consciousness at death (cuti viññana) conditions the very first instant of consciousness of the next life, the patisandhi viññana, which occurs at the time of conception. The relationship is compared to that between a seal and wax. While they are not the same entity, the wax impression is conditioned by the seal. Therefore, in the classic Theravāda view, nothing actually transmigrates. 

In spite of the rejection of the intermediate state by such an influential figure, some modern Theravāda scholars (such as Balangoda Ananda Maitreya) have defended the idea of an intermediate state. It is also a very common belief among monks and laypersons in the Theravāda world (where it is commonly referred to as the gandhabba or antarabhāva).

Buddhist arguments for rebirth

Empirical arguments 
Ancient Buddhists as well as some moderns cite the reports of the Buddha and his disciples of having gained direct knowledge into their own past lives as well as those of other beings through a kind of parapsychological ability or extrasensory perception (termed abhiñña). Traditional Buddhist philosophers like Dharmakīrti have defended the concept of special yogic perception (yogi-pratyakṣa) which is able to empirically verify the truth of rebirth. Some modern Buddhists authors like K.N. Jayatilleke also argue that the Buddha's main argument in favor of rebirth was based on empirical grounds, and that this included the idea that extra-sensory perception (Pali: atikkanta-manusaka) can provide a validation for rebirth.

Modern Buddhists such as Bhikkhu Anālayo and Jayatilleke have also argued that rebirth may be empirically verifiable and have pointed to certain parapsychological phenomena as possible evidence, mainly near-death experiences (NDEs), past-life regression, reincarnation research and xenoglossy. Both Anālayo and B. Alan Wallace point to the work of the American Psychiatrist Ian Stevenson as providing possible evidence of rebirth. This is not just a recent phenomenon. According to Anālayo, ancient Chinese Buddhists also pointed to anomalous phenomena such as NDEs to argue for the truth of rebirth.

Wallace also notes that several modern Buddhist figures, such as Pa Auk Sayadaw and Geshe Gedun Lodro have also written about how to train the mind to access past life memories. The Burmese monk Pa Auk Sayadaw is known for teaching such methods and some of his western students like Shaila Catherine have written about this and their experiences in practicing it.

B. Alan Wallace argues that first person introspection is a valid means of knowledge about the mind (when that introspection is well trained by meditation) and has been used by numerous contemplatives throughout history. He writes that a well trained mind, "which may be likened to an inwardly focused telescope," should be able to access "a subtle, individual mind stream that carries on from one lifetime to another." Wallace proposes that a research project using well trained meditators could access information from past lives in an accurate manner and these could then be checked by independent third person observers.

Metaphysical arguments 

Besides defending the status of the Buddha as an epistemically authoritative or reliable person (pramāṇa puruṣa), Indian Buddhist philosophers like Dignaga (c. 480–540 CE) and Dharmakīrti (fl. c. 6th or 7th century), as well as later commentators on their works, also put forth philosophical arguments in favor of rebirth and especially directed against the reductionist materialist philosophy of the Carvaka school. 

In his Pramanavarttika, Dharmakīrti defends rebirth by initially focusing on refuting the materialist doctrine of the Carvaka school, which held that the support (asraya) for cognition is the body and that when the body is destroyed, cognition is destroyed. Modern Buddhists who argue in favor of rebirth like B. Alan Wallace often begin by mounting similar arguments against materialism and physicalism, pointing to the current philosophical debate on the "hard problem of consciousness" and arguing that conscious properties cannot be reduced to physical properties. Indeed, according to Wallace "the metaphysical views of materialism are in fundamental conflict with the Buddhist worldview regarding the nature of the mind" 

According to Richard P. Hayes, Dharmakīrti denied that mental events were a mere byproduct of the body, instead holding that "both mental events and physical events can be seen as effects of the same set of causal conditions." For Dharmakīrti, all events are dependent on multiple causes, and they must be preceded by an "antecendent causal condition" of the same class. This means that all mental events must have a previous mental event as part of its causal nexus (presumably stretching back before one's birth). According to Hayes, Dharmakīrti holds therefore that "both physical factors and nonphysical factors play a role in the formation of mental events", if not there would be no difference between sentient beings and inanimate matter. 

Philosopher Evan Thompson outlines Dharmakīrti's main point as follows: "matter and consciousness have totally different natures; an effect must be of the same nature as its cause; hence consciousness cannot arise from or be produced by matter (though material things can condition or influence consciousness)." Thompson further notes that for Dharmakīrti, the nature of matter it is that it is obstructive, it resists other instances of matter, while the nature of consciousness is altogether different since it is capable of including diverse objects within itself at the same time without any of them obstructing the other. Furthermore, phenomenal consciousness is able to illuminate or cognize objects (as well as itself, i.e. it is self-reflexive) and has intentionality, while matter does not.

