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Dream Theater

History

Formation and early years (19851987)

Founding members (from left to right) John Myung, Mike Portnoy, and John Petrucci in 1985.

Dream Theater was formed in September 1985 when guitarist John Petrucci and bassist John Myung decided to form a band in their spare time while studying at the Berklee College of Music. The pair came across drummer Mike Portnoy in one of Berklee’s rehearsal rooms, where he was asked to join the band. The trio started off by covering Rush and Iron Maiden songs in the rehearsal rooms at Berklee.

Myung, Petrucci, and Portnoy settled on the name Majesty for their newly formed group. According to the The Score So Far… documentary, they were waiting in line for tickets to a Rush concert at the Berklee Performance Center while listening to the band on a boom box. Portnoy commented that the ending of the song “Bastille Day” (from the album Caress of Steel) sounded “majestic”. It was then decided that Majesty would be the band’s name.

The trio then set out to fill the remaining positions in the group. Petrucci asked his high school band-mate Kevin Moore to play keyboards. After accepting the position, another friend from home, Chris Collins, was recruited as lead vocalist after band members heard him sing a cover of “Queen of the Reich” by Queensrche. During this time, Portnoy, Petrucci, and Myung’s hectic schedules forced them to abandon their studies to concentrate on their music, as they did not feel they could learn more in college. Moore also left his college, SUNY Fredonia, to concentrate on the band.

“Another Won”

“Another Won” from The Majesty Demos.

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The beginning months of 1986 were filled with various concert dates in and around the New York City area. During this time, the band recorded a collection of demos, titled The Majesty Demos. The initial run of 1,000 sold out within six months, and dubbed copies of the cassette became popular within the progressive metal scene. The Majesty Demos are still available in their original tape format today, despite being released officially on CD, through Mike Portnoy’s YtseJam Records.

In November 1986, after a few months of writing and performing together, Chris Collins was fired. After a year of trying to find a replacement, Charlie Dominici, who was far older and more experienced than anyone else in the band, successfully auditioned for the group. With the stability that Dominici’s appointment brought to Majesty, they began to increase the number of shows played in the New York City area, gaining a considerable amount of exposure.

Shortly after hiring Dominici, a Las Vegas group also named Majesty threatened legal action for intellectual property infringement related to the use of their name, so the band was forced to adopt a new moniker. Various possibilities were proposed and tested, among them Glasser, Magus, and M1, which were all rejected until Portnoy’s father suggested the name Dream Theater, the name of a movie house in Monterey, California.

When Dream and Day Unite (19881990)

Dream Theater in 1989: John Petrucci, Mike Portnoy, Charlie Dominici, Kevin Moore, John Myung

With their new name and band stability, Dream Theater concentrated on writing more material while playing more concerts in New York and in neighboring states. This eventually attracted the attention of Mechanic Records, a division of MCA. Dream Theater signed their first record contract with Mechanic on June 23, 1988 and set out to record their debut album. The band recorded the album at Kajem Victory Studios in Gladwyne, Pennsylvania. Recording the basic tracks took about 10 days, and the entire album was completed in about 3 weeks.

When Dream and Day Unite was released in 1989 to far less fanfare than the band had anticipated. Mechanic ended up breaking the majority of the financial promises they had made to Dream Theater prior to signing their contract, so the band was restricted to playing around New York City. The promotional tour for the album consisted of just five concerts, all of which were relatively local. Their first show was at Sundance in Bay Shore, New York opening for the classic rock power trio Zebra.

After the fourth show, Dominici was fired because of personal and creative differences. Shortly after, however, the band Marillion asked Dream Theater to open for them at a gig at the Ritz in New York, so Dominici was given the opportunity to perform one last time. It would be another two years before Dream Theater had a replacement vocalist.

Images and Words and Awake (19911994)

“Pull Me Under”

“Pull me Under” from Images and Words.

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Following Dominici’s firing, Dream Theater fought successfully to be released from their contract with Mechanic, and set about auditioning singers and writing material for their next album. In their search for a new singer, they auditioned over 200 people, among them former Fates Warning front man John Arch; all were turned down. In mid-1990, at a gig in New York, Dream Theater introduced Steve Stone as their new singer. He performed just three songs with the band before he was fired for performing less than adequately. It was five months before Dream Theater played another show, this time all-instrumental (under the name YtseJam). Until 1991, the band remained focused in an attempt to hire another singer and writing additional music. It was during this period that they wrote the majority of what would become the 1992’s Images and Words.

In January 1991, Kevin James LaBrie, of glam metal band Winter Rose, was flown from Canada to New York for an audition. LaBrie jammed on three songs with the band, and was immediately hired to fill the vocalist position. Once recruited, LaBrie decided to drop his first name to avoid confusion with the other Kevin in the band. For the next few months, the band returned to playing live shows (still mostly around NYC), while working on vocal parts for the music written before acquiring LaBrie. Derek Shulman and ATCO Records (now EastWest), a division of Elektra Records, signed Dream Theater to a seven album contract based on a three song demo (later made available as “The ATCO Demos” through the Dream Theater fan club).

The first album to be recorded under their new record contract was 1992’s Images and Words. For promotion, the label released a CD Single and video clip for the song “Another Day,” but neither made significant commercial impact. The song “Pull Me Under”, however, managed to garner a high level of radio airplay without any organized promotion from the band or their label. In response, ATCO produced a video clip for “Pull Me Under”, which saw heavy rotation on MTV. A third video clip was produced for “Take the Time”, but it was not nearly as successful as “Pull Me Under”.

The success of “Pull Me Under”, combined with relentless touring throughout the U.S. and Japan, caused Images and Words to achieve gold record certification in the States and platinum status in Japan. A tour of Europe followed in 1993, which included a show at London’s famed Marquee Club. The show was recorded and released as Live at the Marquee, Dream Theater’s first official live album. Additionally, a video compilation of their Japanese concerts (mixed in with documentary-style footage of the off-stage portion of the tour) was released as Images and Words: Live in Tokyo.

“A Mind Beside Itself: II – Voices”

“Voices” from Awake.

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Eager to work on fresh material, Dream Theater retreated to the studio in May 1994. Awake, Dream Theater’s third studio album, was released on October 4, 1994 in a hail of controversy among fans. Shortly before the album was mixed, Moore announced to the rest of the band that he was simply no longer interested in touring, nor did he favor the style of music Dream Theater performed and would be quitting Dream Theater to concentrate on his own musical interests. As a result, the band had to scramble to find a replacement keyboardist before a tour could be considered. The album was received very well by both critics and fans. The album has been seen by some as Dream Theater’s darkest album mainly due to lyrical content with many of the songs dealing with internal conflicts. For example, “The Mirror” explores the topic of alcoholism, from which Portnoy was recovering at the time.

Jens Johansson, who would go on to become a member of Stratovarius, was among the biggest names to audition, however the band members were eager to fill the position with keyboardist Jordan Rudess. Portnoy and Petrucci had come across Rudess in Keyboard Magazine, where he was recognized as “best new talent” in the readers’ poll. The two invited him to play a trial gig with the band at the Concrete Foundations Forum in Burbank, California. For the members of Dream Theater, the show went incredibly well, and Rudess was asked to fill the keyboardist position permanently, however Rudess opted to tour with The Dixie Dregs instead, since it granted him more personal latitude. Disappointed, Dream Theater hired fellow Berklee alumnus Derek Sherinian, whose previous work included stints with Alice Cooper and Kiss, to fill in for the Awake promotional tour. By the conclusion of the tour, the band decided to take Sherinian on as Moore’s full-time replacement.

A Change of Seasons and Falling Into Infinity (19951998)

“A Change of Seasons”

“A Change of Seasons” from A Change of Seasons.

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Once again finding themselves with a new member, Dream Theater did not immediately start working on new material. Fans around the world, united on the YtseJam Mailing List (the most popular form of communication between Dream Theater fans at that point), had started placing pressure on the band to officially release the song “A Change of Seasons”. It had been written in 1989 and was intended to be a part of Images and Words, but at almost 17 minutes, it was deemed too long for studio placement. However, the band did perform it live on occasion while continuing to revise it in the years leading up to 1995.

The petition was successful, and the group entered BearTracks Studios in New York in May 1995 to rewrite and record the 23 minute song with Sherinian contributing significantly to the final product. To disseminate “A Change of Seasons”, the band released it as an EP along with a collection of cover songs recorded live at the Uncovered fan club gig.

After a short run of small concerts to promote A Change of Seasons, Dream Theater took a break for a few months. To keep busy, however, the band released a special Christmas CD through their official fan club, consisting of rare live tracks recorded during the band’s early years. They continued releasing a new CD each Christmas until 2005. Also during the break the individual members set out to write compositions for their upcoming collaborative writing sessions.

Meanwhile, there were several changes at EastWest, and Dream Theater’s main contact within the label was fired. As a result, the new team at the company were unaccustomed to the relationship Dream Theater had with former EastWest personnel, and they pressured Dream Theater to write an album that was more accessible. In mid-1997, they entered the studio to write their next album. In addition to pressuring the band to adopt a more mainstream sound, EastWest recruited writer/producer Desmond Child to work with Petrucci on polishing the lyrics to his song “You Or Me”. The whole band substantially reworked the music to the song, and it appeared on the album as “You Not Me” with a chorus that was barely reminiscent of the original. Child also had a noticeable impact on the album, with a shift towards compositions that were less complex and more radio-friendly.

The band wrote almost two CDs worth of material, including a 20 minute long follow-up to the Images and Words song “Metropolis Part 1: The Miracle and the Sleeper”. The label, however, did not allow the release of a double album because it felt that a 140-minute record would not be digestible by the general public. James LaBrie also felt that the CD should be a single disc. The unused songs were later released in the Ytsejam Records release The Falling Into Infinity Demos.

The material that made it onto the album proper was released as Falling Into Infinity, which received a mixed reception from fans who were more familiar with the band’s earlier sound. While the album was moderately progressive-sounding, tracks such as “Hollow Years” and “You Not Me” prompted some to believe it was the dawn of a new, mainstream-sounding Dream Theater. Overall, the album was both a critical and commercial disappointment. Although Portnoy didn’t speak out publicly at the time, many years later, in the 2004 DVD commentary for 5 Years in a Livetime, he revealed that he had been so discouraged during this period he’d considered disbanding Dream Theater altogether.

During the European leg of the Touring Into Infinity world tour, two shows were recorded for a live album entitled Once in a LIVEtime, in France and The Netherlands. The album was released at around the same time as the video 5 Years in a Livetime, which chronicled the time from when Kevin Moore left the band up to the Falling Into Infinity promotional tour.

Scenes from a Memory and Metropolis 2000 (19992001)

In 1997, Magna Carta Records’ Mike Varney invited Portnoy to assemble a progressive ’supergroup’ to work on an album, which would become the first in a long string of side-projects for the members of Dream Theater. The lineup consisted of Portnoy on drums, Petrucci on guitar, Tony Levin on bass, and keyboardist Jordan Rudess, who had finished with the Dixie Dregs. The band assumed the name Liquid Tension Experiment, and would act as a medium through which Portnoy and Petrucci could once again court Rudess to join Dream Theater. In 1999, he accepted an offer to become the third full-time Dream Theater keyboardist, replacing Sherinian.

With yet another new member, Dream Theater entered BearTracks Studio once again to write and record their next album. As a result of an ultimatum from Portnoy, the label gave the band complete creative control. The follow-up to “Metropolis Part 1″, which was written during the Falling Into Infinity sessions (but not used on that album), was taken off the shelf for reworking. They decided to expand the 20-minute song into a complete concept album, with a story revolving around themes such as reincarnation, murder and betrayal. To avoid stirring up the fan base, a tight veil of secrecy enveloped the writing and recording process. The only things fans were privy to prior to its release were a track list that had been leaked against the band’s wishes, and a release date. In 1999, Metropolis Pt. 2: Scenes from a Memory was released to high critical acclaim. It was hailed as Dream Theater’s masterpiece by many fans and critics alike, despite only reaching #73 on the US album chart.

