document_title: Grateful Dead

question_text: how many songs did the grateful dead play

text: Grateful Dead

text: Formation (1965–1966)[edit]

text: The Grateful Dead began their career as the Warlocks, a group formed in early 1965 from the remnants of a Palo Alto, California jug band called Mother McCree's Uptown Jug Champions.[20] The band's first show was at Magoo's Pizza located at 639 Santa Cruz Avenue in suburban Menlo Park, California, on May 5, 1965. They were initially known as the Warlocks; coincidentally, the Velvet Underground (similarly influenced by avant-garde music) was also using that name on the East Coast.[21][22] The show was not recorded but the set list has been preserved. Gigging as a bar band,[23] the group quickly changed its name after finding out that another band of the same name (not the Velvet Underground, who by then had also changed their name) had signed a recording contract. The first show under the new name Grateful Dead was in San Jose, California on December 4, 1965, at one of Ken Kesey's Acid Tests.[24][25][26] Earlier demo tapes have survived, but the first of over 2,000 concerts known to have been recorded by the band's fans was a show at the Fillmore Auditorium in San Francisco on January 8, 1966.[27] Later that month, the Grateful Dead played at the Trips Festival, an early psychedelic rock concert.[28]

text: The name "Grateful Dead" was chosen from a dictionary. According to Phil Lesh, in his autobiography (pp. 62), "... [Jerry Garcia] picked up an old Britannica World Language Dictionary ... [and] ... In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'" The definition there was "the soul of a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial." According to Alan Trist, director of the Grateful Dead's music publisher company Ice Nine, Garcia found the name in the Funk & Wagnalls Folklore Dictionary, when his finger landed on that phrase while playing a game of Fictionary.[29] In the Garcia biography, Captain Trips, author Sandy Troy states that the band was smoking the psychedelic DMT at the time.[30] The term "grateful dead" appears in folktales of a variety of cultures. In mid-1969, Phil Lesh told another version of the story to Carol Maw, a young Texan visiting with the band in Marin County who also ended up going on the road with them to the Fillmore East and Woodstock. In this version, Phil said, "Jerry found the name spontaneously when he picked up a dictionary and the pages fell open. The words 'grateful' and 'dead' appeared straight opposite each other across the crack between the pages in unrelated text."

text: Other supporting personnel who signed on early included Rock Scully, who heard of the band from Kesey and signed on as manager after meeting them at the Big Beat Acid Test; Stewart Brand, "with his side show of taped music and slides of Indian life, a multimedia presentation" at the Big Beat and then, expanded, at the Trips Festival; and Owsley Stanley, the "Acid King" whose LSD supplied the tests and who, in early 1966, became the band's financial backer, renting them a house on the fringes of Watts and buying them sound equipment. "We were living solely off of Owsley's good graces at that time. ... [His] trip was he wanted to design equipment for us, and we were going to have to be in sort of a lab situation for him to do it," said Garcia.[30]

text: Main Career (1967–1995)[edit]

text: One of the group's earliest major performances in 1967 was the Mantra-Rock Dance—a musical event held on January 29, 1967, at the Avalon Ballroom by the San Francisco Hare Krishna temple. The Grateful Dead performed at the event along with the Hare Krishna founder Bhaktivedanta Swami, poet Allen Ginsberg, bands Moby Grape and Big Brother and the Holding Company with Janis Joplin, donating proceeds to the Krishna temple.[31][32] The band's first LP, The Grateful Dead, was released on Warner Brothers in 1967.

text: Classically trained trumpeter Phil Lesh performed on bass guitar. Bob Weir, the youngest original member of the group, played rhythm guitar. Ron "Pigpen" McKernan played keyboards and harmonica until shortly before his death in 1973 at the age of 27. Garcia, Weir, and McKernan shared the lead vocal duties more or less equally; Lesh only sang a few leads but his tenor was a key part of the band's three-part vocal harmonies. Bill Kreutzmann played drums, and in September 1967 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments.

text: 1970 included tour dates in New Orleans, Louisiana, where the band performed at The Warehouse for two nights. On January 31, 1970, the local police raided their hotel on Bourbon Street, and arrested and charged a total of 19 people with possession of various drugs.[33] The second night's concert was performed as scheduled after bail was posted. Eventually the charges were dismissed, with the exception of those against sound engineer Owsley Stanley, who was already facing charges in California for manufacturing LSD. This event was later memorialized in the lyrics of the song "Truckin'", a single from American Beauty which reached number 64 on the charts.

text: Mickey Hart took time off from the Grateful Dead beginning in February 1971,[34] leaving Kreutzmann once again as the sole percussionist. Hart rejoined the Grateful Dead for good in October 1974. Tom "TC" Constanten was added as a second keyboardist from 1968 to 1970, while Pigpen also played various percussion instruments and sang.

text: After Constanten's departure, Pigpen reclaimed his position as sole keyboardist. Less than two years later, in late 1971, Pigpen was joined by another keyboardist, Keith Godchaux, who played grand piano alongside Pigpen's Hammond B-3 organ. In early 1972, Keith's wife, Donna Jean Godchaux, joined the Grateful Dead as a backing vocalist.

text: Following the Grateful Dead's "Europe '72" tour, Pigpen's health had deteriorated to the point that he could no longer tour with the band. His final concert appearance was June 17, 1972, at the Hollywood Bowl, in Los Angeles;[35] he died in March 1973 of complications from liver damage.[36]

text: The death of Pigpen did not slow the band down, and they continued with their new members. They soon formed their own record group, Grateful Dead Records.[37] Later that year, they released their next studio album, the jazz-influenced Wake of the Flood. It became their biggest commercial success thus far.[38] Meanwhile, capitalizing on Flood’s success, the band soon went back to the studio, and the next year, 1974, released another album, From the Mars Hotel. Not long after that album’s release however, the Dead decided to take a hiatus from live touring.

text: In September 1975 the Dead released their eighth studio album, Blues for Allah. Their hiatus was short-lived, though, as they resumed touring in June 1976.[37] That same year, they signed with Arista Records. Their new contract soon produced Terrapin Station in 1977. The band's tour in the spring of that year is held in high regard by their fans, and their May 8 concert at Cornell University in Ithaca, New York is often considered to be one of the best performances of their career.[39][40][41]

text: Although things appeared to be going well for the band, problems were arising with their two newest members, Keith and Donna Jean Godchaux. The pair were frequently fighting, and Keith's heroin addiction was affecting his playing. Both of these issues were causing complications with touring, and they agreed to leave the band in February 1979.

text: Following the departure of the Godchauxs, Brent Mydland joined as keyboardist and vocalist and was considered "the perfect fit". The Godchauxs then formed the Heart of Gold Band before Keith died in a car accident in 1980. Mydland was the keyboardist for the Grateful Dead for 11 years until his death by narcotics overdose in July 1990,[42] becoming the third keyboardist to die.

text: During the 1980s the band transformed as the talents of Mydland helped power the group. Shortly after Mydland found his place in the early 1980s, Garcia's health began to decline. His drug habits caused him to lose his liveliness on stage. After beginning to gradually curtail his opiate usage in 1985, Garcia slipped into a diabetic coma for several days in July 1986. After he recovered, the band released In the Dark in July 1987, which resulted as their best selling studio album release, and also produced their only top-10 chart single, "Touch of Grey". Also that year, the group toured with Bob Dylan, as documented on the album Dylan & the Dead.

text: Inspired by Garcia's improved health and a successful album, the band's energy and chemistry peaked in the late 1980s and 1990. Performances were vigorous and as a result, every show exceeded its maximum audience capacity. The band's "high time" came to a sudden halt when Mydland died after the summer tour in 1990. They now had to rebuild; Vince Welnick, former keyboardist for the Tubes, joined as a band member, while Bruce Hornsby, who had a successful career with his own band the Range, joined as a touring member. Both performed on keyboards and vocals - Welnick until the band's end, and Hornsby mainly from 1990 to 1992.

text: Aftermath (1995 to the present)[edit]

text: Jerry Garcia died in August 1995 and the remaining band members decided to disband.[43] Since that time, there have been a number of reunions by the surviving members involving various combinations of musicians. Additionally, the former members have also begun or continued their individual projects.

text: In 1998, Bob Weir, Phil Lesh, and Mickey Hart, along with several other musicians, formed a band called the Other Ones, and performed a number of concerts that year, releasing a live album, The Strange Remain, the following year. In 2000, the Other Ones toured again, this time with Kreutzmann but without Lesh. After taking another year off, the band toured again in 2002 with Lesh. That year, the Other Ones then included all four living former Grateful Dead members who had been in the band for most or all of its history. At different times the shifting lineup of the Other Ones also included guitarists Mark Karan, Steve Kimock, and Jimmy Herring, keyboardists Bruce Hornsby, Jeff Chimenti, and Rob Barraco, saxophonist Dave Ellis, drummer John Molo, bassist Alphonso Johnson, and vocalist Susan Tedeschi.[44]

text: In 2003, the Other Ones, still including Weir, Lesh, Hart, and Kreutzmann, changed their name to the Dead.[45] The Dead toured the United States in 2003, 2004 and 2009. The band's lineups included Jimmy Herring and Warren Haynes on guitar, Jeff Chimenti and Rob Barraco on keyboards, and Joan Osborne on vocals.[46] In 2008, members of the Dead played two concerts, called "Deadheads for Obama" and "Change Rocks".