Eli Franco mentions that for Dharmakīrti, the position that cognition "can arise from the body alone, independent of their similar causes" at the moment of birth is irrational. That is, if the mind is not being conditioned by a previous cognitive event, then it cannot arise from inert matter. Dharmakīrti also argues that mental events can causally condition physical events, and thus there is no reason to privilege matter as being primary. According to Martin Willson, this kind of argument is the most commonly used in the Tibetan philosophical tradition to establish the truth of rebirth and in its most simple form can be put as follows:With respect to the knowing (consciousness or mind) of an ordinary being just born: it is preceded by earlier knowing; because it is knowing.Willson notes that this relies on two further assumptions, the first is that any mental continuum must have previous causes, the second is that materialism is false and that mind cannot emerge solely from matter (emergentism). 

According to Jacob Andrew Lucas, the strength of Dharmakīrti's argument lies on its two key premises:
 Consciousness, or the mental continuum, has characteristics that are distinct from physical characteristics.
 The substantial cause for any event is a prior event with the same character (i.e. it is a homogeneous cause).
However, as Lucas notes, we should not take Dharmakīrti to be arguing in favor of a strict mind-body dualism, since in all systems of Buddhist thought, the mind and body are deeply interconnected and dependent on each other. Dharmakīrti 's point is merely that consciousness cannot arise from physical factors alone, which does not entail that consciousness is totally separate from physical factors.

Jacob Andrew Lucas provides a modern formulation of an argument for rebirth which draws on the work of Galen Strawson. Strawson argues against emergence as well as against proto-experiential qualities and argues for a form of constitutive panpsychism. Lucas rejects constitutive panpsychism as a live option for a Buddhist due to various issues including the "combination problem" and because it supports the idea that the conscious subject collapses into micro-experiences when the body dies. Lucas then proceeds to argue for an unbroken stream of consciousness or an indivisible cluster of conscious experience "that can neither arise from nor collapse into rudimentary factors that are devoid of the distinctive characteristics of consciousness."

Theravada Abhidhamma makes a similar argument to Dharmakīrti's. According to the Abhidhamma teacher Nina van Gorkom, physical and mental events (dhammas) both depend on each other and on previous events of the same category (i.e. mental events must also be conditioned by previous mental events, and so on). In Abhidhamma, the mental event (citta) which arises at the first moment of life is called the rebirth consciousness or patisandhi-citta. According to van Gorkom, "there isn't any citta which arises without conditions, the patisandhi-citta must also have conditions. The patisandhi-citta is the first citta of a new life and thus its cause can only be in the past."

Pragmatic arguments and wager theories 
Various Buddhists and interpreters of the Buddhist texts such as David Kalupahana and Etienne Lamotte, have argued that the Buddha is a kind of pragmatist regarding truth, and that he saw truths as important only when they were soteriologically useful. Thus, the Buddhist position on rebirth could be defended on pragmatic grounds instead of empirical or logical grounds. Some modern Buddhists have taken this position.

The American monk Thanissaro Bhikkhu has argued for the acceptance of the Buddhist idea of rebirth as a type of pragmatic wager argument (Pali: apaṇṇaka, "safe bet" or "guarantee"). Thanissaro argues that "the Buddha stated that it's a safe wager to assume that actions bear results that can affect not only this lifetime for also lifetimes after this than it is to assume the opposite." Thanissaro cites Majjhima Nikaya 60 (Apaṇṇaka sutta) where the Buddha says that if there is an afterlife, those who perform bad actions have "made a bad throw twice" (because they are harmed in this world and in the next) while those who perform good actions will not, and thus he calls his teaching a "safe-bet teaching". This ancient wager argument is similar in structure to modern wager arguments like Pascal's Wager and the Atheist's Wager. 

According to Thanissaro Bhikkhu:The Buddha's main pragmatic argument is that if one accepted his teachings, one would be likely to pay careful attention to one's actions, so as to do no harm. This in and of itself is a worthy activity regardless of whether the rest of the path was true. When applying this argument to the issue of rebirth and karmic results, the Buddha sometimes coupled it with a second pragmatic argument that resembles Pascal's wager: If one practices the Dhamma, one leads a blameless life in the here-and-now. Even if the afterlife and karmic results do not exist, one has not lost the wager, for the blamelessness of one's life is a reward in and of itself. If there is an afterlife with karmic results, then one has won a double reward: the blamelessness of one's life here and now, and the good rewards of one's actions in the afterlife. These two pragmatic arguments form the central message of this sutta.Sri Lankan Buddhist philosopher K.N. Jayatilleke writes that the Buddha's "wager argument" in MN 60 is that a rational person (viññu puriso) would reason as follows:

The Kālāma Sutta also contains a similar wager argument towards rebirth, called the "four assurances" or "four consolations". These four assurances are as follows:

 "If there is another world, and if there is the fruit and result of good and bad deeds, it is possible that with the breakup of the body, after death, I will be reborn in a good destination, in a heavenly world."
 "If there is no other world, and there is no fruit and result of good and bad deeds, still right here, in this very life, I maintain myself in happiness, without enmity and ill will, free of trouble."
 "Suppose evil comes to one who does evil. Then, when I have no evil intentions toward anyone, how can suffering afflict me, since I do no evil deed?"
 "Suppose evil does not come to one who does evil. Then right here I see myself purified in both respects."

Moral arguments 
According to Thanissaro Bhikkhu, part of the reason the Buddha recommended having conviction in the truth of rebirth was that his teaching on the nature of human action would be incomplete without reference to rebirth. Thanissaro argues that the distinction that the Buddha draws between skillful and unskillful actions is based on the consequences of these actions, and that this provides a strong motivation to do good as long as rebirth holds. This is because actions can sometimes take many lifetimes to yield their results (and thus bad persons do not always experience bad consequences in one lifetime as can be seen in SN 42.13 and MN 136) and therefore only a multi-life perspective can lead to "a complete and convincing case that unskillful actions should always be avoided, and skillful ones always developed."

Thanissaro further writes that:If you assume that your actions have results, and those results will reverberate through many lifetimes, it's easier to stick to your principles not to lie, kill, or steal even under severe duress. And even though you may not know whether these assumptions are true, you cannot plan an action without implicitly wagering on the issue. This is why simply stating, "I don't know," is not an adequate response to the questions of rebirth and the efficacy of karma. The attitude behind it may be honest on one level, but it's dishonest in thinking that this is all that needs to be said, for it ignores the fact that you have to make assumptions about the possible results of your actions every time you act.B. Alan Wallace writes that nihilistic and materialistic views which reject rebirth "undermine any sense of moral responsibility, and this is bound to have a profoundly detrimental effect on societies that adopt such beliefs." He further argues:If we embrace a materialistic worldview, we will naturally seek satisfaction and fulfillment by turning our attention to the outside world, looking for novel sensory and intellectual experiences as well as new material acquisitions. Likewise, when we focus on decreasing our level of suffering and pain, once again our orientation will be outward, looking for scientific and technological breakthroughs to relieve our suffering. Human desire for ever-greater happiness seems to be insatiable, and a materialistic worldview strongly supports materialistic values and a way of life centered on the never-ending quest of consumerism... A materialistic outlook that focuses our attention on the bounties of the external physical world simultaneously blinds us to the inner resources of the human heart and mind. If all our efforts go toward the alleviation of suffering and realization of happiness by external means, the inner ways that we might pursue the good life will be unexplored. A materialistic worldview provides no rationale for making a commitment to ethics or spiritual practice of any kind. Material values and consumerism are naturally aligned with materialism, which reduces meditation to a means for making a materialistic way of life more bearable.According to Alexander Berzin, acceptance of rebirth also has positive moral consequences, particularly in our practice of the Buddhist path. Berzin writes that an understanding of rebirth allows one to better cultivate compassion and loving-kindness towards all beings, since it allows us to see how in past lives, we have been related to all beings and how they have been our mothers (and vice versa). Likewise, we have also been many different types of beings in the past (male, female, animals, numerous nationalities etc). According to Berzin, this reflection allows us to better relate to other sentient beings.

Modern naturalistic interpretations
In the 1940s, J.G. Jennings interpreted the teaching of rebirth in a less than literal sense. Believing that the doctrine of anatta (not-self) is incompatible with the view that the actions of one individual can have repercussions for the same individual in a future life, Jennings argued that the doctrine of actual transmigration was an "Indian dogma" that was not part of the original teachings of the Buddha. However, rebirth could instead be understood as the recurrence of our selfish desires which could repeat themselves "in endless succeeding generations". In this interpretation, our actions do have consequences beyond our present lives, but these are "collective not individual."