The album was mixed by David Bottrill, but only a few of his mixes made it on the final album. The bulk was remixed by Kevin Shirley. The rest of the mixes can be heard in the band’s official bootleg “The Making of Scenes from a Memory”.

A massive world tour followed recording the album, taking over a year to complete, by far their largest to that point. The concerts reflected the theatrical aspect of the album. They played the entire Scenes From a Memory album from start to finish, with a video screen on the back wall of the stage showing a narrative companion to the story of the album. In addition to playing the album in its entirety, the band also played a second set of Dream Theater songs, as well as a few covers and improvisations of old Dream Theater material. For one extra special show, at the Roseland Ballroom in New York City, actors were hired to play characters in the story, and a gospel choir was enlisted to perform in some sections of the performance.

This show, the last North American date of the tour, was recorded for the band’s first DVD release. After many technical delays, the DVD, titled Metropolis 2000, was released in early 2001. Shortly after, the band announced that an audio version of the concert, with the entire four-hour long set-list (most of which had to be cut from the DVD to save space), would be released.

The cover for the CD version of the concert, titled Live Scenes from New York, depicted one of Dream Theater’s early logos (the Images and Words-era burning heart, modeled on the Sacred Heart of Christ) modified to show an apple (as in “Big Apple”) instead of the heart, and the New York skyline, including the twin towers of the World Trade Center, in the flame above it. In an unfortunate coincidence, the album was released on the same date as the September 11 attacks. The album was quickly recalled by the band and was re-released with revised artwork later.

Six Degrees of Inner Turbulence (2002)

“Overture”

“Six Degrees Of Inner Turbulence” from Six Degrees of Inner Turbulence.

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Putting the whole ordeal behind them, Dream Theater once again entered BearTracks Studios to record their sixth studio album. Four years after they first petitioned EastWest to allow them to release a double album, they finally got their chance with Six Degrees of Inner Turbulence. The first disc consisted of five tracks of 713 minutes in length, and the second disc was devoted entirely to the 42-minute title track, which is to date the longest song Dream Theater has written. The genesis of that song came when Rudess wrote what would become the “Overture” section of “Six Degrees of Inner Turbulence”, and the band took some different melodies and ideas contained within it and expanded them into chapters of a complete story.

Six Degrees of Inner Turbulence ended up being received very well by critics and the press. It was the most publicized of Dream Theater’s albums since Awake, debuting on the Billboard charts at #46 and the Billboard Internet charts at #1. Throughout the next year and a half they toured the world once more, with an expanded live show including a select few special “album cover” gigs (see Cover songs section, below), in which they played Metallica’s Master of Puppets and Iron Maiden’s The Number of the Beast in their entirety.

Train of Thought and Live at Budokan (20032004)

During 2003, Dream Theater entered the studio to write and record another album. Since Scenes from a Memory was written and recorded simultaneously in the studio, in the spirit of change, the band took a different approach by setting aside three weeks for writing prior to recording. In the middle of the recording sessions for the album, a special tour with two other progressive metal bands, Queensrche and Fates Warning, was undertaken in North America. The “Escape from the Studio American tour”, as it was referred to in Dream Theater’s promotional material, featured Queensrche and Dream Theater as co-headlining acts with Fates Warning performing supporting act duties. As a finale for each concert there was an extended encore in which both Dream Theater and Queensrche performed together on stage simultaneously, often playing cover songs.

At the completion of the tour, Dream Theater returned to the studio to finish the recording of their seventh album, Train of Thought. They concentrated more on writing a great song-oriented album, a mindset inspired by covering Master of Puppets and Number of the Beast on a previous concert tour. As a result, the more straight-forward metal sound of those two albums seemed to creep into Train of Thought. The album was a critical success, but it alienated a fair proportion of Dream Theater’s fans[who?] who preferred traditional progressive rock, such as Yes or King Crimson. Regardless, it seemed to expand Dream Theater’s fan base into new territory, capturing many more metal fans.

Another world tour followed, during which Dream Theater performed support act duties for one of their major influences, Yes. A modest North American tour was completed by the two bands, after which Dream Theater continued to tour the world with their so-called “An Evening With Dream Theater” shows.

Their next move was to release another live CD/DVD combination, this time recorded at the famous Nippon Budokan Hall in Tokyo, Japan on their Train of Thought world tour. Live at Budokan was released on October 5, 2004, and further propelled Dream Theater’s reputation as one of the premier live acts in progressive metal.

Octavarium and Score (20052006)

“I Walk Beside You”

“I Walk Beside You” from Octavarium.

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Dream Theater after concert in Paris (2005). Left to right: Portnoy, Petrucci, LaBrie, Myung, Rudess

Upon the completion of their Train of Thought promotional tour, Dream Theater entered the Hit Factory studios in NYC to record their eighth album. As it turned out, they would be the last group ever to record in that famous studio, and after they wrapped up their final session, the lights were turned off at the studio forever.

Octavarium was released on June 7, 2005, and took the band’s sound in yet another new direction. Among its eight songs is a continuation of Portnoy’s “Twelve-step” saga (“The Root of All Evil”, steps 6-7 in the 12-step plan), as well as the title track, a musically versatile 24 minute epic rivaling “A Change of Seasons”. Octavarium received mixed reviews from fans and has been the subject of spirited debate. Octavarium was the last album under their seven-album deal with Elektra Records, which had inherited the contract upon its absorption of EastWest Records.

Dream Theater toured extensively throughout 2005 and 2006 to celebrate their 20th Anniversary as a band, including a headlining spot on Gigantour. During a show on August 2, 2005 in Dallas, the band paid tribute to Pantera’s late guitarist Dimebag Darrell by performing the song “Cemetery Gates” as an encore. In addition was the unexpected appearance of fellow musicians Russell Allen, Burton C. Bell and Dave Mustaine, who joined the band on stage to perform parts of the song.

Dream Theater later departed from Gigantour and continued on with their own series of concerts. Several concerts were recorded and released for the Fanclubs. The 20th anniversary tour concluded with a show at Radio City Music Hall in New York City on April 1, 2006. Though the show had minimal promotion, it was sold out days after tickets were made available. This show, which was recorded for a CD/DVD called Score released on August 29, 2006 through Rhino Records, was the band’s first concert accompanied by an orchestra (the “Octavarium Orchestra”).

Systematic Chaos, Greatest Hit and Chaos in Motion (2007-2008)

Dream Theater’s next album Systematic Chaos was released on June 5, 2007. The record marked their first with new label Roadrunner Records, a subsidiary of Atlantic Records. Roadrunner implemented increased promotion for the album, and as a result, Systematic Chaos reached number 19 on the Billboard 200. It also saw the release of a video for “Constant Motion” on July 14, the band’s first music video since Hollow Years in 1997. An authorized book entitled Lifting Shadows, detailing their first twenty years, was also released in 2007, with an updated and expanded edition released in 2009 Systematic Chaos contains eight tracks, but technically only seven songs. The album contains an epic titled “In the Presence of Enemies”, bookending the album as tracks 1 and 8, Portnoy’s continuing AA Saga with the song “Repentance”, and a song of political nature, “Prophets of War”.

The 2007/2008 Chaos In Motion World Tour started off in Italy. Dream Theater played in the Gods of Metal concert on June 3, 2007. Dream Theater also appeared at the Fields Of Rock Festival in the Netherlands on June 17, 2007. They also played at various other European festivals including the UK’s Download Festival and the French festival Hellfest Summer Open Air with other bands such as Megadeth, Korn, Mastodon and Slayer.

Dream Theater returned to perform the North American leg of the tour on July 24 in San Diego, California and wrapped up on August 26 in Philadelphia, Pennsylvania. They played with opening acts Redemption and Into Eternity. The “Chaos In Motion” tour continued for the rest of the year and into 2008, playing shows in Asia, South America and, for the first time, Australia.

On April 1, 2008, a two-disc compilation album entitled Greatest Hit (…and 21 Other Pretty Cool Songs) was released by the band. The title jokingly references the song “Pull Me Under”, the band’s only significant radio hit. It also includes three song re-mixes from their second album, Images and Words, five edited versions of previously released songs, and a track from a single B-side. Unlike most Greatest Hits compilations, Dream Theater was actively involved with the album, coming up with the tracklisting that they felt best represented their musical careers.

Mike Portnoy, after the release of Greatest Hit, organized a new tour called Progressive Nation 2008. Unlike previous Dream Theater tours, performances were held in cities that they had not visited before in the past (such as Vancouver, Canada) or cities they hadn’t played in for several years. This tour also marked the first time, since the release of Images and Words, where the group performed in small venues and performance halls.

After this tour, the band released a DVD set called Chaos in Motion 20072008, a compilation of songs from the tour supporting their 9th album, Systematic Chaos. There were two sets of DVDs released. One was a regular two disk set while the Special Edition set contained three CDs of music that went along with the DVDs. It was released on September 30, 2008.

Black Clouds & Silver Linings and God of War: Blood & Metal EP (2008resent)

Mike Portnoy announced on June 2, 2008 that the band would be entering the studio to record a new album. On October 7, 2008, Dream Theater began work on their 10th album. The album, which is titled Black Clouds & Silver Linings, was released on June 23, 2009. In addition to the standard CD, the album is available on vinyl LP, as well as a 3-disc Special Edition CD that includes the full album, a CD of instrumental mixes of the album and a CD of six cover songs.

On May 1, Mike Portnoy spoke to Metal Hammer about the new album for their podcast saying that while ‘The Shattered Fortress’ was the last in a series of songs about his 12 Steps recovery from alcoholism, ‘The Best of Times’ “is a real heavy personal subject about my dad who passed away during the making of the album,” adding, “He was battling cancer throughout its making.” The band has also announced a second Progressive Nation tour, including the tour’s first performances in Europe. Opeth, Bigelf and Unexpect supported Dream Theater in Europe, while Zappa Plays Zappa and Scale the Summit played the North American leg.

On June 22, 2009, Mike Portnoy announced, on his forum, that there was a lineup change for the Progressive Nation 2009 tour in North America. Pain of Salvation and Beardfish were unable to tour with Dream Theater and Zappa Plays Zappa due to financial troubles within their respective record labels. He also announced two bands that will be filling the vacated slots for the Progressive Nation 2009 tour in North America, Bigelf and Scale The Summit. On this tour Dream Theater has often done an extended jam on Six Degrees of Inner Turbulance’s “Solitary Shell,” making it around thirteen minutes in length. Similarly, they also did an extended jam on “Surrounded” during the Chaos In Motion tour.

On July 1, 2009, the album debuted at #6 on Billboard’s Top 200 album chart, with first week sales totalling 40,285. On November 12, 2009, Mike Portnoy announced that Dream Theater would enter the studio right after New Year’s to write and record a brand new instrumental track for inclusion on the upcoming PS3 game God of War III soundtrack. Titled “Raw Dog” (an anagram of “War God”), the instrumental was sent to Roadrunner Records January 8, 2010. This marked the first time that the band has written and recorded an exclusive track for an outside project.

In December 2009, during their Black Clouds & Silver Linings tour whilst visiting Australia Dream Theater appeared with one support act, Pain of Salvation, who apparently sorted out enough of their financial difficulties with their record label. In March 2010, they will tour South America with Bigelf.

On February 17, 2010, Avenged Sevenfold stated that they had entered the studio, along with Dream Theater drummer Mike Portnoy, to drum for the record, in place of The Rev.

Logo and imagery

Dream Theater wordmark and “Majesty” symbol

Despite the band being forced to change their name, Dream Theater adopted a custom logo (known as the Majesty symbol) and wordmark which has appeared on the vast majority of their promotional material and on the front cover of every Dream Theater studio album. The Majesty symbol is derived from Mary, Queen of Scots’ mark, which was re-worked by Charlie Dominici for use on the album artwork for When Dream and Day Unite. It consists of a capital Phi, a capital Mu, and a capital Lambda.