text: Following the 2009 Dead tour, Lesh and Weir formed the band Furthur, which debuted in September 2009.[47] Joining Lesh and Weir in Furthur were John Kadlecik (guitar), Jeff Chimenti (keyboards), Joe Russo (drums), Jay Lane (drums), Sunshine Becker (vocals), and Zoe Ellis (vocals). Lane and Ellis left the band in 2010, and vocalist Jeff Pehrson joined later that year. Furthur disbanded in 2014.[48]

text: In 2010, Hart and Kreutzmann re-formed the Rhythm Devils, and played a summer concert tour.[49]

text: Since 1995, the former members of the Grateful Dead have also pursued solo music careers. Both Bob Weir & RatDog[50][51] and Phil Lesh and Friends[52][53] have performed many concerts and released several albums. Mickey Hart and Bill Kreutzmann have also each released a few albums. Hart has toured with his world music percussion ensemble Planet Drum[54] as well as the Mickey Hart Band.[55] Kreutzmann has led several different bands, including BK3,[56] 7 Walkers (with Papa Mali),[57] and Billy & the Kids.[58] Donna Godchaux has returned to the music scene, with the Donna Jean Godchaux Band,[59] and Tom Constanten also continues to write and perform music.[60] All of these groups continue to play Grateful Dead music.

text: In October 2014, it was announced that Martin Scorsese will produce a documentary film about the Grateful Dead, to be directed by Amir Bar-Lev. David Lemieux will supervise the musical selection, and Weir, Hart, Kreutzmann and Lesh have agreed to new interviews for the film.[61] Bar-Lev's four-hour documentary, titled Long Strange Trip, was released in 2017.[62][63]

text: "Fare Thee Well"[edit]

text: In 2015, Weir, Lesh, Kreutzmann, and Hart reunited for five concerts called "Fare Thee Well: Celebrating 50 Years of the Grateful Dead".[64] The shows were performed on June 27 and 28 at Levi's Stadium in Santa Clara, California, and on July 3, 4, and 5 at Soldier Field in Chicago, Illinois.[64][65] The band stated that this would be the final time that Weir, Lesh, Hart, and Kreutzmann would perform together.[66] They were joined by Trey Anastasio of Phish on guitar, Jeff Chimenti on keyboards, and Bruce Hornsby on piano.[67][68] Demand for tickets was very high.[69][70] The concerts were simulcast via various media.[71][72] The Chicago shows have been released as a box set of CDs and DVDs.[73]

text: Dead & Company[edit]

text: In the fall of 2015, Mickey Hart, Bill Kreutzmann, and Bob Weir joined with guitarist John Mayer, keyboardist Jeff Chimenti, and bassist Oteil Burbridge to tour in a band titled Dead & Company. Mayer recounts that in 2011 he was listening to Pandora and happened upon the Grateful Dead song "Althea", and that soon Grateful Dead music was all he would listen to.[74] The band has played three tours: October–December 2015, June–July 2016, and May–July 2017.[75][76]

text: Musical Style[edit]

text: The Grateful Dead formed during the era when bands such as the Beatles, the Beach Boys and the Rolling Stones were dominating the airwaves. "The Beatles were why we turned from a jug band into a rock 'n' roll band," said Bob Weir. "What we saw them doing was impossibly attractive. I couldn't think of anything else more worth doing."[77] Former folk-scene star Bob Dylan had recently put out a couple of records featuring electric instrumentation. Grateful Dead members have said that it was after attending a concert by the touring New York City band the Lovin' Spoonful that they decided to "go electric" and look for a dirtier sound. Gradually, many of the East-Coast American folk musicians, formerly luminaries of the coffee-house scene, were moving in the electric direction.[citation needed] It was natural for Jerry Garcia and Bob Weir, each of whom had been immersed in the American folk music revival of the late 1950s and early 1960s, to be open-minded toward electric guitars.

text: The Grateful Dead's early music (in the mid-1960s) was part of the process of establishing what "psychedelic music" was, but theirs was essentially a "street party" form of it. They developed their "psychedelic" playing as a result of meeting Ken Kesey in Palo Alto, California, and subsequently becoming the house band for the Acid Tests he staged.[78] The Dead were not inclined to fit their music to an established category such as pop rock, blues, folk rock, or country & western. Individual tunes within their repertoire could be identified under one of these stylistic labels, but overall their music drew on all of these genres and, more frequently, melding several of them. It was doubtless with this in mind that Bill Graham said of the Grateful Dead, "They're not the best at what they do, they're the only ones that do what they do."[79] Often (both in performance and on recording) the Dead left room for exploratory, spacey soundscapes.

text: Their live shows, fed by their improvisational approach to music, made the Grateful Dead different from most other touring bands. While most rock and roll bands rehearse a standard show for their tours that is replayed night after night, city after city, the Grateful Dead never did. As Garcia stated in a 1966 interview, "We don't make up our sets beforehand. We'd rather work off the tops of our heads than off a piece of paper."[80] They maintained this operating ethic throughout their existence. For each performance, the band drew material from an active list of a hundred or so songs.[80]

text: The 1969 live album Live/Dead did capture more of their essence, but commercial success did not come until Workingman's Dead and American Beauty, both released in 1970. These records largely featured the band's laid-back acoustic musicianship and more traditional song structures. With their rootsy, eclectic stylings, particularly evident on the latter two albums, the band pioneered the hybrid Americana genre.[81][82][83]

text: As the band and its sound matured over thirty years of touring, playing, and recording, each member's stylistic contribution became more defined, consistent, and identifiable. Lesh, who was originally a classically trained trumpet player with an extensive background in music theory, did not tend to play traditional blues-based bass forms, but opted for more melodic, symphonic and complex lines, often sounding like a second lead guitar. Weir, too, was not a traditional rhythm guitarist, but tended to play jazz-influenced, unique inversions at the upper end of the Dead's sound. The two drummers, Mickey Hart and Kreutzmann, developed a unique, complex interplay, balancing Kreutzmann's steady beat with Hart's interest in percussion styles outside the rock tradition. Hart incorporated an 11-count measure to his drumming, bringing a new dimension to the band's sound that became an important part of its emerging style.[84] Garcia's lead lines were fluid, supple and spare, owing a great deal of their character to his training in fingerpicking and banjo.

text: The band's primary lyricists, Robert Hunter and John Perry Barlow, commonly used themes involving love and loss, life and death, gambling and murder, beauty and horror, chaos and order, God and other religious themes, travelling and touring.[citation needed] In a retrospective, The New Yorker described Hunter's verses as "elliptical, by turns vivid and gnomic", which were often "hippie poetry about roses and bells and dew,"[85] and critic Robert Christgau described them as "American myths" that later gave way to "the old karma-go-round".[86]

text: Merchandising and Representation[edit]

text: Hal Kant was an entertainment industry attorney who specialized in representing musical groups. He spent 35 years as principal lawyer and general counsel for the Grateful Dead, a position in the group that was so strong that his business cards with the band identified his role as "Czar".[87]

text: Kant brought the band millions of dollars in revenue through his management of the band's intellectual property and merchandising rights. At Kant's recommendation, the group was one of the few rock 'n roll pioneers to retain ownership of their music masters and publishing rights.

text: In 2006, the Grateful Dead signed a ten-year licensing agreement with Rhino Entertainment to manage the band's business interests including the release of musical recordings, merchandising, and marketing. The band retained creative control and kept ownership of its music catalog.[88][89]

text: A Grateful Dead video game titled Grateful Dead Game – The Epic Tour[90] was released in April 2012 and was created by Curious Sense.[91]

text: Live Performances[edit]

text: The Grateful Dead toured constantly throughout their career, playing more than 2,300 concerts.[92] They promoted a sense of community among their fans, who became known as "Deadheads", many of whom followed their tours for months or years on end. In their early career, the band also dedicated their time and talents to their community, the Haight-Ashbury area of San Francisco, making available free food, lodging, music, and health care to all. It has been said that the band performed "more free concerts than any band in the history of music".[93]

text: With the exception of 1975, when the band was on hiatus and played only four concerts together, the Grateful Dead performed many concerts every year, from their formation in April 1965, until July 9, 1995.[94] Initially all their shows were in California, principally in the San Francisco Bay Area and in or near Los Angeles. They also performed, in 1965 and 1966, with Ken Kesey and the Merry Pranksters, as the house band for the Acid Tests. They toured nationally starting in June 1967 (their first foray to New York), with a few detours to Canada, Europe and three nights at the Great Pyramid of Giza in Egypt in 1978. They appeared at the Monterey Pop Festival in 1967, the Woodstock Festival in 1969 and the Festival Express train tour across Canada in 1970. They were scheduled to appear as the final act at the infamous Altamont Free Concert on December 6, 1969 after the Rolling Stones but withdrew after security concerns. "That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play," staff at Rolling Stone magazine wrote in a detailed narrative on the event"[95]

text: Their first UK performance was at the Hollywood Music Festival in 1970. Their largest concert audience came in 1973 when they played, along with the Allman Brothers Band and the Band, before an estimated 600,000 people at the Summer Jam at Watkins Glen.[96] The 1998 edition of the Guinness Book of World Records recognized them with a listing under the heading, "most rock concerts performed" (2,318 concerts).[97] They played to an estimated total of 25 million people, more than any other band, with audiences of up to 80,000 attending a single show. Many of these concerts were preserved in the band's tape vault, and several dozen have since been released on CD and as downloads. The Dead were known for the tremendous variation in their setlists from night to night—the list of songs documented to have been played by the band exceeds 500.[98] The band has released four concert videos under the name View from the Vault.