The British Buddhist thinker Stephen Batchelor has recently posited a similar view on the topic:Regardless of what we believe, our actions will reverberate beyond our deaths. Irrespective of our personal survival, the legacy of our thoughts, words, and deeds will continue through the impressions we leave behind in the lives of those we have influenced or touched in any way.The Thai modernist Buddhist monk Buddhadāsa (1906–1993) also had an rationalistic or psychological interpretation of rebirth. He argued that since there is no substantial entity or soul (atman),  "there is no one born, there is no one who dies and is reborn. Therefore, the whole question of rebirth is quite foolish and has nothing to do with Buddhism…in the sphere of the Buddhist teachings there is no question of rebirth or reincarnation." However, Buddhadāsa did not completely reject the rebirth doctrine, he only saw the idea that there is something that gets reborn into a future womb as "trivial". Instead of this 'literal' view, he interpreted the true meaning of rebirth as the re-arising of the sense of self or "I" or "me", a kind of "self-centredness" which is "a mental event arising out of ignorance, craving, and clinging." According to Buddhadāsa, this is what "rebirth" truly means on the ultimate level (paramattha) of discourse.

Comparison with rebirth doctrines in Hinduism and Jainism 
The rebirth theories in different traditions within Hinduism rely on their foundational assumption that soul exists (Atman, attā), in contrast to Buddhist assumption that there is no soul. Hindu traditions consider soul to be the unchanging eternal essence of a living being, and in many of its theistic and non-theistic traditions the soul asserted to be identical with Brahman, the ultimate reality. Thus while both Buddhism and Hinduism accept the karma and rebirth doctrine, and both focus on ethics in this life as well as liberation from rebirth and suffering as the ultimate spiritual pursuit, they have a very different view on whether a self or soul exists, which impacts the details of their respective rebirth theories.

Rebirth and karma doctrine in Jainism differ from those in Buddhism, even though both are non-theistic Sramana traditions. Jainism, in contrast to Buddhism, accepts the foundational assumption that soul exists (Jiva) and is involved in the rebirth mechanism. Further, Jainism considers that the rebirth has a start, that rebirth and redeath cycle is a part of a progression of a soul, karmic dust particles emanate from ethical or unethical intent and actions, these karmic particles stick to the soul which determines the next birth. Jainism, further asserts that some souls can never achieve liberation, that ethical living such as Ahimsa (non-violence) and asceticism are means to liberation for those who can attain liberation, and that liberated souls reach the eternal siddha (enlightened state) that ends their rebirth cycles. Jainism, like Buddhism, also believes in realms of birth and is symbolized by its emblematic Swastika sign, with ethical and moral theories of its lay practices focussing on obtaining good rebirth.

See also 
 Reincarnation
Saṃsāra (Jainism)
Metempsychosis
 Four Noble Truths
 Index of Buddhism-related articles
 Secular Buddhism
 Six realms
 The unanswered questions

Notes

References

Bibliography

 
 
 Ñāamoli, Bhikkhu (trans.) and Bodhi, Bhikkhu (ed.) (2001). The Middle-Length Discourses of the Buddha: A Translation of the Majjhima Nikāya. Boston: Wisdom Publications. .

Web bibliography

Commentaries 
 Bhikkhu Anālayo, Rebirth in Early Buddhism and Current Research, Somerville, MA, USA: Wisdom Publications, 2018. 
 Steven Collins, Selfless Persons: Imagery and Thought in Theravada Buddhism, Cambridge, 1982. 
 Peter Harvey, The Selfless Mind: Personality, Consciousness and Nirvana in Early Buddhism, Curzon, 1995. 
 Geshe Kelsang Gyatso, Living Meaningfully, Dying Joyfully: The Profound Practice of Transference of Consciousness, Tharpa, 1999. 
 Glenn H. Mullin, Death and Dying: The Tibetan Tradition, Arkana, 1986. .
 Mullin, Glenn, H. (1998). Living in the Face of Death: The Tibetan Tradition. 2008 reprint: Snow Lion Publications, Ithaca, New York. .
 Vicki MacKenzie, Reborn in the West, HarperCollins, 1997. 
 Tom Shroder, Old Souls: Scientific Search for Proof of Past Lives, Simon and Schuster, 2001. 
 Francis Story, Rebirth as Doctrine and Experience: Essays and Case Studies, Buddhist Publication Society, 1975. 
 Robert A.F. Thurman (trans.), The Tibetan Book of the Dead: Liberation Through Understanding in the Between, HarperCollins, 1998. 
 Martin Willson, Rebirth and the Western Buddhist, Wisdom Publications, 1987. 
 Nagapriya, Exploring Karma and Rebirth, Windhorse Publications, Birmingham 2004.

External links 
 "A Buddhist Ethic Without Karmic Rebirth?" - article by Winston L. King
 "Dhamma Without Rebirth?" - essay by Bhikkhu Bodhi
 "Does Rebirth Make Sense?" - essay by Bhikkhu Bodhi
 "Causal Relationship" - an analysis of  in the Nikāyas

Buddhist philosophical concepts
Reincarnation
Buddhism and death