Live performances

Throughout their career, Dream Theater’s live shows have gradually become bigger, longer, and more diverse. The most obvious example of this is their rotational set list policy. That is, every single night of every tour has its set list devised by Portnoy using a meticulous process that ensures its uniqueness. Factors such as set lists from previous cities are taken into account to ensure that people who see Dream Theater multiple times within the same area will not see the same songs performed twice, and even the set list from the last time the band was in a particular city is taken into account for the benefit of fans who see the band on successive tours.

Rudess and Petrucci dueling in Buenos Aires, Argentina (2008).

For this to be possible, the band prepares to play the majority of its catalogue at any performance, depending on what Portnoy decides to program for that night. This process also requires the employment of a complex lighting system to load pre-configured lighting cues based on the individual songs.

Some of Dream Theater’s more notable touring partners include Deep Purple, Emerson, Lake & Palmer, Iron Maiden, Joe Satriani, King’s X, Marillion, Megadeth, In Flames, Pain of Salvation, Porcupine Tree, Opeth, Queensrche, Riverside, Spock’s Beard, Fear Factory, Enchant, Symphony X, and Yes. In 2005, Dream Theater toured North America with the Gigantour festival, co-headlining with Megadeth, and have played with Megadeth and Iron Maiden physically on stage.

The band’s full world tours, since Six Degrees of Inner Turbulence, have predominantly been so-called “Evening with…” tours, in which the band performs for at least three hours with an intermission and no opening act. The show that was recorded for Live Scenes From New York was nearly four hours in length, and resulted in Portnoy almost being hospitalized after acquiring severe food poisoning from the food he ate before the show.

“Twinkle Twinkle Little Star”

“Twinkle, Twinkle, Little Star”, live at Nagoya, Japan.

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There is also a significant amount of humor, casualness, and improvisation attached to a Dream Theater concert. In the midst of “A Change of Seasons” it is quite common for themes such as those for Major League Baseball and The Simpsons to be quoted, and Rudess routinely modifies his solo section in the song and others, often playing the ragtime section of “When the Water Breaks” from Liquid Tension Experiment 2. Several songs included on Once in a LIVETime include snippets of others’ pieces, such as Lynyrd Skynyrd’s “Free Bird” and Rimsky-Korsakov’s “Flight of the Bumblebee.” Other quotations include “Mary Had a Little Lamb” during “Endless Sacrifice” on the Gigantour, a calliope-inspired break between verses of “Under a Glass Moon”, a quote of “Don’t Cry for Me, Argentina”’s main melody played by Petrucci while performing the intro solo of “Through Her Eyes” in Buenos Aires, the Turkish March at a concert in Istanbul, and the opening riff of Rush’s “A Passage to Bangkok” at a show in Bangkok, Thailand. On the most recent “20th Anniversary World Tour” Rudess has even thrown in a short “Twinkle, Twinkle, Little Star” theme in a break during “Endless Sacrifice”, and during a concert in Israel he started a spontaneous “Hava-Nagilla” later accompanied by the rest of the band.

Occasionally, a member of the audience is picked at random to perform on stage, an example of which can be seen during Portnoy’s drum solo on the Live at Budokan DVD. There have also been many impromptu renditions of “Happy Birthday” when a member of the band or crew has a birthday corresponding to a tour date, which normally results in a birthday cake being thrown at the subject.

Perhaps the best example of Dream Theater’s unpredictable concert structure is that during Derek Sherinian’s time with the band. At selected shows the band members all swapped instruments and performed an encore as the fictitious band dubbed Nightmare Cinema. They usually performed a cover of Deep Purple’s “Perfect Strangers”, and, on one occasion, Ozzy Osbourne’s “Suicide Solution”. At some shows, Sherinian, Petrucci and Portnoy would take the stage together under the name “Nicky Lemons and the Migraine Brothers”. Sherinian, wearing a feather boa and novelty sunglasses, would perform a pop-punk song entitled “I Don’t Like You” with Petrucci and Portnoy backing. In Chaos in Motion tour, in several concerts before “Trial of Tears”, Portnoy and Petrucci would change positions and play Van Halen’s “Eruption”.

Dream Theater’s largest audience as a headlining act was 20,000 in Santiago, Chile on December 6, 2005. This was during their first tour of South American countries other than Brazil (which they had visited in 1997 and 1998). The show was released on DVD through Portnoy’s YtseJam Records.

In the Score and Chaos in Motion DVDs, an animation has accompanied certain parts of the songs, showing the band playing along to the music as cartoon characters. On the Score DVD, during the song Octavarium, the band is seen performing in an octagonal shaped maze. As the animation continues Jordan Rudess spontaneously turns into Santa Claus and John Petrucci catches fire. In “The Dark Eternal Night” from the Chaos in Motion DVD, the band battles against a monster by shooting fireballs from guitars, throwing drum sticks, and screaming.

In 2008 Dream Theater started the “Progressive Nation ‘08″ tour, along with Opeth, Between the Buried and Me, and 3. The tour is the brainchild of Mike Portnoy, who stated, “I’ve been wanting to assemble a package tour like this for many years now. With all of the festivals and package tours that go through America, I’ve been talking with our manager and agent for over 10 years now about doing something that focuses on the more progressive, musician-oriented side of hard rock and metal. I decided it was time to stop talking the talk, lace up and finally walk the walk.”

On February 13, 2009, Dream Theater announced the official line up for their Progressive Nation 2009 tour. The tour was originally set to feature bands including Swedish bands Beardfish and Pain of Salvation, as well as Zappa plays Zappa. On June 22, 2009, Mike Portnoy announced that Pain of Salvation and Beardfish would not be touring the North American leg of the Progressive Nation 2009 tour due to record label complications. In the same announcement, Portnoy stated that the bands Scale the Summit and Bigelf would replace Pain of Salvation and Beardfish on the tour. This lineup change has put Bigelf on both the North American and European legs of the Progressive Nation 2009 tour. The tour’s North American leg ran throughout July and August 2009. On March 26, 2009 it was announced that Dream Theater would take the Progressive Nation tour to Europe for the first time alongside Opeth, Bigelf and Unexpect. The tour ran throughout September and October 2009.

Bootleg culture

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Mike Portnoy started an official bootlegs series in response to Dream Theater fans’ affinity for live versions of their concerts. Dream Theater is one of the most actively bootlegged bands in the progressive metal genre. Since their very first shows in New York as Majesty, fans have recorded almost every single show that Dream Theater have played (occasionally there are three or four versions of a single concert), and some very elaborate and professional recordings have been released.

However, not every member in the band condones the release of Dream Theater bootlegs. Portnoy is the most pro-bootlegging member, since he was an avid collector of many bootlegs in his younger days and keeps his own personal archive of Dream Theater material in his basement. Petrucci and LaBrie have voiced opposition to people recording their concerts. Petrucci takes issue with bootleggers because he prefers audience members to concentrate on the musicians on stage, and not the level adjustments on their recording device. LaBrie, on the other hand, argues that bootlegging takes ownership and control over Dream Theater’s performances away from the band themselves and into the hands of the public. Myung has expressed mild opposition to bootlegging, but in some interviews has mentioned that he does not particularly take great issue with it.

Dream Theater have released a series of official bootlegs, demos and other rarities through YtseJam Records, headed by Portnoy. They include demos the band put out before official albums, as well as many live shows, including shows where the band has covered a particular album. Albums covered include The Dark Side of the Moon, Made in Japan, Master of Puppets, and Number of the Beast.

Cover songs

Dream Theater has been known for covering other artists’ work throughout their career. They took this practice to a new level during the promotional tour for Six Degrees of Inner Turbulence. At three special gigs, one each in Barcelona, Chicago and New York City, they covered Metallica’s Master of Puppets album in its entirety after a full set of Dream Theater material. This came as a surprise to fans, as there was no sign that this was to occur, other than it being announced that the gigs involved, which were on the second night of a two-night stand in each city, would be “extra special”. This tradition can most likely be traced back to one of Mike Portnoy’s favorite bands, Phish, who began a series of performing “musical costumes” of entire albums from other artists each Halloween beginning in 1994. Portnoy devised this “album cover” as the first in a series of gigs to be played as tributes to bands that had been influential in the formation and development of Dream Theater. The covers set divided many fans who attended the shows, with some people saying that they went to a Dream Theater concert to see original music and not another artist’s work. Others, however, said that it was a bonus and not a replacement for a normal Dream Theater concert, since an ordinary gig had been played the night before.

On the next leg of the tour they covered Iron Maiden’s The Number of the Beast and received a similar reaction to Master of Puppets, although it was already known that a cover was to be performed that night because the tour itinerary included two successive gigs in a single city. On October 11, 2005, Dream Theater covered Pink Floyd’s The Dark Side of the Moon. Dream Theater’s official webpage stated that the second sets of the second nights in Amsterdam, London, Buenos Aires, So Paulo and Tokyo (October 11, October 25, December 4, December 11 and January 13 respectively), and also the second set of the January 15 show in Osaka, would be a classic album covered in its entirety. The Dark Side of the Moon was played again on October 25 in London. However, in Buenos Aires (December 4) and So Paulo (December 11) the ‘classic album’ played was Dream Theater’s own Metropolis Pt. 2: Scenes from a Memory, to make up for not having visited Argentina and Brazil in their Metropolis 2000 tour. On January 13, 2006 (Tokyo) and on the 15th (Osaka), Dream Theater covered Deep Purple’s live album Made in Japan. Portnoy says that he has one more cover show planned, but refuses to reveal when it will occur, or what album will be covered.

During Gigantour 2005, Dream Theater did a cover of Pantera’s “Cemetery Gates” as a tribute to “Dimebag” Darrel Lance Abbott. As an added bonus, they had Burton C. Bell of Fear Factory, and Russell Allen of Symphony X do guest vocals and Dave Mustaine of Megadeth, do the main solo for the song.

In March 2006, Dream Theater played the rare Rush song “Jacob’s Ladder” at a show in Toronto. John Petrucci said a few days later in Asbury Park, New Jersey, prior to the night’s show, that “Rush wouldn’t play it, so we thought we’d play it for them.”

In addition, Dream Theater released several live cover songs on their EP A Change of Seasons, including songs from Elton John, Deep Purple, Led Zeppelin, Queen, Pink Floyd, Genesis, Journey, Kansas, and Dixie Dregs.

In 2008, they recorded a version of Iron Maiden’s “To Tame a Land” for a Kerrang magazine compilation entitled Maiden Heaven. This song was later included on the special edition of Black Clouds and Silver Linings

Dream Theater also recorded a number of cover songs for their 2009 album Black Clouds & Silver Linings. The songs came as a bonus disc in the special editions version of the album.

Dream Theater played “Hava Nagila”, the traditional Jewish song, during “Metropolis Pt. 1: The Miracle and the Sleeper” at a sold-out concert in Tel Aviv, Israel on June 16, 2009.

On August 14, 2009 during a Toronto show, Dream Theater played the Rush song “The Camera Eye”, which was originally released on Rush’s Moving Pictures album.

Discography

Main article: Dream Theater discography

When Dream and Day Unite (1989)

Images and Words (1992)

Awake (1994)

A Change Of Seasons (1995)

Falling into Infinity (1997)

Metropolis Pt. 2: Scenes from a Memory (1999)

Six Degrees of Inner Turbulence (2002)

Train of Thought (2003)

Octavarium (2005)

Systematic Chaos (2007)

Black Clouds & Silver Linings (2009)

In addition to the above official albums, the members of Dream Theater, past and present, have contributed to hundreds of bootleg albums, both official and unofficial, side projects, collaborations with other artists, and guest appearances.