text: In the 1990s, the Grateful Dead earned a total of $285 million in revenue from their concert tours, the second-highest during the 1990s, with the Rolling Stones earning the most.[99] This figure is representative of tour revenue through 1995, as touring stopped after the death of Jerry Garcia.[99]

text: Their numerous studio albums were generally collections of new songs that they had first played in concert. The band was also famous for its extended musical jams, which featured both individual improvisations as well as distinctive "group-mind" improvisations during which each of the band members improvised individually while simultaneously blending together as a cohesive musical unit. Musically, this may be illustrated in that the band not only improvised within the form of songs, but also with the form. The Grateful Dead have often been described as having never played the same song the same way twice. The cohesive listening abilities of each band member made for a transcendence of what might be called "free form" and improvisation. Their concert sets often blended songs, one into the next (a segue).

text: Concert sound systems[edit]

text: The Wall of Sound was a large sound system designed specifically for the Grateful Dead.[100][101] The band was never satisfied with the house system anywhere they played. After the Monterey Pop Festival, the band's crew 'borrowed' some of the other performers' sound equipment and used it to host some free shows in San Francisco.[102] In their early days, soundman Owsley "Bear" Stanley designed a public address (PA) and monitor system for them. Bear was the Grateful Dead's soundman for many years; he was also one of the largest suppliers of LSD.[103] Stanley's sound systems were delicate and finicky, and frequently brought shows to a halt with technical breakdowns. After Stanley went to jail for manufacturing LSD in 1970, the group briefly used house PAs, but found them to be even less reliable than those built by their former soundman. On February 2, 1970 the group contacted Bob Heil to use his system.[104] In 1971, the band purchased their first solid-state sound system from Alembic Inc Studios. Because of this, Alembic would play an integral role in the research, development, and production of the Wall of Sound. The band also welcomed Dan Healy into the fold on a permanent basis that year. Healy would mix the Grateful Dead's live sound until 1993.

text: Tapes[edit]

text: Like several other bands during this time, the Grateful Dead allowed their fans to record their shows. For many years the tapers set up their microphones wherever they could, and the eventual forest of microphones became a problem for the official sound crew. Eventually, this was solved by having a dedicated taping section located behind the sound board, which required a special "tapers" ticket. The band allowed sharing of tapes of their shows, as long as no profits were made on the sale of their show tapes.[105] Sometimes the sound crew would allow the tapers to connect directly to the sound board, which created exceptional concert recordings.[106]

text: Recently, there have been some disputes over which recordings archive.org could host on their site. Although all the recordings are hosted at present, the sound board recordings can only be streamed and not downloaded.[106]

text: Of the approximately 2,350 shows the Grateful Dead played, almost 2,200 were taped, and most of these are available online.[107] The Band began collecting and cataloging tapes early on and Dick Latvala was their keeper. "Dick's Picks" is named after Latvala. After his death in 1999, David Lemieux gradually took the post. Concert set lists from a subset of 1,590 Grateful Dead shows were used to perform a comparative analysis between how songs were played in concert and how they are listened online by Last.fm members.[108] In their book Marketing Lessons from the Grateful Dead: What Every Business Can Learn From the Most Iconic Band in History,[109] David Meerman Scott and Brian Halligan identify the taper section as a crucial contributor to increasing the Grateful Dead's fan base.

text: Artwork[edit]

text: Over the years, a number of iconic images have come to be associated with the Grateful Dead. Many of these images originated as artwork for concert posters or album covers.

text: Deadheads[edit]

text: Fans and enthusiasts of the band are commonly referred to as Deadheads. While the origin of the term may be unclear, Dead Heads were made canon by the notice placed inside the Skull and Roses (1971) album by manager Jon McIntire:

text:
“
DEAD FREAKS UNITE: Who are you? Where are you? How are you?
Send us your name and address and we'll keep you informed.
Dead Heads, P.O. Box 1065, San Rafael, California 94901.
”

text: Many of the Dead Heads would go on tour with the band. As a group, the Dead Heads were considered very mellow. "I'd rather work nine Grateful Dead concerts than one Oregon football game", Police Det. Rick Raynor said. "They don't get belligerent like they do at the games".[119]

text: Donation of Archives[edit]

text: On April 24, 2008, members Bob Weir and Mickey Hart, along with Nion McEvoy, CEO of Chronicle Books, UC Santa Cruz chancellor George Blumenthal, and UC Santa Cruz librarian Virginia Steel, held a press conference announcing that UCSC's McHenry Library would be the permanent home of the Grateful Dead's complete archival history from 1965 to the present. The archive includes correspondence, photographs, fliers, posters, and several other forms of memorabilia and records of the band. Also included are unreleased videos of interviews and TV appearances that will be installed for visitors to view, as well as stage backdrops and other props from the band's concerts.

text: Blumenthal stated at the event, "The Grateful Dead Archive represents one of the most significant popular cultural collections of the 20th century; UC Santa Cruz is honored to receive this invaluable gift. The Grateful Dead and UC Santa Cruz are both highly innovative institutions—born the same year—that continue to make a major, positive impact on the world." Guitarist Bob Weir stated, "We looked around, and UC Santa Cruz seems the best possible home. If you ever wrote the Grateful Dead a letter, you'll probably find it there!"[120]

text: Professor of music Fredric Lieberman was the key contact between the band and the university, who let the university know about the search for a home for the archive, and who had collaborated with Mickey Hart on three books in the past, Planet Drum (1990), Drumming at the Edge of Magic (1991), and Spirit into Sound (2006).[121][122][123]

text: The first large-scale exhibition of materials from the Grateful Dead Archive was mounted at the New-York Historical Society in 2010.[124]

text: Awards[edit]

text: In 2004, Rolling Stone ranked the Grateful Dead No. 57 on their list of the 100 Greatest Artists of All Time.[125]

text: On February 10, 2007, the Grateful Dead received a Grammy Lifetime Achievement Award. The award was accepted on behalf of the band by Mickey Hart and Bill Kreutzmann.[126]

text: In 2011, a recording of the Grateful Dead's May 8, 1977, concert at Cornell University's Barton Hall was selected for induction into the National Recording Registry of the Library of Congress.[127]

text: Twelve members of the Grateful Dead (the eleven official performing members plus Robert Hunter) were inducted into the Rock and Roll Hall of Fame in 1994, and Bruce Hornsby was their presenter.[6]

text: Membership[edit]

text: Lead guitarist Jerry Garcia was often viewed both by the public and the media as the leader or primary spokesperson for the Grateful Dead, but was reluctant to be perceived that way, especially since he and the other group members saw themselves as equal participants and contributors to their collective musical and creative output.[128][129] Garcia, a native of San Francisco, grew up in the Excelsior District. One of his main influences was bluegrass music, and he also performed—on banjo, one of his other great instrumental loves, along with the pedal steel guitar—in bluegrass bands, notably Old and in the Way with mandolinist David Grisman.

text: Bruce Hornsby never officially joined the band full-time, because of his other commitments, but he did play keyboards at most Dead shows between September 1990 and March 1992, and sat in with the band over one hundred times in all between 1988 and 1995. Jerry Garcia referred to him as a "floating member" who could come and go as he pleased.[130][131][132]

text: Robert Hunter and John Perry Barlow were the band's primary lyricists, starting in 1967 and 1971 respectively and continuing until the band's dissolution.[133][134][134] Hunter collaborated mostly with Garcia and Barlow mostly with Weir, though each wrote with other band members as well. Both are listed as official members at Dead.net, the band's website, alongside the performing members.[18] Barlow was the only member not inducted into the Rock and Roll Hall of Fame.

text: Discography[edit]

text:
The Grateful Dead (1967)
Anthem of the Sun (1968)
Aoxomoxoa (1969)
Live/Dead (1969)
Workingman's Dead (1970)
American Beauty (1970)
Grateful Dead (Skull & Roses) (1971)
Europe '72 (1972)
History of the Grateful Dead, Volume One (Bear's Choice) (1973)
Wake of the Flood (1973)
From the Mars Hotel (1974)
Blues for Allah (1975)
Steal Your Face (1976)
Terrapin Station (1977)
Shakedown Street (1978)
Go to Heaven (1980)
Reckoning (1981)
Dead Set (1981)
In the Dark (1987)
Dylan & the Dead (1989)
Built to Last (1989)
Without a Net (1990)

text: See Also[edit]

text: Book: Grateful Dead

text:
List of Grateful Dead cover versions
Internet Archive (section on Grateful Dead)
Unfinished Grateful Dead Album

text:
Grateful Dead portal
Rock music portal


document_title: Gods of Egypt (film)

question_text: who plays the god of wisdom in gods of egypt

root

text: Gods of Egypt (film)

text: Plot[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (June 2017) (Learn how and when to remove this template message)

tag: table

text: Set in the mythology of ancient Egypt, the world is flat and the Egyptian gods live among humans, they differ from humans by their greater height, golden blood, and ability to transform into their divine forms.

tag: p

text: A young thief named Bek and his love Zaya are attending the coronation of Horus. During the ceremony, Osiris is killed by his extremely jealous brother Set, who seizes the throne and declares a new regime where the dead will have to pay with riches to pass into the afterlife. Horus is stripped of his eyes, the source of his power, and almost killed. His love, Hathor pleads with Set to spare him and he is instead exiled in exchange for Egypt's surrender.