Band members

Main article: List of Dream Theater band members

Current members

James LaBrie – Lead vocals, Percussion (1991-present)

John Myung – Bass guitar, Chapman stick (1985-present)

John Petrucci – Guitars, Backing vocals (1985-present)

Mike Portnoy – Drums, Percussion, Backing vocals (1985-present)

Jordan Rudess – Keyboards, Continuum, Lap steel guitar (1999-present)

Former members

Chris Collins – Lead vocals (1986)

Charlie Dominici – Lead vocals (1987-1989)

Kevin Moore – Keyboards (1986-1994)

Derek Sherinian – Keyboards, Backing vocals (1994-1998)

Awards and certificates

RIAA gold and platinum certification

Images and Words (Gold) – February 2, 1995

Metropolis 2000: Live Scenes From New York (Gold) – November 8, 2002

Live at Budokan (DVD) (Platinum) – January 26, 2005

Live in Tokyo/5 Years in a Livetime (Platinum) – March 22, 2006

Score (DVD) (Platinum) – October 11, 2006

Keyboard Magazine

Jordan Rudess was awarded the following Keyboard Magazine Reader’s Poll award’:

Best New Talent (1994)

Burrn magazine’s best keyboards player of the year (2007)

Modern Drummer

Mike Portnoy won the following Modern Drummer magazine Reader’s Poll awards:

Best Up & Coming Talent (1994)

Best Progressive Rock Drummer (1995-2006)

Best Recorded Performance (1995 for Awake, 1996 for A Change of Seasons, 1998 for Falling Into Infinity, 2000 for Metropolis, Pt. 2: Scenes From a Memory, 2002 for Six Degrees of Inner Turbulence, and 2007 for Score)

Best Clinician (2000, 2002)

Best Educational Video/DVD (2000, 2002)

Hall of Fame Inductee (2004)

Guitar World

The album Metropolis Pt. 2: Scenes from a Memory was ranked #95 on the magazine’s list of the 100 Greatest Guitar Albums of All Time.

Total Guitar

John Petrucci won Guitarist of the year award (2007).

Other recognitions

At Dream Theater’s Salt Lake City show, Governor Jon Huntsman, Jr. signed a proclamation making July 30, 2007 “Dream Theater Day”.

In December 2007, Dream Theater was chosen as Xbox Live’s artist of the month.

Dream Theater’s music video “Constant Motion” was voted second in the Headbanger’s Ball 2007 competition.

Dream Theater’s music video “Forsaken” was voted fifth in the Headbanger’s Ball 2008 competition.

Dream Theater’s song “Panic Attack” off of their album Octavarium is featured in the video game Rock Band 2. Additionally, the song “Constant Motion” is downloadable content for the Rock Band series.

The song “Pull Me Under” from the album Images and Words is also featured on Guitar Hero: World Tour.

Since August 12, 2008 (Xbox 360) and August 14, 2008 (PS3), Dream Theater’s song “Constant Motion” has been available for download for Rock Band. For the first month, it was available for a promotional price equivalent to .99 USD, but later reverted to a normal .99 cost for Rock Band downloadable content.

Dream Theater played twice on Xbox 360s Game With Fame event. They played Halo 3 in December 2007 and Call of Duty: World at War in June 2009.

Notes

^ a b c d Billboard Chart history for Dream Theater can be seen at Billboard.com.

^ “February 9, 2007″. Nielsen Soundscan News. 2007. http://www.marketingtomenconference.com/marketingtomen/bb_article_display.jsp?vnu_content_id=1003544204. Retrieved 2007-02-11. 

^ “When Dream Theater and Roadrunner Records Unite!”. dreamtheater.net. 2007. http://www.roadrunnerrecords.com/artists/DreamTheater/video.aspx. Retrieved 2007-02-12. 

^ a b c d e This was referenced in the documentary “The Score so Far”, on the second disc of the Score DVD.

^ Portnoy, Mike (2003). “The Majesty Demos 1985-1986″ [CD Liner Notes]. New York: Ytsejam Records.

^ “The Dream Theater FAQ – Graphic Version”. Gabbo.net. http://www.gabbo.net/dt/faq/. Retrieved 2009-01-02. 

^ a b Portnoy, Mike (2004). And Nathan Edmonds help produce “When Dream and Day Unite Demos” 1987-1989 [CD Liner Notes]. New York: YtseJam Records.

^ Dominici, Charlie. When Dream And Day Unite liner notes (2004 re-release).

^ a b c d Please see MikePortnoy.com tourography for more information on this tourdate.

^ Portnoy’s tourography: June 9, 1990 tour date

^ EastWest Records Press Release.

^ Nine Christmas CDs were released through Dream Theater’s fan club before it was closed down in 2005. See DTIFC on Dream Theater.net.

^ LaBrie, James. (Summer ‘97) Images & Words No. 14, pg. 5

^ Falling Into Infinity Demos

^ Portnoy, Mike (1998). “Liquid Tension Experiment” [CD Liner Notes]. New York: Magna Carta Records.

^ “Mike Portnoy FAQ”. http://www.mikeportnoy.com/aboutmike/faq/answers/12.aspx#213. 

^ DreamTheater.net reported that Six Degrees of Inner Turbulence had reached #1 on the Billboard Internet Charts.

^ Mike Portnoy (2007) “In Constant Motion” Instructional DVD, Train of Thought album analysis.

^ http://digitalprosound.digitalmedianet.com/articles/viewarticle.jsp?id=45690

^ “Lifting Shadows – The Authorised Story Of Dream Theater”. Dreamtheaterbook.com. http://www.dreamtheaterbook.com/. Retrieved 2009-01-02. 

^ Gods of Metal official website

^ “DREAM THEATER Begins Recording New Album, Seeks New Label Home”. Blabbermouth.net

^ “.”

^

^ http://www.metalhammer.co.uk/news/dream-theater’s-mike-portnoy-pens-tribute-to-late-father/

^ Holy Shit, Dream Theater debut’s at 6 on Billboard Top 200, The Gauntlet

^ http://www.mikeportnoy.com/forum/m2443312.aspx

^ http://www.dreamtheater.net/tourdates.php#dtnzaustralia

^ The mark used by Mary, Queen of Scots, is available on DreamTheater.net.

^ An embroidery showing the Mary, Queen of Scots, symbol in use

^ Dixon, Brad et al. “What is the ’symbol’ DT use?”.

^ Campbell, Courtney. “Mike Portnoy – Dream Theater”. Earplugs Required.

^ See the Metropolis 2000: Scenes From New York DVD

^ Hansen, Scott & Portnoy, Mike. “What this I hear about Mike being really sick after the Roseland (DVD) show? What happened?”. MP FAQ.

^ Voices UK: Dream Theater Fan Club “Dream Theater News: Record crowd”

^ Octavarium animation

^ NADS Animation By: Mika Tyyska

^ “Progressive Nation 2008 – Press Release”. dreamtheater.net (Dream Theater). 2007-11-05. http://www.dreamtheater.net/news_dreamtheater.php#prognation. Retrieved 2008-05-11. 

^ http://www.dreamtheater.net/news_dreamtheater.php#pnlineup

^ http://www.dreamtheater.net/tourdates.php Progressive Nation Tour Dates

^ “YtseJam Records – The Official Dream Theater Bootlegs”. Ytsejamrecords.com. http://www.ytsejamrecords.com. Retrieved 2009-01-02. 

^ Hansen, Scott & Portnoy, Mike. “What are all the aspects involved in covering an entire album by another band? What does Mike take into consideration when picking an album?”. MP FAQ.

^ http://www2.kerrang.com/2008/06/maiden_heaven_track_listing_re.html

^ http://whiplash.net/materias/news_874/091017-dreamtheater.html

^ http://www.dreamtheaterforums.org/discography/page4.html

^ “RIAA”. Riaa.com. http://www.riaa.com. Retrieved 2009-01-02. 

^ Jordan Rudess biography

^ http://rateyourmusic.com/list/Boggs1027/guitar_worlds_100_greatest_guitar_albums_of_all_time

References

Bredius, Mark. Dream Theater – The Official Site. (Retrieved February-April, 2005.)

Dixon, Brad et al. Official Dream Theater FAQ. (Retrieved February-April, 2005, moved c. 2007.)

Hansen, Scott & Portnoy, Mike. Dream Theater Tourography. (Retrieved February-April, 2005.)

King, Brian. (2003). “JaM Progductions! Interview with John Petrucci and Mike Portnoy”. Theater of Dreams 29, pp. 1420.

Hansen, Scott. (2003). “James LaBrie: As this man thinks”. Theater of Dreams 27/28, pp. 2630.

Hale, Mark (1993). “1731 Majesty”. Headbangers (First edition, second printing ed.). Ann Arbor, Michigan: Popular Culture, Ink. ISBN 1-56075-029-4. 

External links

Wikimedia Commons has media related to: Dream Theater

Official website

Official English speaking fan club

HOME Dream Theater Official Turkish Fan Club

Video interview of Mike Portnoy, subbed in French

Photo Gallery: Dream Theater @ Brisbane Convention Centre 3 December 2009 – LifeMusicMedia.com

v  d  e

Dream Theater

James LaBrie  John Petrucci  John Myung  Jordan Rudess  Mike Portnoy

Chris Collins  Charlie Dominici  Kevin Moore  Derek Sherinian

Studio albums

When Dream and Day Unite  Images and Words  Awake  Falling into Infinity  Metropolis Pt. 2: Scenes from a Memory  Six Degrees of Inner Turbulence  Train of Thought  Octavarium  Systematic Chaos  Black Clouds & Silver Linings

Live releases

Live at the Marquee  Once in a LIVEtime  Live Scenes from New York  Live at Budokan  Score  Chaos in Motion 20072008

Compilations

Greatest Hit (…and 21 Other Pretty Cool Songs)

EPs

A Change of Seasons  Wither

Videos

Images and Words: Live in Tokyo  5 Years in a Livetime  Metropolis 2000: Scenes from New York  Live at Budokan  Score  Chaos in Motion 20072008

Singles

“Another Day”  “Pull Me Under”  “Take the Time”  “Caught in a Web”  “Lie”  “The Silent Man”  “Hollow Years”  “Through Her Eyes”  “Home”  “As I Am”  “Constant Motion”  “Forsaken”  “A Rite of Passage”  “Wither”

Suites

A Mind Beside Itself  Twelve-step Suite

Associated acts

Dominici  Explorers Club  The Jelly Jam  Liquid Tension Experiment  MullMuzzler  Nightmare Cinema  OSI  Platypus  Transatlantic  True Symphonic Rockestra  Winterspell  Chroma Key

Related articles

Discography  Band members  Songs by lyricist  Majesty Demos  Lifting Shadows  G3  Gigantour  Roadrunner Records  YtseJam Records

Categories: Dream Theater | Musical groups established in 1985 | New York heavy metal musical groups | Berklee College of Music alumni | American progressive metal musical groups | Long Island musical groups | Atlantic Records artists | Musical quintets | 1980s music groups | 1990s music groups | 2000s music groups | 2010s music groupsHidden categories: All articles with specifically-marked weasel-worded phrases | Articles with specifically-marked weasel-worded phrases from November 2009 | Articles needing additional references from November 2009 | All articles needing additional references

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Tina Yuzuki

Life and career

Tina Yuzuki was born in Tokyo on October 29, 1986. Like fellow AV idols Maria Ozawa, Meisa Hanai and Anna Ohura, Yuzuki is of mixed-race parentage. Her father is Japanese and her mother is Portuguese, and she learned to speak Portuguese from her mother. Her hobbies include karaoke.

AV debut and Max-A

Yuzuki’s AV debut was in the November 2005 release for Max-A’s Calen label, Hot Wind, Filmed before her 19th birthday, her peppy personality and blushing skin tones were used as selling points for this documentary-style AV release. The director of Yuzuki’s premier video uses the name ‘Toshio,’ and has continued to work with the actress throughout her AV career. Yuzuki and director Toshio’s most recent collaboration was in the March 2007 release, High School Uniform and Machine-Gun.

Yuzuki’s second video, Feel Refreshing (December, 2005) left the popular documentary style for a narrative fiction story in which she played a sexually-curious high school student.

Her third video had her playing the role of an office lady. In IMPRESSIVE / Make My Dream from March 2006, Yuzuki worked in the popular cosplay genre. The costumes worn by Yuzuki in the video included that of a nurse, a maid, and a “Gothic Lolita.” She donned the nurse and waitress costumes again in her entry in Max-A’s popular Welcome to Max Cafe! series, released in April 2006.

The following month, Max-A chose Yuzuki to star in their May 2006 release, My Wife Is Tina!, the first video in the company’s newlywed housewife series. Confined Body Doll X – ascription, released in June, had Yuzuki in a “psycho thriller” mystery involving missing girls. She would again star in a suspense-drama in the January 2007 release High School Girl Abducted, and in a crime-drama in the March 2007 release, High School Uniform and Machine-Gun.

In July 2006, Yuzuki made her first foray into the incest genre with Sister’s Secret. Passion: Tina’s Mystery Tour is an adventure involving a treasure hunt for a gigantic vibrator, a guide who demands fellatio, and tribe of sex-hungry natives. At the end of 2006, Max-A again picked Yuzuki to star in the first entry in a new series. Entitled Urekko, the video was released in December 2006.

Another of Yuzuki’s appearances was in the July 2007 release, Tina and Her Friends, where she plays a space girl who flies down to Earth and after some harrowing experiences finds love.

Rio and S1

Beginning with her October 12, 2007 release, Endless Ecstasy Fuck, for Max-A, Yuzuki adopted the stage name of Rio. This is the name she has used in all original videos since. After spending two years making videos exclusively for Max-A, Yuzuki left that company early in 2008 to join S1 No. 1 Style, part of Japan’s largest porn company, the Hokuto Corporation. She released her first video with them, Risky Mosaic Rio, directed by Hideto Aki, in February 2008. She continued working for S1, producing one video per month, through the beginning of 2009 when she once again began performing for Max-A. Her return video for Max-A was the March 2009 release Only One in the World, Rio x Max A which had her tied with a rubber tube, covered with oil, and stimulated by sex toys.

In another entertainment area, Yuzuki along with other S1 actresses Sora Aoi, Yuma Asami and Mihiro was a regular on the late night TV variety show Please Muscat ( , Onegai Muscat?) which began airing on TV Osaka in April 2008.

Rio appeared in her first mainstream movie in 2009, the schoolgirl prostitute revenge erotic thriller Stop the Bitch Campaign (Enjo-kosai bokumetsu undo or ) directed by Kosuke Suzuki with Kenichi Endo as the evil villain. The film, the third in the series, debuted at the Yubari International Fantastic Film Festival in February 2009 followed by a series of screenings in March at the Cinema Rosa in the Ikebukuro district of Tokyo. A DVD was released in June 2009.

Also in 2009, she was one of three AV Idols appearing in the joint Japanese-Korean production Korean Classroom which was broadcast on Korean TV in May 2009. Along with her fellow stars Sora Aoi and Mihiro, she traveled to Korea to promote the four part series.

Popularity and recognition

Yuzuki stands out in the AV field, where an average career spans about a year, with five to ten videos total, while since her AV debut Yuzuki has appeared in one or two video releases per month for more than three years. The Japanese AV industry recognized Yuzuki by naming her the Best New Actress at the 2006 AV Actress Grand Prix awards. She was further honored by being crowned Best Actress at the 2008 Adult Broadcasting Awards for the Cherry Bomb adult TV channel on SKY PerfecTV! satellite television. In addition, her November 2008 film, Double Risky Mosaic, Rio & Yuma, with Yuma Asami, was the S1 studio’s entry in the 2009 AV GrandPrix contest. The video took the top GrandPrix Award and also won in several other categories: DVD Sales, Retailers Award, Package Design, and Best Featured Actress Video.

Selected filmography

Video title

Company

Director

Release date

Hot Wind

MAX-A Calen

XC-1415 (VHS)

XV-312 (DVD)

Toshio

VHS:November 22, 2005

DVD:January 24, 2006

Feel Refreshing

MAX-A Calen

XC-1421 (VHS)

XV-324 (DVD)

Toshio

VHS:December 23, 2005

DVD:February 24, 2006

Dramatic Love

MAX-A Calen

XC-1429 (VHS)

XV-342 (DVD)

Yukinori Nishizawa

VHS:January 21, 2006

DVD:March 31, 2006

Talk to Her…

MAX-A Calen

XC-1434 (VHS)

XV-356 (DVD)

Taira Takano

VHS:February 21, 2006

DVD:April 28, 2006

Impressive / Impressionist Make My Dream

make my dream

MAX-A Calen

SRXV-353 (Rental)

XV-367 (Sell)

Yoshiho Fukuoka

Rental:March 24, 2006

Sell:May 25, 2006

Welcome to Max Cafe!

Max Cafe

MAX-A Calen

SRXV-365 (Rental)

XV-390 (Sell)

Toshio

Rental:April 21, 2006

Sell:July 25, 2006

My Wife Is Tina!

!

MAX-A Calen

SRXV-378 (Rental)

XV-380 (Sell)

Toshio

Rental:May 21, 2006

Sell:June 29, 2006

Confined Body Doll X – Ascription

MAX-A Calen

SRXV-390 (Rental)

XV-401 (Sell)

Kunihiro Hasegawa

Rental:June 21, 2006

Sell:August 21, 2006

Sister’s Secret / Secret of A Little Sister, Tina Kashiwagi

MAX-A Calen

SRXV-401 (Rental)

XV-417 (Sell)

Rental:July 21, 2006

Sell:September 22, 2006

Healthy Beauties / Sound Mind, Sound Body

MAX-A

SRXV-411 (Rental)

XV-432 (Sell)

Toshio

Rental:August 21, 2006

Sell:October 21, 2006

Passion: Tina’s Mystery Tour / Love & Passion

MAX-A

SRXV-421 (Rental)

XV-446 (Sell)

Toshio

Rental:September 22, 2006

Sell:November 22, 2006

2 Dangerous Women, Asami Ogawa

Co-starring Asami Ogawa

MAX-A

SRXV-424 (Rental)

XV-442 (Sell)

Toshio

Rental:September 26, 2006

Sell:November 22, 2006

Gosuloli Collection – Tina Sodeki / Tina Is Best

MAX-A

SRXV-433 (Rental)

XV-462 (Sell)

Yoshiho Fukuoka

Rental:October 25, 2006

Sell:December 22, 2006

Sports Girl – Tina Sodeki / Sports Sex

hu

MAX-A

SRXV-444 (Rental)

XV-473 (Sell)

Toshio

Rental:November 22, 2006

Sell:January 16, 2007

Max-A Anniversary

Compilation with several other actresses

MAX-A

XV-455

December 8, 2006

Urekko

MAX-A

SRXV-460 (Rental)

XV-489 (Sell)

Kazuyuki Watanabe / Ikko Watanabe

Rental:December 22, 2006

DVD:February 16, 2007

Max Girls Special

With Anna Oguri, Koisaya, Nene Fujimori, Rola Sato & Takako Kitahara

MAX-A

XV-471

Kyuzo

January 16, 2007

High School Girl Abducted / High School Girl in Captivity

MAX-A

XV-485

Koki Nishimura

January 30, 2007

Welcome to Max Soap!

Welcome!!

MAX-A

XV-495

Toshio

February 28, 2007

MAX GIRLS Special

With Anna Oguri, Hikaru Wakana, Koisaya, Sarasa Hara & Takako Kitahara

MAX-A

XV-502

Kyuzo

March 16, 2007

High School Uniform and Machine-Gun

MAX-A

XV-506

Toshio

March 23, 2007

Dirty Mouth, Tina Yuzuki

MAX-A

XV-521

Kunihiro Hasegawa

April 20, 2007

MAX GIRLS, 7 Uncontrollables

With Sarasa Hara, Takako Kitahara, Rola Sato, Hikaru Wakana, Koisaya & Mai Nadasaki

MAX-A

XV-531

Max Nakamoto

May 18, 2007

PASSION -Hot and Wet-

PASSION

MAX-A

XV-532

Koji Nakameguro

May 18, 2007

Max Girls, Exclusive Shot!

!

With Mihiro, Hikaru Wakana, Koisaya, Nagisa, Naono Iwasaki, Seri Mikami & Kurara Tachibana

MAX-A

XV-542

Max Nakamoto

June 15, 2007

New Grand Opening!! Welcome to Max Cafe, Tina Yuzuki

!!!

MAX-A

XV-544

Toshio

June 15, 2007

Naked Body, Tina Yuzuki

Gravure (non-sex)

SHUFFLE Believe

SFLB-065

June 25, 2007

Max Girls, Special Issue

MAXGIRLS

With Akane Nagase, Hikaru Wakana, Koisaya, Mai Nadasaka, Rola Sato, Sarasa Hara & Takako Kitahara

MAX-A

XV-554

Kyuzo

July 13, 2007

Tina and Her Friends

MAX-A

XV-556

Toshio

July 13, 2007

MAX GIRLS, Non-Stop Fucking!

MAX GIRLS !!!!

With Akane Nagase, Jun Kiyomi, Kurara Tachibana, Nagisa, Nao Yoshizaki & Takako Kitahara

MAX-A

XV-564

Kyuzo

August 17, 2007

Paradise

MAX-A

XV-566

Toshio

August 17, 2007

New Standard, Digital Re-Master: Hot Wind & Dramatic Love

Re-issue of two earlier videos

MAX-A

XV-583

Max Nakamoto

September 28, 2007

Endless Ecstasy Fuck

UCK

MAX-A

XV-585

Koji Nakameguro

October 12, 2007

New Standard, Digital Re-Master: Impressionist & Welcome to Max Cafe!

MaxCafe!

Re-issue of two earlier videos

MAX-A

XV-594

Max Nakamoto

October 26, 2007

Max Girls Ecstasy

With Aimi Nakatani, Akane Nagase, Jun Kiyomi, Nao Yoshizaki, Rina Koizumi, Sarasa Hara & Takako Kitahara

MAX-A

XV-595

Kyuzo

November 9, 2007

Outdoor DE Shower Sex

ESEX

MAX-A

XV-596

Koji Nakameguro

November 9, 2007

Digital Re-Master: My Wife is Tina! & The Secret of Younger Sister

Re-issue of two earlier videos

MAX-A

XV-601

Max Nakamoto

November 23, 2007

Max Girls Exciting

With Akane Nagase, China Yuuki, Jun Kiyomi, Kurara Tachibana, Nao Yoshizaki & Rina Koizumi

MAX-A

XV-605

December 13, 2007

Female Teacher Hunting

MAX-A

XV-608

Koji Nakameguro

December 24, 2007

Digital Re-Master: Passion & Healthy Beauty

Re-issue of two earlier videos

MAX-A

XV-613

Toshio

December 28, 2007

Kichiku

MAX-A

XV-616

Akira Takasu

January 11, 2008

Digital Re-Master: Confined Body Doll X Cause & Treasure Image

&

Re-issue of two earlier videos

MAX-A

XV-623

Max Nakamoto

January 25, 2008

Risky Mosaic Rio

Rio

S1

ONED-921

Hideto Aki

February 7, 2008

Let’s Have Sex at School

S1

ONED-939

Hideto Aki

March 7, 2008

Staggering Facial Ejaculation Rio

Rio

S1

ONED-955

Hideto Aki

April 7, 2008

Hyper-Risky Mosaic Rio

S1

ONED-971

Iggy Coen

May 7, 2008

Rio is a Squirting Young Wife

Rio

S1

ONED-991

Iggy Coen

June 7, 2008

Endless Climax! Ultra Ecstasy Fuck

UCK

S1

SOE-011

[Jo]Style

July 7, 2008

20 Costumes Pakopako!

20

S1

SOE-030

Ishibashi Wataru

August 7, 2008

Hyper Risky Mosaic MV

V

S1

SOE-057

Kazuhiko Matsumoto

September 19, 2008

BakoBako Gangbang

S1

SOE-079

Hideto Aki

October 19, 2008

Double Risky Mosaic, Rio & Yuma

W Rio

2009 AV Grand Prix entry

Co-starring Yuma Asami

S1

AVGP-109

Hideto Aki

November 22, 2008

Rio – Nurse Temptation

S1

SOE-121

Hideto Aki

December 19, 2008

Maison Tsubaki

SUBAKI

Co-starring Ai Sayama, Akiho Yoshizawa, Anoa Ruru, Mihiro, Minori Hatsune, Rika Aiuchi, Risa Kasumi & Yuma Asami