text: A year later, Bek has been working as a slave building monuments while Zaya is now under the ownership of Set's chief architect Urshu. Believing that Horus is the only one who can defeat Set, she gives Bek the floor plans to his treasure vault and also manages to get a glimpse of the plans for his pyramid. Bek is able to steal back one of Horus' eyes from the treasure vault. However, Urshu finds out and kills Zaya as the couple flee. Bek takes her body to the blind Horus and makes a bargain: Horus agrees to bring Zaya back from the dead for his eye and Bek's knowledge about Set's pyramid.

text: The two fly to the divine vessel of Horus' grandfather Ra. Horus is unable to convince Ra to regrant him his power so he can defeat Set himself, as Ra is both neutral about their conflict and daily at war with the enormous shadow beast Apophis that threatens to devour the world. He does however allow Horus to obtain a vial of the divine waters that surround his vessel, which can extinguish the desert thirst and weaken Set gravely. Ra tells Horus that his weakness is the result of him not fulfilling his destiny, which Horus believes means avenging his parents' deaths.

text: Set asks Hathor to take him to the underworld, but she refuses and escapes. After surviving an attack by Set's Egyptian Minotaurs led by Mnevis and an attack by some of Set's minions and their giant cobras, Hathor finds and saves Bek and Horus. Horus at first doesn't trust her as she is a mistress of Set, while she tries to convince him that Set is her enemy as well. When they tell her of their plan regarding Set's pyramid, she warns them of a guardian sphinx who will kill anyone not wise enough to solve a riddle. The group then heads to the library of Thoth, so they can recruit him to solve the riddle.

text: Arriving at Set's pyramid, they overcome its traps including the sphinx, to reach the source of Set's power. But before they can pour the divine water, Set traps them and reveals to Bek that Horus cannot bring Zaya back from the dead. Set destroys their flask and kills Thoth by taking his brain. Horus is able to save Hathor and Bek. Horus admits to caring more about his revenge than the mortals. Hathor sacrifices her own safety for Zaya's payment into the afterlife by giving Bek her bracelet and calls Anubis to take him to Zaya, letting herself be dragged to the underworld.

text: Having combined Thoth's brain, Osiris's heart, Horus's eye, and wings from Nephthys with himself, Set travels to Ra, questioning his favoritism for Osiris and denying him the throne and children. Ra claims that all of Set's prior mistreatments were tests preparing Set for his true role: taking Ra's place as the defender of the world aboard his solar barge, fighting against Apophis. Set is dismayed and wants to destroy the afterlife so that he can be immortal. Ra tries to fight Set by blasting him with his spear, though Set survives. He stabs Ra, takes his spear of power, and casts him off the boat freeing Apophis to consume both the mortal and underworld realms.

text: Bek finds Zaya, who refuses Hathor's gift as she doesn't want an afterlife without Bek, but then Apophis attacks and the gate to the afterlife is closed. Bek returns to the mortal world, where Horus is amazed that Bek still wants to help take down Set. Bek tells him it was Zaya who told him to, as she still has faith in Horus.

text: Horus climbs up the outer wall of an obelisk Set is standing on and attempts to battle him, but is heavily outmatched. Whilst Bek fights Urshu who is thrown off to his death, Bek ascends on the inside and joins the battle, removing Horus's stolen eye from Set's armor, being wounded in the process. As Bek slides toward the edge of the obelisk, he throws the eye toward Horus, who must choose to catch it or save Bek instead. Horus reaches for Bek and apologizes for all he has put him through. As they plummet toward the ground, Horus regains the power to transform and he catches Bek and flies him to safety. Horus realizes that it wasn't the recovery of his eye nor revenge that was his destiny, it was the protection of his people that he needed to fight for. Now, Horus has the strength for battling Set, and he gains the obelisk and kills him. He then finds Ra wounded and floating in space, and returns his spear to him, allowing Ra to once again repel Apophis and for Anubis to reopen the gates.

text: As Horus returns to Bek, a child holds out his other eye, while people cheer him. Horus finds Bek dying from the wounds he sustained whilst fighting Set, carries him to Osiris's tomb and lays him beside Zaya. Ra arrives and offers to bestow any power on him to repay Horus for his life and Egypt's survival. All Horus wants is bringing Bek and Zaya back to life. The other gods are also revived and have their attributes restored (except for Osiris and Isis, who died a full year before). Horus is crowned king by Thoth and declares the afterlife will be for those who do good in the world. Bek is made chief advisor, and he gives Horus back Hathor's bracelet letting him leave to rescue her from the underworld.

text: Cast[edit]

text:
Gerard Butler as Set, the Egyptian God of the Desert[6]
Geoffrey Rush as Ra, the Egyptian God of the Sun[6]
Nikolaj Coster-Waldau as Horus, the Egyptian God of Air and Hathor's lover.[6]
Brenton Thwaites as Bek, a  young thief who allies with Horus.[6]
Lindsay Farris voices an older Bek that narrates the film.
Chadwick Boseman as Thoth, the Egyptian God of Wisdom.[6]
Élodie Yung as Hathor, the Egyptian Goddess of Love and Horus' lover.[6]
Courtney Eaton as Zaya, Bek's lover.[6]
Rufus Sewell as Urshu, Set's architect.[6]
Bryan Brown as Osiris, the Egyptian God of the Afterlife, King of Egypt and Horus' father[6]
Goran D. Kleut as the voice and motion capture of Anubis, the Egyptian God of Death
Rachael Blake as Isis, the Egyptian Goddess of Health, Marriage, and Wisdom who is the wife of Osiris and mother of Horus.
Emma Booth as Nephthys, the Goddess of Protection.
Alexander England as the voice and motion capture of Mnevis, the leader of the Egyptian Minotaurs that work for Set.
Yaya Deng as Astarte
Abbey Lee as Anat
Kenneth Ransom as the voice and motion capture of Sphinx
Robyn Nevin as Sharifa
Bruce Spence as Head Judge

tag: ul

text: Production[edit]

text: Development[edit]

text:
... the world of Gods of Egypt never really existed. It is inspired by Egyptian mythology, but it makes no attempt at historical accuracy because that would be pointless — none of the events in the movie ever really happened. It is about as reality-based as Star Wars — which is not real at all ... Maybe one day if I get to make further chapters I will reveal the context of the when and where of the story. But one thing is for sure — it is not set in Ancient Egypt at all.
Director Alex Proyas, December 2015[7]

tag: div

text: Gods of Egypt is directed by Alex Proyas based on a screenplay by Matt Sazama and Burk Sharpless. The film was produced under Summit Entertainment. Proyas was contracted by Summit in May 2012, to write the screenplay with Sazama and Sharpless, and to direct the film.[8] Proyas said he sought to make a big-budget film with an original premise, to contrast franchise films. The director cited the following films as influences on Gods of Egypt: The Guns of Navarone (1961), Lawrence of Arabia (1962), The Man Who Would Be King (1975), Raiders of the Lost Ark (1981), and Sergio Leone's Western films.[9] Lionsgate anticipated that Gods of Egypt would be the first film in a new franchise after it finished releasing The Hunger Games films.[10]

text: Casting[edit]

text: Actor Nikolaj Coster-Waldau was cast in June 2013.[11] Gerard Butler, Geoffrey Rush, and Brenton Thwaites joined the cast toward the end of 2013.[12] Chadwick Boseman and Élodie Yung joined the cast at the start of 2014.[13]

text: Filming[edit]

text: The film was shot in Australia. A crew of 200 began pre-production in Sydney in New South Wales, and producers considered filming in Melbourne in Victoria, to take advantage of the state's tax incentive. Docklands Studios Melbourne was too booked to accommodate Gods of Egypt, and producers were instead offered an airport facility for production.[14] The Australian states New South Wales and Victoria competed to be the location of the film's production, and Summit selected NSW in February 2014. The state's deputy premier, Andrew Stoner, estimated that the production would add 400 jobs to the state and contribute $75 million to its economy.[15][nb 1]

text: Principal photography began on March 19, 2014 at Fox Studios Australia in Sydney.[16] The setting of Anubis' temple was filmed at Centennial Park in Sydney, and visual effects were laid over the scene.[17] The production budget was $140 million. Jon Feltheimer, the CEO of Summit's parent company Lionsgate, said Lionsgate's financial exposure was under $10 million due to tax incentives of filming in Australia, as well as foreign pre-sales.[18][19] The Australian government's tax credit to have the film produced in the country covered 46% of the $140 million production budget, and most of the remaining budget was covered by the foreign pre-sales.[3]

text: In the film, the gods in humanoid form are 9 feet (2.7 m) tall and in "battle beast" form are over 12 feet (3.7 m) tall. Proyas used forced perspective and motion control photography to portray the difference in height between the actors portraying the gods and the humans. Proyas called the logistical challenge a "reverse Hobbit", referring to The Lord of the Rings films, in which Hobbits are depicted as shorter than humans.[7] For the Sphinx, actor Kenneth Ransom portrayed the giant creature via motion capture. For the god Thoth, who can appear as many copies, actor Chadwick Boseman was filmed hundreds of times from different angles. For a scene with many copies of Thoth, other actors took a day to film the scene, where Boseman filmed the scene for three days.[17]

text: Music[edit]

text: Composer Marco Beltrami, who scored Proyas's previous films Knowing (2009) and I, Robot (2004), returned to score Gods of Egypt.[7]

text: Racial and ethnic casting[edit]