S1

SOE-141

Hideto Aki

January 7, 2009

Rio – Big Magnum Fuck

FUCK

S1

SOE-143

Midori Kohaku

January 19, 2009

Water Pole Special

Prestige

EZD-200

February 3, 2009

Rio – Everyday Carnival

RioEX

Idea Pocket Tissue

IPTD-434

Tadanori Usami

February 27, 2009

Only One in the World, Rio x Max A

-

MAX-A

XV-724

Toshio

March 6, 2009

Rio’s Deep Kissing and Sex

RioEX

Idea Pocket Tissue

IPTD-444

Tadanori Usami

April 1, 2009

Rio – Ultimate Deep Kiss

Rio

MAX-A

XV-736

Koji Nakameguro

April 10, 2009

RAZZ-MA-TAZZ 24

24

Lustrous

LRM-024

June 10, 2009

Maison S1 Hotel Annex, Come For Shiofuki And Orgies

Co-starring Akiho Yoshizawa, Mihiro, Ruru Anoa, Erika Kirihara, Risa Kasumi, Ai Sayama, Minori Hatsune & Yuma Asami

S1

SOE-240

Iggy Coen

June 19, 2009

MAX GIRLS – Yukata x Fuck

MAX GIRLS FUCK

With Airi Nakano, Akari Asahina, Haruka Itoh, Misa Andoh, Momoka Kano, Reina Yuuki & Rio Fujisaki

MAX-A

XV-773

Kyuzo

August 14, 2009

I Who Could Not Utter a Word Around You

Rio

MAX-A

XV-777

Koji Nakameguro

August 14, 2009

MAX GIRLS 21 – American School x Fuck

MAX GIRLS 21 FUCK

With Aino Kishi, Ameri Ichinose, Haruka Itoh, Mai Uzuki, Momoka Kano, Rio Fujisaki, Yaya Kouzuki & Yuna Shiina

MAX-A

XV-780

Kyuzo

September 11, 2009

Compulsion Indecency Chickan

Rio

MAX-A

XV-785

Koji Nakameguro

September 11, 2009

Rio and Me, Sweet Sex Life

Rio

Idea Pocket Tissue

IPTD-493

Kyosei

October 1, 2009

Rio – Fellatio Then Sex

RioEX

MAX-A

XV-793

Koji Nakameguro

October 9, 2009

MAX GIRLS 22 – Lingerie x Fuck

MAX GIRLS22 UCK

With Haruka Itoh, Shiori Hazuki, Rio Fujisaki, Ameri Ichinose, Akari Asahina & Yuna Shiina

MAX-A

XV-789

Kyuzo

October 11, 2009

OL Style Rio

MAX-A

XV-800

Koji Nakameguro

November 13, 2009

Notes

^ Infobox data from “Yuzuki (Tina Yuzuki)”. AV Idol Directory. http://avidol.xcity.jp/english/info.html?aid=1166. Retrieved 2007-02-27. 

^ a b ” (Yuzuki Tina no Heya e Youkoso) Video Idol Interview” (in Japanese). www.b-v.co.jp. http://www.b-v.co.jp/back-number/228/yuzukitina.html. Retrieved 2007-06-04. 

^ “Max-A Anniversary”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=XV455. Retrieved 2007-06-04. 

^ a b c “Tina Yuzuki “. www.sexasian18.com. http://www.sexasian18.com/actress.php?id=1252#tab=2. Retrieved 2007-07-18. 

^ ” (Yuzuki Tina no Heya e Youkoso) Video Idol Interview” (in Japanese). www.b-v.co.jp. http://www.b-v.co.jp/back-number/228/yuzukitina.html. Retrieved 2007-06-04. “” 

^ a b “Yuzuki (Tina Yuzuki)”. AV Idol Directory. http://avidol.xcity.jp/english/info.html?aid=1166. Retrieved 2007-02-27. 

^ “2005″. AV (AV Research Laboratory). http://homepage3.nifty.com/kurokami/years/years_2005.htm. Retrieved 2007-07-21. 

^ “Hot Wind / Tina Yuzuki”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=XC1415. Retrieved 2007-06-04. 

^ “High School Uniform and Machine-Gun”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=XC1415. Retrieved 2007-06-04. 

^ “Feel Refreshing / Tina Yuzuki”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV316. Retrieved 2007-06-04. 

^ “Dramatic Love”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV329. Retrieved 2007-06-09. 

^ “IMPRESSIVE / Tina Yuzuki: make my dream”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV329. Retrieved 2007-06-09. 

^ “Welcome to Max Cafe! / Tina Yuzuki”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV365. Retrieved 2007-06-09. 

^ “My wife is Tina!”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV378. Retrieved 2007-06-04. 

^ “Confined Body Doll X – ascription”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV390. Retrieved 2007-06-09. 

^ “High School Girl Abducted, Tina Yuzuki”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV484. Retrieved 2007-06-09. 

^ “High School Uniform and Machine-Gun”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV484. Retrieved 2007-06-09. 

^ “Sister’s Secret / Tina Yuzuki”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV401. Retrieved 2007-06-09. 

^ “Passion: Tina’s Mystery Tour”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV421. Retrieved 2007-06-09. 

^ “Urekko”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=SRXV460. Retrieved 2007-06-09. 

^ “Tina and Her Friends”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=XV556. Retrieved 2007-07-18. 

^ “Non-Stop Extreme Fucking”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?ID=xv585. Retrieved 2008-11-18. 

^ “Rio – S1 Profile & Filmography” (in Japanese). www.s1s1s1.com. http://www.s1s1s1.com/actress/-/detail/=/id=16380/. Retrieved 2008-11-18. 

^ “THE ONLY Rio AND MAX-A IN THE WORLD”. AV Idol Directory. http://vinfo.xcity.jp/english/info.html?id=xv724. Retrieved 2009-11-04. 

^ “JAV stars Maria Ozawa and Sora Aoi host Osaka TV Variety show”. Japan Sugoi. March 20, 2009. http://japansugoi.com/wordpress/jav-stars-maria-ozawa-and-sora-host-osaka-tv-variety-show/. Retrieved 2009-06-16. 

^ “Enjo-ksai bokumetsu und (2009)”. IMdB. http://www.imdb.com/title/tt1363366/. Retrieved 2009-05-06. 

^ “Stop the Bitch Campaign Official Site” (in Japanese). www.spopro.net. http://www.spopro.net/stbc/. Retrieved 2009-05-06. 

^ “Aoi Sora and Mihiro promote Korean Classroom”. AllKPop. http://www.allkpop.com/index.php/full_story/aoi_sora_and_mihiro_promote_korean_classroom/. Retrieved 2009-07-16. 

^ Fornander, Kjell (July 1992). “A Star is Porn”. Tokyo Journal. Archived from the original on 2007-03-20. http://web.archive.org/web/20060516235928/http://www2.gol.com/users/coynerhm/pornborn.html. Retrieved 2007-06-04. “If [an AV actress is] only out for money, she will studiously avoid publicity and quit inside a year– the average life-span of an AV girl– with five or ten videos to her credit…” 

^ “AV Grand Prix 2006 Winners Announced”. Asianidols.net. January 7, 2007. http://www.asianidols.net/news.php?day.20070107. Retrieved 2008-11-17. 

^ “Rio claims top prize at 2008 Adult Broadcasting Awards”. Tokyo Reporter. March 30, 2008. http://www.tokyoreporter.com/2008/03/30/her-name-is-rio-and-she-won-best-actress-at-the-2008-adult-awards/. Retrieved 2008-11-11. 

^ “AVGP 2009 Result announcement” (in Japanese). www.av-gp.com. http://www.av-gp.com/news/avgp_result/bottom.html. Retrieved 2009-03-02. 

^ Filmography based on “Yuzuki(Tina Yuzuki)”. AV Idol Directory. http://avidol.xcity.jp/english/info.html?aid=1166. Retrieved 2007-06-04. , ” (Tina Yuzuki)” (in Japanese). AV Idol Directory. http://avidol.xcity.jp/japan/info.html?aid=1166. Retrieved 2007-06-04. , “Max-A Tina Yuzuki profile” (in Japanese). www.max-a.co.jp. http://www.max-a.co.jp/actress.php?actress_id=4579a5d7e251450b2663b4b588fdf0a7. Retrieved 2009-05-04.  and “Tina Yuzuki (Filmography)”. Urabon Navigator 1997-2006. http://jans-web.com/profiles/n1030. Retrieved 2009-05-04. 

Sources

“Yuzuki(Tina Yuzuki)”. AV Idol Directory. http://avidol.xcity.jp/english/info.html?aid=1166. Retrieved 2007-06-04. 

“Max-A Tina Yuzuki profile” (in Japanese). www.max-a.co.jp. http://www.max-a.co.jp/actress.php?actress_id=4579a5d7e251450b2663b4b588fdf0a7. Retrieved 2009-05-04. 

http://xcity.jp/max_a/tina/index.html

http://blog.livedoor.jp/max_tina/

” (Yuzuki Tina) INTERVIEW” (in Japanese). www.max-a.info. http://www.max-a.info/actress/thina_yuzuki/interview01.html. Retrieved 2007-06-05. 

” (Yuzuki Tina) Images” (in Japanese). . http://www.jheat.com/av-idol/tina-yuzuki/. 

” – Yuzuki Tina no Heya e Youkoso) Video Idol Interview” (in Japanese). www.b-v.co.jp. http://www.b-v.co.jp/back-number/228/yuzukitina.html. Retrieved 2007-06-04.  (contains nudity)

Yuzuki, Tina. “Tina Yuzuki (Profile & Interview)”. www.sexasian18.com. http://www.sexasian18.com/actress.php?id=1252#tab=2Yuzuki. Retrieved 2007-07-17. 

v  d  e

Japanese erotic cinema

Actresses

Yua Aida  Kyko Aizome  Hotaru Akane  Runa Akasaka  Izumi Aki  Kokoro Amano  Minori Aoi  Sora Aoi  Rin Aoki  Minami Aoyama  Kate Asabuki  Mayu Asada  Ran Asakawa  Yuma Asami  Asami  Kyoko Ayana  Ami Ayukawa  Risa Coda  Akira Fubuki  Fuko  Shoko Goto  Meisa Hanai  Lemon Hanazawa  Mai Haruna  Chihiro Hasegawa  Yumika Hayashi  Hotaru Hazuki  Hikari Hino  Rinako Hirasawa  Honoka  Mayura Hoshitsuki  Milk Ichigo  Ai Iijima  Reiko Ike  Ayame Ikehata  Kiyomi It  Asami J  Bunko Kanazawa  Sakurako Kaoru  Yuria Kato  Tamaki Katori  Azumi Kawashima  Kyko Kazama  Eri Kikuchi  Hitomi Kobayashi  Riri Kda  Yuri Komuro  Konatsu  Hikaru Koto  Mayu Kotono  Emi Kuroda  Kaoru Kuroki  Ai Kurosawa  Jun Kusanagi  Miho Maeshima  Megumi Makihara  Marina Matsushima  Kimiko Matsuzaka  Mihiro  Saya Misaki  Ryko Mitake  Junko Miyashita  Aika Miura  Miki Mizuasa  Haruki Mizuno  Kei Mizutani  Nozomi Momoi  Mariko Morikawa  Kurumi Morishita  Rena Murakami  Ayano Murasaki  Kyoko Nakajima  Keiko Nakazawa  An Nanba  Nana Natsume  Anna Ohura  Nao Oikawa  Madoka Ozawa  Maria Ozawa  Naho Ozawa  Nao Saejima  Asuka Sakamaki  Sakura Sakurada  Rui Sakuragi  Motoko Sasaki  Yko Satomi  Miki Sawaguchi  Sakura Sena  Hitomi Shiraishi  Kazuko Shirakawa  Miki Sugimoto  Suzi Suzuki  Riko Tachibana  Maria Takagi  Runa Takamura  Rumi Tama  Naomi Tani  Noriko Tatsumi  Maki Tomoda  Aki Tomosaki  Hime Tsukino  Akira Watase  Manami Yoshii  Riria Yoshikawa  Sally Yoshino  Akiho Yoshizawa  Asuka Yki  Maiko Yki  Tina Yuzuki

Actors

Taka Kato  Mitsuyasu Maeno  Yoshiya Minami  Chocoball Mukai  Ken Shimizu  Shir Shimomoto  Shigeo Tokuda  Micky Yanai

Directors

Kaoru Adachi  Hideto Aki  Tar Araki  Sachi Hamano  Yasuharu Hasebe  Katsuyuki Hirano  Noboru Iguchi  Toshiharu Ikeda  Yutaka Ikejima  Shinji Imaoka  Takashi Ishii  Teruo Ishii  Shunya Ito  Shji Kataoka  Yoshikazu Kat  Satoru Kobayashi  Kazuo “Gaira” Komizu  Masaru Konuma  Minoru Kunizawa  Kiyoshi Kurosawa  Tatsumi Kumashiro  Kazuhiko Matsumoto  Company Matsuo  Mitsuru Meike  Yoshimitsu Morita  Kan Mukai  Giichi Nishihara  Koyu Ohara  Kazuhiro Sano  Hisayasu Sat  Toshiki Sat  Kji Seki  Kazuyoshi Sekine  Chsei Sone  Masayuki Suo  Norifumi Suzuki  Yji Tajiri  Tetsuji Takechi  Tetsuya Takehora  Yojiro Takita  Rumi Tama  Noboru Tanaka  Tohjiro  Naoyuki Tomomatsu  Toshiya Ueno  Kji Wakamatsu  Mamoru Watanabe  Yumi Yoshiyuki  Takahisa Zeze

Films

500 Person Sex  Absolutely Secret: Girl Torture  Adulterous Wife: Dizzy  Adulterous Wife’s Dirty Afternoon  Adultery Addiction: Sensual Daze  Adultery Diary: One More Time While I’m Still Wet  Alleycat Rock: Female Boss  Ambiguous  Anarchy in Japansuke  Angel Guts  Apartment Wife: Adulterous Passion  Apartment Wife: Affair In the Afternoon  Apartment Wife: Moans from Next Door  Assault! Jack the Ripper  Attacked!!  Banned Book: Flesh Futon  Beads From a Petal  Best Friend’s Wife: The Black Panties of a Secret Rendezvous  Big Tit Sisters: Blow Through the Valley  The Bite  Blind Love  Blissful Genuine Sex: Penetration!  Blue Film: Estimation  Blue Film Woman  Castle Orgies  Cloistered Nun: Runa Confession  Coed Report: Yuko’s White Breasts  Cruelty: Black Rose Torture  Daydream (1964)  Daydream (1981)  Deep Throat in Tokyo  Ecstasy of the Angels  The Embryo Hunts In Secret  Entrails of a Virgin  Erotic Diary of an Office Lady  Fairy in a Cage  Fascinating Young Hostess: Sexy Thighs  Fascination: Portrait of a Lady  Female Cats  Female Ninja Magic: 100 Trampled Flowers  Flower and Snake  Female Convict 101: Suck  Frog Song  Front Row Life  The Glamorous Life of Sachiko Hanai  Go, Go Second Time Virgin  Hard Lesbian: Quick and Deep  Horse and Woman and Dog  Hostess Madness: Unparched Nectar  I.K.U.  I Like You, I Like You Very Much  I Thought About You  Ichijo’s Wet Lust  In the Realm of the Senses  Invisible Man: Rape!  Irresistable Angel: Suck It All Up  Kage no Hikari  Kichir Uno’s Wet and Swinging  Lady Black Rose  Lady Chatterley In Tokyo  Lady Moonflower  Lecherous Older Sister  A Lonely Cow Weeps at Dawn  Loose Woman: Getting Wet at Noon  Love Hunter  Lovers Are Wet  Lunch Box  Lustful Hitchhiker: Sought Wife  The Lustful Sister-in-Law 2: Erotic Games  Lusty Sisters  Married Women Who Want a Taste  Mature Woman: Wife-Hunting  Modern Female Ninja: Flesh Hell  Miss Hotel Call Girl: Healing Induction  Miss Peach: Peachy Sweetness Huge Breasts  Molester’s Train: Nasty Behavior  Molester’s Train: Sensitive Fingers  Molester’s Train Housewife: Madam is a Pervert / Tandem  Moon Light Dinner  Mourning Wife  Nakagawa Jun Kyju no Inbina Hibi  Naked Continent  Naked Seven  New * Desired Sister-in-Law: Immoral Relations  New Tokyo Decadence The Slave  Newlywed Hell  Office Lady Rope Slave  Office Lady Sisters: I Want to Sleep with You  Oryu’s Passion: Bondage Skin  Picture Book of a Beautiful Young Girl: Soaked Uniform  ‘Pink Tush Girl  Pink Tush Girl: Love Attack   Real Underwear Body  Retreat Through the Wet Wasteland  Rope and Breasts  Rope and Skin  Rope Cosmetology  Rope Hell  Sad and Painful Search: Office Lady Essay  A Saloon Wet with Beautiful Women  School of the Holy Beast  Serial Rape: Perverted Experiment  Sex & Fury  Sexual Desires in the Ladies’ Restroom: Dripping!  Shogun’s Joys of Torture  Slave Widow  Sopping Wet Married Teacher: Doing It in Uniform / Despite All That  The Sticky Taste of a Peach-Skinned Proprietess  Tattooed Flower Vase  Terrifying Girls’ High School  Tokyo Emmanuelle  Tsumugi  Twitch You Are My Toy  Ukiyo-e Cruel Story  Uncle’s Paradise  The Wart  Watcher in the Attic  Wife to be Sacrificed  A Woman Called Sada Abe  Woman with Red Hair  Women… Oh, Women!  The World of Geisha  Zoom In: Rape Apartments  Zoom Up: Rape Site

Writers

Oniroku Dan  Koichiro Uno

Studios

Alice Japan  Attackers  CineMagic  Cross  Crystal-Eizou  Dogma  h.m.p.  Hokuto Corporation  Japan Home Video  Kuki  Madonna  Max-A  Moodyz  S1 No. 1 Style  Shuttle Japan  Soft On Demand  Try-Heart Corporation  V&R Planning  Wanz Factory

Awards

Adult Broadcasting Awards  Japanese Adult Video Awards  Pink Grand Prix  Pinky Ribbon Awards

Filmographies

Tar Araki filmography  Sachi Hamano filmography  Yumika Hayashi filmography  Hotaru Hazuki filmography  Yutaka Ikejima filmography  Shinji Imaoka filmography  Kiyomi It filmography  Sakurako Kaoru filmography  Kyko Kazama filmography  List of Nikkatsu Roman Porno films  Kan Mukai filmography  Maria Ozawa filmography  Sakura Sakurada filmography  Motoko Sasaki filmography  Yko Satomi filmography  Rumi Tama filmography  Yumi Yoshiyuki filmography

Related articles

AV idol  AV Open  Bukkake  Chaku-ero  Chronology of adult videos in Japan  Cosplay  Eroge  Futanari  Gokkun  Hamedori  Hentai  Japanese bondage  Junior idol  List of hentai computer games  List of Japanese celebrities  List of Japanese idols  List of Japanese gravure idols  Lotion play  Net idol  Nyotaimori  Omorashi  Panchira  Pink film  Pornography in Japan  Roshutsu  Shunga  Ganari Takahashi  Tamakeri  Tarento  Tokyo Topless  Ushiro Takatekote  Wakamezake

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The History Of Austrian Airlines At Jfk

1. Austrian Airlines’ Origins 

Austrian Airline’s genesis can be traced back to March 20, 1918, at which time the Austrian Postal Administration had inaugurated daily scheduled mail service from Vienna to Kiew with intermediate stops in Krakow, Lwow, and Proskurow, a route whose average stage length had been 250 kilometers.  When space had permitted, passengers had also been carried.  The highly successful, punctual service was later extended from Proskurow to Odessa and from Vienna to Budapest.  However, a flight prohibition, implemented at the end of World War I, had resulted in its termination.

When the ban had finally been lifted, Austria subsequently reentered the civil aviation market by founding the Oesterreichische Luftverkehrs AG (OELAG) on May 12, 1923 with an initial one million Crown investment financed by Junkers, a German aircraft manufacturer (49 percent), and various Austrian shareholders (51 percent).  Commencing scheduled service from Munich to Vienna some two days later, it had utilized a Junkers F.13, a single-engined, low-wing monoplane which had featured an enclosed cockpit and passenger cabin and had rested on a tail wheel.  OELAG eventually operated several versions of this rugged, but (then) modern design, and increasing demand had soon necessitated larger aircraft, the first of which had been a higher-capacity, tri-engined Junkers G.24 delivered in 1927 and the second of which had been the more advanced G.31, delivered the following year.  Perhaps the ultimate design had been the Junkers Ju.52/3m, a tri-engined, 18-passenger airliner with a gross weight of 24,000 pounds and a cruise speed in excess of 150 mph, which had joined the fleet in 1936.  Most major East and West European flag carriers had also operated the type at this time. 

By the following year, OELAG’s route system had radiated to Athens, Belgrade, Berlin, London, Paris, Prague, Rome, and Zurich, in addition to incorporating several Austrian domestic destinations, with much of the service daily.  It eventually became the fourth largest European carrier after Lufthansa, KLM, and Air France, with 975,840 weekly seat-kilometers.  Coincident with OELAG’s growth had been the completion of five Austrian airports–namely, Graz, Innsbruck, Klagenfurt, Salzburg, and Vienna.

When Austria had been absorbed into the Third Reich in 1938, OELAG had been incorporated into Deutsche Luft Hansa (DLH).  Nevertheless, it had flown 120,000 passengers 7.5 million kilometers without fatality during its reign. 

2. Initial Growth 

When World War II had ended, Austria, now independent, had signed the Peace Treaty with all four occupying powers in 1955, and had once again sought to enter the civil aviation field by forming a flag carrier.  Two such national airlines were actually proposed: Air Austria, formed by the Austrian People’s Party and capitalized by KLM and later Fred Olsen, a Norwegian charter company, and Austrian Airways, formed by the Austrian Socialist Party and financially supported by SAS.  Neither ever flew and the two were eventually combined on September 30, 1957 to form an integrated company with an initial AUS 60 million investment which adopted, Phoenix-like, its pre-war name of Oesterreichische Luftverkehrs AG, but whose English equivalent of “Austrian Airlines” had now been used.  The airline had thus been born.

Ownership had encompassed Austrian private investors, at 42 percent; public enterprises, at 28 percent; SAS, at 15 percent; and Fred Olsen, at 15 percent.  Austrian inaugurated scheduled service on March 31, 1958 after a 20-year suspension with four leased Vickers V.779 Viscounts, a medium-capacity, four-engined turboprop airliner designed in Great Britain and initially deployed over the Vienna-Zurich-London route.  Austrian had finally returned to the sky.

Growth proceeded rapidly and, in 1960, it took delivery of the first of four larger-capacity, stretched Vickers V.837 Viscounts, which it inaugurated into service on May 23, and the following year it received the Vickers V.845 Viscount for slightly lower-capacity routes.  Both British turboprops provided reliable, economical service, the V.837 not being retired until 1971.  The Douglas DC-3, the best-selling civil airliner of all time, had also been acquired at this time and had enabled Austrian to inaugurate domestic services on May 1, 1963, a route which would later be served by Austrian Air Services.  This aircraft was replaced by the more advanced, larger-capacity, turboprop-powered Hawker Siddeley HS.748-2 in 1966, another British design.

Austrian Airlines entered the jet age on February 20, 1963 when it inaugurated the first of five Sud-Aviation SE.210-VIR Caravelle twin-jets into service and set the stage for its eventual strategy of operating short- to medium-range, low- to medium-capacity, t-tailed twin-jets on a predominantly European (and later North African and Middle Eastern) route structure.  Designed in France, the Caravelle was quiet, cruised above the weather, and reduced flying times between European capitals, and had, in fact, been the first design to permit economical, short-range, pure-jet service. 