text: White actors make up most of the principal cast of Gods of Egypt. When Lionsgate began marketing the film, the Associated Press said the distributor received backlash for ethnically inaccurate casting. Lionsgate and director Alex Proyas both issued apologies. The AP said, "While some praised the preemptive mea culpa ... others were more skeptical, concluding that it's simply meant to shut down any further backlash."[20]

text: The casting practice of white actors as Egyptian characters was first reported after filming started in March 2014, when Daily Life's Ruby Hamad highlighted the practice as "Hollywood whitewashing".[21] Lionsgate released a set of character posters in November 2015, and The Guardian reported that the casting received a backlash on Twitter over the predominantly white cast. Some suggested that the casting of black actor Chadwick Boseman, who plays the god Thoth, played into the Magical Negro stereotype. The previous year, the biblical epic Exodus: Gods and Kings by director Ridley Scott received similar backlash for having a white cast.[22][nb 2] The Washington Post's Soraya Nadia McDonald also disparaged the casting practice for Gods of Egypt and said Lionsgate released the posters at an unfortunate time. She said with the release of Aziz Ansari's TV series Master of None in the previous week, "Whitewashed casting and the offensiveness of brownface has pretty much dominated the pop culture conversation this week. Promotion for the movie is beginning just as we're wrapping a banner year for discussions of diversity and gender pay equity in the film industry."[23]

text: When Lionsgate followed its release of posters with a release of a theatrical trailer, Scott Mendelson at Forbes said, "The implication remains that white actors, even generic white actors with zero box office draw, are preferable in terms of domestic and overseas box office than culturally-specific (minority) actors who actually look like the people they are supposed to be playing." He said almost none of the actors, aside from potentially Butler, qualified as box office draws.[24] BET's Evelyn Diaz said while Ridley Scott had defended his casting practice for Exodus by claiming the need to cast box office draws, "Gods of Egypt is headlined by character actors and Gerard Butler, none of whom will have people running to the theater on opening day."[25] Deadline's Ross A. Lincoln said of the released trailer, "Casting here stands out like a sore thumb leftover from 1950s Hollywood. I suspect this film generates a lot of conversation before it hits theaters February 26, 2016."[26]

text: In response to criticisms of its casting practice, director Alex Proyas and Lionsgate issued apologies in late November 2015 for not considering diversity; Lionsgate said it would strive to do better. Mendelson of Forbes said the apologies were "a somewhat different response" than defenses made by Ridley Scott for Exodus and Joe Wright for Pan (2015).[27] Ava DuVernay, who directed Selma (2014), said, "This kind of apology never happens - for something that happens all the time. An unusual occurrence worth noting."[28] The Guardian's Ben Child said, "The apologies are remarkable, especially given that Gods of Egypt does not debut in cinemas until 26 February and could now suffer at the box office."[29] Michael Ordoña of San Francisco Chronicle said of the apologies, "That's little comfort to the nonwhite actors denied opportunities or the Egyptians who will see a pale shadow of their ancestral traditions."[30] The Casting Society of America applauded the statements from Lionsgate and Proyas. Professor Todd Boyd, chair for the Study of Race and Popular Culture at the University of Southern California, said, "The apology is an attempt to have it both ways. They want the cast that they selected and they don't want people to hold it against them that it's a white cast."[20]

text: Boseman, who plays the god Thoth, commenting on the whitewashing, said he expected the backlash to happen when he saw the script. He said, "I'm thankful that it did, because actually, I agree with it. That's why I wanted to do it, so you would see someone of African descent playing Thoth, the father of mathematics, astronomy, the god of wisdom."[31] Actor Nikolaj Coster-Waldau said, "A lot of people are getting really worked up online about the fact that I'm a white actor. I'm not even playing an Egyptian; I'm an 8-foot-tall god who turns into a falcon. A part of me just wants to freak out, but then I think, 'There's nothing you can do about it.' You can’t win in that sort of discussion."[32]

text: In the month leading up to release, director Proyas said his film was fantasy and not intended to be history. He cited "creative license and artistic freedom of expression" to cast the actors he found to fit the roles. He said "white-washing" was a justified concern but for his fantasy film, "To exclude any one race in service of a hypothetical theory of historical accuracy... would have been biased." Proyas said that films "need more people of color and a greater cultural diversity" but that Gods of Egypt "is not the best one to soap-box issues of diversity with". He argued that the lack of English-speaking Egyptian actors, production practicalities, the studio's requirement for box office draws, and Australia having guidelines limiting "imported" actors were all factors in casting for the film. He concluded, "I attempted to show racial diversity, black, white, Asian, as far as I was allowed, as far as I could, given the limitations I was given. It is obviously clear that for things to change, for casting in movies to become more diverse many forces must align. Not just the creative. To those who are offended by the decisions which were made I have already apologised. I respect their opinion, but I hope the context of the decisions is a little clearer based on my statements here."[9] After the film was critically panned, Proyas said, "I guess I have the knack of rubbing reviewers the wrong way. This time of course they have bigger axes to grind – they can rip into my movie while trying to make their mainly pale asses look so politically correct by screaming 'white-wash!!!'"[33]

text: Release[edit]

text: Marketing[edit]

text: Lionsgate spent an estimated $30 million on marketing the film.[3] It released a set of character posters in November 2015, for which it received backlash due to white actors playing Egyptian characters, as noted above.[22] Later in the month, it released a theatrical trailer.[24] Lionsgate aired a 60-second spot for Gods of Egypt during the pre-game show of the Super Bowl 50 on February 7, 2016,[34] though they released the trailer online a day earlier.[35]

text: In the week before the film's release, Lions released the tie-in mobile game Gods of Egypt: Secrets of the Lost Kingdom on iOS and Android.[36]

text: Box office forecast[edit]

text: BoxOffice forecast two months in advance that Gods of Egypt would gross $14.5 million on its opening weekend in the United States and Canada, and that it would gross $34 million total on its theatrical run. The magazine said the film had "a strong ensemble cast" and that its director has "had a noteworthy following". BoxOffice also said the premise could attract movie-goers who saw Clash of the Titans, Wrath of the Titans, and the Percy Jackson films. Admissions to 3D screenings would help boost Gods of Egypt's gross. The magazine said factors negatively affecting the film's gross were a "lackluster reaction" to its marketing and the backlash to its predominantly white cast causing negative buzz. It anticipated that the film's release would be front-loaded (focused on profiting mainly from opening weekend) due to the poor buzz, its categorization as a fantasy film, and with London Has Fallen opening the following weekend.[37]

text: A week before the film's release, TheWrap's Todd Cunningham reported an updated forecast of $15 million for its opening weekend in the United States and Canada.[3] The Hollywood Reporter's Pamela McClintock said it was tracking to gross between $12 million and $15 million.[38] Cunningham said the expected gross was low for the film's triple-digit budget as well as additional marketing costs. He said the film could attract Alex Proyas's fan base but that it had suffered "some negativity out there" due to the predominantly white casting as well as the film being perceived to have an "old-fashioned" feel. Exhibitor Relations senior media analyst Jeff Bock said the film "feels late" years after the release of 300 (2007) and Immortals (2011), and an earlier production and release would have been more advantageous. Cunningham said with Lionsgate's financial exposure only being $10 million and the expected opening gross, the film could gross between $40 million and $50 million for its theatrical run in the United States and Canada and ultimately avoid a loss.[3] The Hollywood Reporter's McClintock said "ancient epics" in recent years had not performed well at the box office, citing the 2014 films Hercules, The Legend of Hercules, and Pompeii.[38]

text: Ryan Faughnder of Los Angeles Times said in the week before the film's release that the expected opening weekend gross meant that Lionsgate's plans to make Gods of Egypt the first film in a new franchise were unlikely. Faughnder said the film would need to perform strongly in territories outside the United States and Canada for a sequel to be developed.[10] Variety's Brent Lang reported that analysts said the film would need to open to $30 million or more in the United States to justify a sequel.[39]

text: Theatrical run[edit]

text: Gods of Egypt grossed $31.2 million in the United States and Canada, and $119.6 million in other countries, for a worldwide total of $150.7 million against a production budget of $140 million.[4] The Hollywood Reporter estimated the film lost the studio up to $90 million, when factoring together all expenses and revenues.[40]

text: Lionsgate released Gods of Egypt in theaters globally starting on February 25, 2016.[2] It was released in 2D, RealD 3D,[41] and IMAX 3D.[42] Lionsgate released the film in the United States and Canada on the weekend of February 26–28, as well as in 68 other markets,[43][nb 3] including Russia, South Korea, and Brazil.[39] Jaguar Films released the film in the United Arab Emirates (February 25) and other countries in the Middle East under the title Kings of Egypt.[46] Viacom 18 released the film in India on February 26, 2016 in four languages: English, Hindi, Tamil, and Telugu.[47]

text: In the United States and Canada, the film was released in 3,117 theaters. It grossed an estimated $800,000 in Thursday-night previews and $4.8 million on Friday, lowering the projected weekend gross to $11–13 million.[48] It went on to gross $14.1 million in its opening weekend, finishing second at the box office behind Deadpool ($31.5 million).[49] It competed with fellow newcomers Eddie the Eagle and Triple 9, as well as with Deadpool, which opened two weekends earlier.[50] Opening-day audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale.[49] The Christian Science Monitor's Molly Driscoll said the Gods of Egypt's US release was during "a traditionally quiet time at the box office".[51] Scott Mendelson of Forbes commented on supporting versus opposing a successful debut of the film, while existing as a great right (an original fantasy from a gifted and visionary director) at the same time."[52]

text: Outside North America, the film got a staggered release. In its opening weekend, it was number one across Central America, Eastern Europe and South East Asia.[53] Top openings were in Russia ($4.3 million), Brazil ($1.9 million) and Philippines ($1.7 million).[4]

text: Le Vision Pictures acquired rights from Lionsgate in November 2015 to distribute Gods of Egypt in China,[54] and released the film there on March 11, 2016.[43] China was the film's largest territory, with US$35.6 million.[55] Lionsgate also released the film in the United Kingdom on June 17, 2016.[56]

text: Critical reception[edit]

text: Gods of Egypt was panned by critics.[57] On Rotten Tomatoes, the film has a rating of 15%, based on 172 reviews, with an average rating of 3.4/10.[58] Metacritic gives the film a score of 25 out of 100, based on 25 critics, indicating "generally unfavorable reviews".[59]

text: Alonso Duralde of TheWrap wrote, "A mishmash of unconvincing visual effects and clumsy writing—not to mention another depiction of ancient Egypt in which the lead roles are almost all played by white folks—Gods of Egypt might have merited a so-bad-it's-good schadenfreude fanbase had it maintained the unintentional laughs of its first 10 minutes. Instead, it skids into dullness, thus negating the camp classic that it so often verges on becoming."[60] Joycelyn Noveck of the Chicago Sun Times gave the film a half star out of four, writing, "It’s obvious the filmmakers were gunning for a sequel here. But this bloated enterprise is so tiresome by the end, it seems more likely headed for a long rest somewhere in the cinematic afterlife."[61] Ignatiy Vishnevetsky of The A.V. Club called Gods of Egypt "overlong and very silly," and said: "A treasure trove of gilded fantasy bric-a-brac and clashing accents, Proyas’ sword-and-sandals space opera is a head above the likes of Wrath of the Titans, but it rapidly devolves into a tedious and repetitive succession of monster chases, booby traps, and temples that start to crumble at the last minute."[62]

text: Jordan Hoffman of The Guardian said, "This is ridiculous. This is offensive. This shouldn’t be, and I’m not going to say otherwise if you can’t bring yourself to buy a ticket for this movie. But if you are on the fence you can always offset your karmic footprint with a donation to a charity, because this movie is a tremendous amount of fun."[63] On the other hand, Olly Richards of Empire was heavily critical, calling the film a "catastrophe" and "the Dolly Parton of movies, without any of the knowing wit".[64]

text: In response to the reviews, director Proyas posted to Facebook calling critics "diseased vultures pecking at the bones of a dying carcass", who were "trying to peck to the rhythm of the consensus. I applaud any film-goer who values their own opinion enough to not base it on what the pack-mentality says is good or bad."[65]

text: Accolades[edit]

text:
Award

Category

Subject

Result

AACTA Awards(6th)

Best Original Music Score

Marco Beltrami

Nominated

Best Sound

Wayne Pashley

Nominated

Peter Grace

Nominated

Derryn Pasquill

Nominated

Fabian Sanjurjo

Nominated

Greg P. Fitzgerald

Nominated

Peter Purcell

Nominated

Best Costume Design

Liz Palmer

Nominated

Best Visual Effects or Animation

Eric Durst

Nominated

Jack Geist

Nominated

Andrew Hellen

Nominated

James Whitlam

Nominated

Julian Dimsey

Nominated

Best Hair and Makeup

Lesley Vanderwalt

Nominated

Lara Jade Birch

Nominated

Adam Johansen

Nominated

Golden Raspberry Awards

Worst Picture

Basil Iwanyk

Nominated

Alex Proyas

Nominated

Worst Director

Nominated

Worst Actor

Gerard Butler

Nominated

Worst Screen Combo

Any two Egyptian gods or mortals

Nominated

Worst Screenplay

Matt Sazama and Burk Sharpless

Nominated

Houston Film Critics Society

Worst Film

Basil Iwanyk & Alex Proyas

Nominated

text: Home media[edit]

text: The film was released on May 31, 2016, on DVD and Blu-ray.[66]


document_title: Brandon Mull

question_text: when is the fifth five kingdoms book coming out

text: Brandon Mull

text: Education and early work[edit]

text: Brandon Mull went to Mt. Diablo Elementary School in Clayton, California, United States. Mull then attended Pine Hollow Middle School as a student, and then attended Clayton Valley. He currently lives in Alpine, Utah and graduated from BYU (Brigham Young University) in Utah.[5] While at BYU Mull led the sketch comedy group Divine Comedy (BYU).[6] Mull served a two-year mission for The Church of Jesus Christ of Latter-day Saints in Chile. Brandon Mull has worked as a comedian, a filing clerk, a patio installer, a movie promoter, a copywriter, and briefly as a chicken stacker.[7]

text: Writer[edit]

text: Brandon Mull spearheaded a seven-book series called Spirit Animals. Each book is written by a different author, but he was given the charge to create the fantasy world where the characters will live, and all the books will be based. The first installment, written by Brandon, called Wild Born was released in September 2013.[8]

text: Brandon Mull authored the Five Kingdoms series. The first book is titled Sky Raiders and was released March 11, 2014. The second installment, Rogue Knight, arrived November 18, 2014. The third, Crystal Keepers, arrived on March 17, 2015. The fourth, Death Weavers, was released on March 1, 2016. Of this series, Brandon Mull says, "It'll be for the kind of readers who liked Fablehaven. A Halloween spook alley turns out to be a front for slave traders taking kids into another world. It'll be cool, promise."[9]

text: On Mull's Facebook page he mentioned that he is planning a second Fablehaven series, but wouldn't get serious about it until some of his other projects are finished, like Spirit Animals, possibly not until 2015. Brandon announced at the launching of Spirit Animals that there is a very good plan for the Fablehaven sequel series to be published in 2016.[10]

text: Fablehaven is currently optioned by Schaffer Studios.[11]

text: Published works[edit]

text: Fablehaven[edit]

text: Fablehaven is about siblings Seth and Kendra Sorenson who find out their grandfather and grandmother run Fablehaven, one of the last places mythical creatures can live in peace.

text: (ages 8–13)

text:
Fablehaven, Shadow Mountain, 14 June 2006, ISBN 978-1-59038-581-4
Fablehaven: Rise of the Evening Star, Shadow Mountain, 1 May 2007, ISBN 978-1-59038-742-9
Fablehaven: Grip of the Shadow Plague, Shadow Mountain, 12 April 2008, ISBN 978-1-59038-898-3
Fablehaven: Secrets of the Dragon Sanctuary, Shadow Mountain, 24 March 2009, ISBN 978-1-60641-042-4
Fablehaven: Keys to the Demon Prison, Shadow Mountain, 23 March 2010, ISBN 978-1-60641-238-1

text: Fablehaven Dragon watch

text: The Caretaker's Guide to Fablehaven, Shadow Mountain, 13 October 2015, ISBN 978-1629720913

text: Beyonders[edit]

text: Beyonders is a series about a teenage boy named Jason who gets summoned as the last chance to save Lyrian, a doomed realm ruled by the wizard Maldor.

text: (ages 8–13)

text:
Beyonders: A World Without Heroes, Aladdin, 15 March 2011, ISBN 978-1-41699-792-4
Beyonders: Seeds of Rebellion, Aladdin, 13 March 2012, ISBN 978-1-41699-794-8
Beyonders: Chasing the Prophecy, Aladdin, 12 March 2013, ISBN 978-1-41699-796-2

text: Dragonwatch[edit]

text: Dragonwatch is a sequel series to Fablehaven that will span 5 books. Book One was released in March 2017. Book Two is predicted to come in 2018. In the story the dragons will seek to escape the sanctuaries they've been placed in, seeing them as prisons. The only thing that can keep them under control is the order of the Dragonwatch, but most of the Dragonwatch members have died of old age. A wizard named Agad decides to seek out Grandpa Sorensen for help, and in the process Kendra and Seth. Kendra and Seth will have to unite forces to become dragon tamers to keep the dragons from escaping.

text: (ages 8–14)

text: Dragonwatch: A Fablehaven Adventure, Shadow Mountain, 14 March 2017, ISBN 978-1-6297-2256-6

text: Five Kingdoms[edit]

text: Five Kingdoms is a series about an 11-year-old boy named Cole who gets stolen by slave traders and gets sucked away to another world called the Outskirts.

text: (ages 8–13)

text:
Five Kingdoms: Sky Raiders, Aladdin, 11 March 2014, ISBN 978-1-4424-9700-9
Five Kingdoms: Rogue Knight,[12] Aladdin, 18 November 2014, ISBN 978-1-4424-9703-0
Five Kingdoms: Crystal Keepers, Aladdin, 17 March 2015, ISBN 978-1-4424-9706-1
Five Kingdoms: Death Weavers, Aladdin, 15 March 2016, ISBN 978-1-4424-9709-2
Five Kingdoms: Time Jumpers, Aladdin, 13 March 2018, ISBN 978-1-4424-9712-2

text: Candy Shop War[edit]

text: Candy Shop War follows Nate in a strange town full of magical candies and crazy arcades.

text: (ages 8–13)

text:
The Candy Shop War, Shadow Mountain, 11 September 2007, ISBN 978-1-59038-783-2
Arcade Catastrophe, Shadow Mountain, 23 October 2012, ISBN 978-1-60907-179-0

text: Pingo[edit]

text:
Pingo, illustrated by Brandon Dorman, Shadow Mountain, 5 August 2009, ISBN 978-1-60641-109-4, for ages 4–8
Pingo and the Playground Bully – Prequel to Pingo, illustrated by Brandon Dorman, Shadow Mountain, 9 October 2012, ISBN 978-1-60907-178-3

text: Spirit Animals[edit]

text: Mull has written one full book in the series: Wild Born (Book 1), and select stories in Special Edition: Tales of the Great Beasts (21 October 2014) and Special Edition: Tales of the Fallen Beasts (23 February 2016). Wild Born tells the story of four 11-year-old kids (Conor from Eura, Meilin from Zhong, Rollan from Amaya, and Abeke from Nilo) who summon the legendary Four Fallen (Briggan with Connor, Jhi with Meilin, Essix with Rollan, and Uraza with Abeke). The kids must work together to find the first talisman with the Greencloaks, leading to a heroic battle against the Ravens and the Conquerors. The first Special Edition covers the story of the four great beasts: Briggan the Wolf, Uraza the Leopard, Jhi the Panda, and Essix the Falcon before they sacrifice themselves to protect the land and become the legendary Four Fallen Spirit Animals. The second special edition features the story of the betrayal of the great beast Gerathon.

text: Personal life[edit]

text: Mull is married and has four children.


document_title: Vienna International Airport

question_text: how many terminals are there at vienna airport

text: Vienna International Airport

text: History[edit]

text: Early years[edit]

text: Originally built as a military airport in 1938, and used during World War II as the Heinkel firm's southern military aircraft design and production complex, or Heinkel-Süd facility, it was taken over by the British in 1945 and became RAF Schwechat under the occupation of the country. In 1954, the Betriebsgesellschaft was founded, and the airport replaced Aspern as Vienna's (and Austria's) principal aerodrome. There was just one runway, which in 1959 was expanded to measure 3,000 m (9,843 ft). The erection of the new airport building starting in 1959.[citation needed]

text: In 1972 another runway was built. In 1982 the airport was connected to the national motorway network (Ostautobahn). In 1986 the enlarged arrivals hall was opened, and in 1988 Pier East with 8 jetbridges.[citation needed]

text: Flughafen Wien AG (de), one of the few publicly traded airport operators in Europe, was privatised in 1992. The state of Lower Austria and the City of Vienna each hold 20% of the shares, the private employee participation foundation holds 10%, with the remaining 50% held privately.[3] The shares are part of the Austrian Traded Index.[citation needed]

text: In 1992, the new Terminal 1 was opened and a year later the shopping area around the plaza in the transit area of the B, C and D gates. In 1996 Pier West with 12 jetbridges got in operation.[citation needed]

text: Development since the 2000s[edit]

text: In 2006 the 109 m (358 ft) tall control tower started operating. It allows a free overview of the entire airport area and offers a night laser show, which should welcome the passengers even from the aircraft. From 2004–2007 an Office Park had been erected offering 69,000 m2 (740,000 sq ft) of rentable space. A VIP- and general aviation-terminal, including a separated apron, opened in 2006.[citation needed]

text: To accommodate future growth, in 1998 Vienna Airport published a master plan that outlined expansion projects until 2015. These projects included a new office park, railway station, cargo center, general aviation center, air traffic control tower, terminal, and runway. Additionally, the plan called for streamlined security control.[4] The centerpiece of the enlargement was the new terminal, dubbed Skylink during its construction. In 2002, the airport's management estimated that building the new terminal will cost €401.79 million.[5] However, costs skyrocketed and in 2009 stood at an estimated €929.5 million.[5] The Austrian Court of Audit then recommended that the airport implement several cost-savings measures, which in the Court's estimate brought down final costs to €849.15 million, still more than double the original plans.[5]

text: On June 5, 2012, the new Austrian Star Alliance Terminal (Terminal 3, named Skylink during its construction) was opened, which enables the airport to handle up to 30 million passengers per year.[6] Construction started in 2004 and was suspended due to projected cost increases in 2009, but resumed in 2010. The maximum planned costs totaled less than €770 million.[7] Following concerns over the mismanagement of the Skylink project, chief executive Herbert Kaufman agreed to resign at the end of December 2010.[8] The new building with its North Pier has 17 jetbridges and makes the airport capable of handling more aircraft, although the new terminal is not able to handle Airbus A380 aircraft. However, the older Concourse D will see an upgrade to accommodate the A380.[9]

text: Terminals[edit]

text: Vienna International Airport has four terminal buildings named Terminal 1, 2 and 3 which are directly built against each other as well as the additional Terminal 1A located opposite Terminal 1. Terminals 1, 2 and 3 connect to the five concourses. The central arrivals hall for all terminal areas is located in Terminal 3.[10]

text: Terminals[edit]

text:
Terminal 1 underwent refurbishment in January 2013 and is now mainly used by Air Berlin and Niki as well as several other oneworld and SkyTeam airlines.
Terminal 1A, located in a standalone building opposite Terminal 1 hosts check-in facilities for a number of low-cost carriers.
Terminal 2 is currently closed, pending refurbishment.[9] It was used by numerous foreign airlines whose check-in facilities have been primarily relocated to Terminal 1.
Terminal 3, also referred to as the Austrian Star Alliance Terminal, with its adjoining Concourses F and G is the airport's newest facility. It is used by the Austrian Airlines Group, most Star Alliance members, and a number of other carriers including Emirates, El Al and Qatar Airways.

text: Concourses[edit]

text:
Concourse B is in the basement of Concourse C and features Gates B22–B43 (boarding by buses) for Schengen destinations
Concourse C (pier west) for Schengen destinations; features Gates C31–C42 (jetbridges), C35–C41 (only for transfer), C71–C75 (buses, Schengen only)
Concourse D (pier east; formerly Concourse A) for non-Schengen destinations with shared passport control at the entrance of pier east; features Gates D21–D29 (boarding via jetbridges), D31–D37 (boarding via buses), D61–D70 (buses). Concourse D will be refurbished and equipped to handle the Airbus A380 as part of the refurbishment programme announced in March 2016.[9]
Concourse F (Level 1 of pier north) is used for Schengen destinations and consists of Gates F01-F37 (jetbridges and buses)
Concourse G (Level 3 of pier north) for non-Schengen destinations; shared passport control at the entrance of Level 3; features Gates G01-G37 (jetbridges and busgates)

text: Expansion projects[edit]

text: Vienna Airport originally projected that it will need a third runway by 2012, or 2016 at the latest, in the event of cooperation with nearby Bratislava Airport.[4] It currently projects that a third runway will be necessary by 2025,[11] however, environmental organizations and some local communities oppose construction.[12] These groups have attacked the decision of Lower Austria (the state in which the airport is located) to move ahead with the first phase of construction; verdict from the administrative court that has taken up the lawsuit was expected later in 2015.[13] As of September 2016, there are ongoing public protests while still no legal decision has been made.[14]

text: Airlines and destinations[edit]

text: Passenger[edit]

text: The following airlines offer regular scheduled and charter flights at Vienna International Airport:[15]

text:
Airlines
Destinations

Adria Airways
Ljubljana

Aegean Airlines
Athens
Seasonal: Heraklion

Aer Lingus
Dublin

Aeroflot
Moscow–Sheremetyevo

Aeroflot
operated by Rossiya Airlines
St Petersburg

Air Algerie
Algiers

airBaltic
Riga, Tallinn

Air Berlin
Berlin–Tegel, Düsseldorf
Seasonal: Olbia

Air Cairo
Hurghada, Sharm El Sheikh

Air China
Barcelona, Beijing–Capital

Air France
Paris–Charles de Gaulle

Air India
Delhi

Air Malta
Malta

Air Moldova
Chișinău

Air Serbia
Belgrade

Air VIA
Charter: Burgas, Varna

ASL Airlines France
Seasonal charter: Bordeaux, Toulouse

Austrian Airlines
Amman–Queen Alia, Amsterdam, Antalya, Athens, Bangkok–Suvarnabhumi, Basel/Mulhouse, Beijing–Capital, Belgrade, Berlin–Tegel, Bologna, Brussels, Bucharest, Budapest, Cairo, Chicago–O'Hare, Chișinău, Cologne/Bonn, Copenhagen, Dnipro, Düsseldorf, Erbil, Frankfurt, Funchal, Geneva, Gothenburg, Gran Canaria, Graz, Hamburg, Hong Kong, Iași, Ibiza, Innsbruck, Isfahan, Kiev-Boryspil, Klagenfurt, Košice, Kraków, Krasnodar, Lanzarote, Larnaca, Leipzig/Halle, Linz, London–Heathrow, Luxor, Lviv, Lyon, Manchester, Marrakesh, Miami, Milan–Malpensa, Minsk, Moscow–Domodedovo, Munich, Naples,[16] Newark, New York–JFK, Nice, Odessa, Oslo–Gardermoen, Palma de Mallorca, Paris–Charles de Gaulle, Podgorica, Prague, Pristina, Salzburg, Sarajevo, Shanghai–Pudong, Sharm el-Sheikh, Shiraz, Sibiu, Skopje, Sofia, Stockholm–Arlanda, Stuttgart, Tehran–Imam Khomeini, Tel Aviv–Ben Gurion, Tenerife–South, Thessaloniki, Tirana, Tokyo–Narita (resumes 15 May 2018),[17] Toronto–Pearson, Varna, Venice, Vilnius, Warsaw–Chopin, Washington–Dulles, Yerevan, Zagreb, Zürich
Seasonal: Bari, Bodrum, Cagliari, Cape Town (resumes 28 October 2018),[18] Catania, Cephalonia, Chania, Chios, Colombo, Corfu, Dalaman, Dubrovnik, Faro, Florence, Fuerteventura, Havana, Heraklion, Kalamata, Karpathos, Kos, Lamezia Terme, Los Angeles, Mahé (begins 25 October 2017),[19] Malé, Mauritius, Menorca, Mykonos, Mytilene, Ohrid, Olbia, Palermo, Patras, Preveza, Reykjavík–Keflávik, Rhodes, St. Petersburg, Samos, Santorini, Skiathos, Split, Volos, Zakynthos
Seasonal charter: Glasgow,[20] Jersey,[20] Shannon[20]

BH Air
Charter: Burgas

British Airways
London–Heathrow

Brussels Airlines
Brussels

Bulgaria Air
Sofia
Seasonal: Varna

Bulgarian Air Charter
Charter: Burgas, Varna

China Airlines
Taipei–Taoyuan

Corendon Airlines Europe[21]
Seasonal charter: Corfu (begins 15 May 2018)[22], Heraklion (begins 14 May 2018)[23], Kos (begins 16 May 2018), Rhodes (begins 17 May 2018)[24], Tenerife–South (begins 12 May 2018)[25]

Croatia Airlines
Zagreb
Seasonal: Split

Czech Airlines
Seasonal charter: Brač

easyJet
Amsterdam, Berlin–Schönefeld, Bristol, Edinburgh, London–Gatwick, London–Luton, Lyon, Manchester, Naples

easyJet Switzerland
Geneva

EgyptAir
Cairo

El Al
Tel Aviv–Ben Gurion

Emirates
Dubai–International

Ethiopian Airlines
Addis Ababa, Brussels

Eurowings
operated by Air Berlin
Birmingham, Madrid, Porto
Seasonal: Ibiza, Kalamata,[26] Malta, Mytilene, Paphos (ends 23 October 2017), Santorini[27]

Eurowings
operated by Eurowings Europe
Agadir (begins 04 November 2017)[28] Alicante, Barcelona, Bastia, Brindisi, Dortmund (begins 29 October 2017),[29] Düsseldorf, Faro, Fuerteventura, Gran Canaria, Hamburg, Hanover, London–Stansted, Málaga, Marsa Alam, Nice, Nuremberg, Olbia, Pisa, Palma de Mallorca, Paphos (begins 1 July 2018),[30] Rome–Fiumicino, Valencia
Seasonal: Jerez de la Frontera, Kavala, Lamezia Terme, Samos, Santorini, Zadar

Eurowings
operated by Germanwings
Cologne/Bonn, Düsseldorf, Stuttgart

EVA Air
Bangkok–Suvarnabhumi, Taipei–Taoyuan

Finnair
Helsinki

Finnair
operated by Nordic Regional Airlines
Helsinki

Flybe
operated by Stobart Air
London–Southend

Freebird Airlines
Charter: Antalya, Istanbul-Sabiha Gökcen, Izmir

Germania
Seasonal: Rostock

Georgian Airways
Tbilisi

Iberia
Madrid

Iran Air
Tehran–Imam Khomeini

Jet2.com
Seasonal: Edinburgh

KLM
Amsterdam

KLM
operated by KLM Cityhopper
Amsterdam

Korean Air
Seoul–Incheon
Seasonal: Zürich1

Kuwait Airways
Seasonal: Kuwait City

LOT Polish Airlines
Warsaw–Chopin

Lufthansa
Frankfurt

Luxair
Luxembourg

Montenegro Airlines
Podgorica

Niki
Agadir, Catania, Faro, Fuerteventura, Gran Canaria, Lanzarote, Larnaca, Málaga, Marrakesh, Palma de Mallorca, Tenerife–South
Seasonal: Calvi, Chania, Corfu, Dubrovnik, Heraklion, Ibiza, Kalamata, Karpathos, Kos, Preveza, Reykjavík–Keflávik, Rhodes, Santorini, Zakynthos

Nordica
operated by LOT Polish Airlines
Tallinn

Norwegian Air Shuttle
Oslo–Gardermoen

Nouvelair
Seasonal: Enfidha

Onur Air
Seasonal: Istanbul–Atatürk

Pegasus Airlines
Ankara, Istanbul–Sabiha Gökçen
Seasonal: Antalya

People's Viennaline
St. Gallen/Altenrhein
Seasonal charter: Olbia, Preveza[31]

Qatar Airways
Doha

Royal Jordanian
Amman–Queen Alia

S7 Airlines
Moscow–Domodedovo

Scandinavian Airlines
Copenhagen

SkyWork Airlines
Basel/Mulhouse, Bern

SunExpress
Ankara, Antalya, Izmir
Seasonal: Dalaman

SunExpress Deutschland
Seasonal: Marrakesh, Varna

Swiss International Air Lines
Zürich

TAP Portugal
Lisbon

TAROM
Bucharest

Thai Airways
Bangkok–Suvarnabhumi (resumes 16 November 2017)[32]

Transavia
Rotterdam

Transavia France
Paris–Orly

Tunisair
Tunis
Charter: Djerba,[33] Enfidha[34]

Turkish Airlines
Istanbul–Atatürk, Istanbul–Sabiha Gökçen
Seasonal: Ankara, Antalya, Kayseri, Samsun, Trabzon

Ukraine International Airlines
Kiev–Boryspil

UTair Aviation
Moscow-Vnukovo

Volotea
Genoa, Marseille, Nantes

Vueling
Barcelona, Paris–Charles de Gaulle, Rome–Fiumicino

Wings of Lebanon
Beirut

text: Cargo[edit]

text:
Airlines
Destinations

Asiana Cargo
Frankfurt, Gothenburg, Seoul–Incheon, Moscow–Domodedovo

ASL Airlines Belgium
Athens, Liège, Ljubljana

Cargolux
Bangkok–Suvarnabhumi, Doha, Hanoi, Hong Kong, Luxembourg, Novosibirsk, Taipei–Taoyuan

FedEx Express
Budapest, Paris–Charles de Gaulle

Korean Air Cargo
Basel/Mulhouse, Brussels, Copenhagen, Milan–Malpensa, Navoi, Seoul–Incheon, Tel Aviv–Ben Gurion, Oslo–Gardermoen, Zaragoza

Silk Way Airlines
Baku, Hanoi, Milan–Malpensa, Seoul–Incheon

Turkish Airlines Cargo
Istanbul–Atatürk, Minsk

UPS Airlines
Budapest, Cologne/Bonn

text: Statistics[edit]

text: Traffic figures[edit]

text:
Traffic by calendar year. Official ACI Statistics

Passengers
Change from previous year
Aircraft operations
Change from previous year
Cargo
(metric tons)
Change from previous year

2005
15,859,050
 7.26%
252,988
 3.42%
180,066
13.77%

2006
16,855,725
 6.28%
260,846
 3.11%
201,870
12.11%

2007
18,768,468
11.35%
280,912
 7.69%
205,024
 1.56%

2008
19,747,289
 5.22%
292,740
 4.21%
201,364
 1.79%

2009
18,114,103
 8.27%
261,758
10.58%
198,407
 1.47%

2010
19,691,206
 8.71%
265,150
 1.30%
231,824
16.84%

2011
21,106,292
 7.19%
266,865
 0.65%
291,313
25.66%

2012
22,195,794
 5.02%
264,542
 0.87%
265,467
 8.89%

2013
21,999,926
 0.75%
250,224
 5.41%
268,155
 1.03%

2014
22,483,158
 2.20%
249,989
 0.09%
290,116
 8.19%

Source: Airports Council International. World Airport Traffic Reports
(Years 2005,[35] 2006,[36] 2007,[37] 2009,[38] 2011,[39] 2012,[40] 2013,[41] and 2014[42])

text: Ground transportation[edit]

text: Train[edit]

text: The Vienna S-Bahn line S7 provides a local service to the city centre taking approx. 25 minutes.[43] The more expensive City Airport Train connects the airport directly to Wien Mitte railway station, close to the city centre, in just 16 minutes.[44]

text: Additionally, the underground railway station has been expanded to accommodate long-distance trains. Since December 2014, the first trains passing Vienna's new main station, ICE services from Germany, terminate at the airport. Since December 2015, ÖBB Railjet services operate to the airport as well. Long-distance train rides between the airport and the main station take approx. 15 minutes.

text: Car[edit]

text: The airport lies directly adjacent to motorway A4 which leads from central Vienna to Budapest. It has its own exit named Flughafen Wien-Schwechat. Bratislava can be reached via motorway A6 which splits from the A4 in the east. Taxis and car rental facilities are available at the airport. There are also several taxi companies that operate at the airport.

text: Bus[edit]

text: Furthermore, there are also buses from the airport to various places in Vienna and to other cities including Bratislava, Budapest and Brno.

text: Accidents and incidents[edit]

text:
There has not been a fatal aviation accident at Vienna International Airport since 1955, when a Convair CV-340 crashed on approach to the airport, killing 7 of the 29 passengers and crew on board.[45]
On 27 December 1985, the El Al ticket counter was attacked by Abu Nidal, a Palestinian terrorist organization that simultaneously conducted a terrorist attack at Fumicino Airport in Rome. The attack in Vienna happened in a part of Terminal 1 that has since been demolished.[citation needed]
On 12 July 2000, Hapag-Lloyd Flight 3378 crashed short of the runway at Vienna International Airport. The cause of the incident was fuel exhaustion. There were no fatalities.