3. Transatlantic Experiment               

Contrary to most European flag carriers, which had operated transatlantic service to the United Stares and Canada with quad-engined DC-4s since World War II, Austrian Airlines had maintained its medium-range route system until April 1, 1969.  It had been at this time that it had stretched its wings across the Atlantic with a large-capacity, intercontinental Boeing 707-320, registered OE-LBA and chartered from Sabena Belgian World Airways, which had been deployed on the Vienna-New York route with an intermediate stop in Brussels.  This so-called “transatlantic experiment,” despite Austrian’s delay in launching it, had ultimately proven both a premature and financially unsound one for two primary reasons:

1. The home market had still been too small.

2. Vienna-Schwechat had been insufficiently developed as a hub, providing few connecting flights to which this transatlantic service could transfer passengers.

Resultantly, after a two-year trial, the 707 had been returned to Sabena on March 31, 1971, leaving Austrian once again to concentrate on its primarily continental route system for which nine short-to medium-range, low-capacity McDonnell-Douglas DC-9-30s had been ordered.

Similar in overall design to the Caravelle, but manufactured in the United States, the t-tailed jetliner offered a slightly higher passenger capacity, greater payload capability, a higher gross weight, more powerful engines, and improved economy, and with it Austrian entered a new era which would span almost two decades.  It had later described this design as “the start of something big, classical and still modern.”  The first DC-9-30 had been delivered on June 19, 1971 and the type soon proved to be the mainstay of its fleet.

In 1974, Austrian leased a McDonnell-Douglas DC-8-63F, registered OE-IBO, from Overseas National Airways (ONA) for cargo services to Hong Kong, but these were later discontinued.  Other than the 707-320, the DC-8-63F was its only other large-capacity, long-range, quad-engined jet.

So versatile and popular had the DC-9 design proven itself to be, that Austrian later ordered five stretched, higher-capacity DC-9-50s.  The first of these had been delivered on September 14, 1975.

That these twin-engined aircraft and the discontinuation of its transatlantic service were proper strategies for the Austrian national carrier had been reflected by its positive growth.  On June 26, 1974, for example, a new maintenance base had been opened at Schwechat International Airport-Vienna.  Its value had also continued to swell: in 1967 its share capital had increased by AUS 140 million to AUS 290 million.  In 1969, it had further increased to 390 million.  And in 1962 it had reached the one billion mark.  During each of the three years, from 1972 to 1974, it had posted a profit.  Its route system had equally expanded: in 1976, Austrian had stretched its wings to Cairo in the Middle East and to Stockholm and Helsinki in Scandinavia.

Demand, soon outpacing capacity, had necessitated an initial order for eight McDonnell-Douglas DC-9-80s to replace its existing DC-9-50s.  Also designated DC-9 Super 80, this aircraft had been a more modernized version of the previous –50 series variant for medium-range deployment and featured a further fuselage stretch for still higher capacity and refanned, higher-thrust, and more fuel-efficient Pratt and Whitney JT8D-209 engines.  Austrian, which shared the distinction of being launch customer for the design with Swissair, inaugurated the first elongated DC-9-81 into service on October 26, 1980 on the Vienna-Zurich route with aircraft OE-LDR “Wien.”  The twin-jet was later redesignated MD-81 and quickly became the short- to medium-range workhorse of its fleet.

New additions to its ever-expanding route system included Larnaca in 1979; Jeddah, also in 1979; and Tripoli in 1981.

Another 1980 milestone had been the foundation of Austrian Air Services (AAS), which would eventually become a wholly-owned subsidiary, to operate Austrian domestic routes with two 19-passenger, twin-turboprop Fairchild Swearingen Metro II commuter aircraft.  The first such service had been operated on April 1.

Austrian plied smooth skies.  Indeed, its 1980 balance sheet had indicated a AUS 71.5 million net profit, its tenth consecutive one.

The MD-81, intemittently proving itself to be as optimally suited to its route system as the twin-jet SE.210-VIR, the DC-9-30, and the DC-9-50 had been, was followed by its shorter-fuselage derivative, the MD-87, which Austrian ordered on December 19, 1984 for lower-capacity route sectors, and the Austrian Air Services fleet was equally upgraded with the addition of two 50-passenger Fokker F.50 twin-turboprops which were ordered on September 25 of the following year. 

4. Transatlantic Return 

Operating a modern, fuel-efficient fleet over an expanding route system and carrying almost 1.5 million passengers in 1986, Austrian once again contemplated intercontinental service, now both to New York in the west and to Tokyo in the east, and toward this end it had converted its previous order for two medium-range Airbus Industrie A-310-200s to the long-range A-310-300 version on June 25, 1986.  Austrian had signed the original memorandum of understanding for the A-310-200s as far back as April 18, 1979, a date which was to prove a full decade before the service would actually get off the ground.  Three factors could be cited as to why the time may have been ripe for a relaunching of this service:

1. In the 15-year interval since the last intercontinental service had been terminated, the home market had considerably grown, a fact demonstrated by the prevailing increases in nonstop US-Vienna service, provided by Pan Am, Royal Jordanian, and Tarom from New York, and by American from Chicago.

2. Its route structure in general equally offered excellent connections to West European, North African, and Middle Eastern destinations.

3. The A-310 had thus enabled long, thin routes such as Lyon-New York with Air France, Frankfurt-Newark with Lufthansa, Istanbul-New York with THY, and New York-Stockholm with Pan Am to have been served.

The decision to reinstate intercontinental service, scheduled for the spring of 1989, had officially been made two years earlier, on June 25, 1987, and would be operated by two Pratt and Whitney-powered A-310-300s which would serve the Vienna-New York and Vienna-Moscow-Tokyo routes, the latter in cooperation with Aeroflot and ANA All-Nippon Airways.  These services had been predicted to have depended upon the connecting passenger for profitability.  On the New York route, for example, a 66-percent, break-even load factor had been needed during the first year of operation, primarily comprised of US-originating, Austria-originating, and connecting passengers.  Both routes had relied on the lucrative, high-yield, frequent business traveler who had been unable to take advantage of the lower, restricted fares.  Austrian Airlines would offer a first class cabin on its A-310-300s for the first time in its history.

The first aircraft, registered OE-LAA “New York,” had been delivered on December 22, 1988, and the second, OE-LAB “Tokyo,” had followed in January.  The aircraft had constituted the airline’s first widebody, twin-aisle type.

Austrian had returned to the transatlantic US market on Easter Sunday, March 26, 1989, when two smoke puffs had signaled the touchdown of the red-white-red liveried widebody twin-jet, configured for 12 first class, 37 business class, and 123 economy class passengers, at JFK amid warm spring weather.  After a brief turn-around, the aircraft, operating as Flight OS 502 and piloted by Captain Braeuer and First Officer Kutzenberger, had been tug-maneuvered away from the gate at 1900 with 121 passengers, who would be served by nine cabin attendants, and took off into the deep purple dusk at a take off weight of 153,603 kilos, 40,300 of which had been fuel required for the Atlantic crossing.  The flight had been 18 years in the making.

Airport, reservations, sales, and marketing staff had subsequently gathered in the Icelandair Saga Lounge used by its business class passengers for a celebratory drink and a group photograph.

The Tokyo route had been opened in the summer and the A-310, to become Austrian’s intercontinental widebody, had served it for more than a decade, operating to multiple US, African, and Far Eastern destinations with four aircraft in a final two-class seat configuration registered as follows:

1. OE-LAA

2. OE-LAB

3. OE-LAC

4. OE-LAD

By the summer of 1989, Austrian Airlines had served 54 cities in 36 countries in the United States, Western Europe, Eastern Europe, North Africa, the Middle East, and Japan with a total route length of 100,358 unduplicated kilometers. These services had been operated by 26 aircraft comprised of the Fokker F.50, the McDonnell-Douglas MD-81/82/83/87, and the Airbus A-310-300 whose average age had then been four years and had been describable as follows:

1. Airbus A-310-300: A long-range, medium-capacity, wide-body, twin-aisle, twin-engine jet airliner–Austrian Airlines’ intercontinental jet.  Austrian Airlines had dubbed it an “intercontinental European.”

2. McDonnell-Douglas MD-81: A medium-range, medium-capacity, narrow-body, single-aisle, twin-engine jet airliner–Austrian Airline’s European, North African, and Middle Eastern workhorse.  Austrian Airlines had described it as a “universal medium-haul airliner and the mainstay of its fleet.”

3. McDonnell-Douglas MD-82: The carrier had ordered the variant “for special-duty scheduled and charter services.”

4. McDonnell-Douglas MD-87: The short-fuselaged, lower-capacity version had been “tailor-made to its needs in capacity and range.”

5. Fokker F.50: A short- and regional-range, low-capacity, narrow-body, single-aisle, twin-engine turboprop airliner operated by Austrian Airline’s Austrian Air Services subsidiary on domestic and select long, thin international routes.  Austrian Airlines had considered it “a propjet specialist in city-hopping.”

In addition to Austrian Air Services, Austrian Airlines owned 80 percent of Austrian Air Transport (AAT), which operated worldwide charter and inclusive tour (IT) flights with both Austrian Airlines and Austrian Air Services aircraft, having carried 506,000 passengers in 1988.  It also maintained a close marketing agreement with Tyrolean Airways which operated services from Innsbruck with 37-passenger de Havilland of Canada DHC-8-100s and 50-passenger DHC-7-100s.

5. JFK Station Evolution 

Initial training, held at Austrian Airlines’ North American headquarters in Whitestone, New York, and taught by Peter “Luigi” Huebner, commenced on February 6, 1989, or some six weeks before the inaugural flight, and had included the “Passenger Handling I” and “Adios Check-In” courses.

Austrian Airlines’ first JFK location, the East Wing of the no-longer-existent International Arrivals Building, had shared facilities with Icelandair, including five Austrian-specific check-in counters and the jointly-used Icelandair Saga Lounge, the former equipped with computers, automated boarding pass printers, and laser-scannable baggage tag printers.  The ground staff, entirely employed and trained by Austrian and outfitted in its uniform, had performed the full spectrum of functions: Passenger Service, Ticket Sales, Lost-and-Found, Load Control, Administration, Supervision, and Management.

However, the success of the operation relied upon the equipment which had serviced it and it had been the decision of Airbus Industrie to scale-down its full-size A-300 which had resulted in the A-310-300 and had made the reinstated transatlantic operation possible.  Its long-range, twin-engine, wide body design, of concurrent technology, had offered the same range and twin-aisle comfort to the passenger as the comparable quad-engined 747 or the tri-engined DC-10 or L-1011, yet at the same time had been a quiet, fuel-efficient aircraft with a small enough capacity to permit profitable, year-round operations.  The larger 747, DC-10, or L-1011 would have, because of market size, been forced to operate at a loss for most of the year except during the peak summer travel season.  Any of the other then long-range aircraft, inclusive of the Boeing 707 and the McDonnell-Douglas DC-8, had featured older-generation, fuel-thirsty, noise-emissive, four-engined technology of early-1960s design which, because of newly enforced Stage 2 noise requirements, would have been banned from US operation unless they had been hush-kitted or altogether engine-retrofitted.  It had been because of the very A-310 that Austrian Airlines and other smaller European carriers like it had been able to profitably operate the long, thin Vienna-New York route sector. 

The initial 1989 timetable had offered six weekly frequencies during the summer and five in the winter, at which time two A-310-300s had operated both transatlantically to New York and to the Far East, via Moscow, to Tokyo.  They alternatively flew the longer-range sectors to Tel Aviv, Istanbul, and Teheran.  During the first six months of JFK operations, an aircraft had never experienced an excessive delay because of aircraft scheduling and on-time performance had been exemplary.

In-flight service had represented a large portion of an airline’s expenditure.  As a result, many of the carriers had begun to reduce this in order to decrease costs.  Austrian Airlines, however, remained unique in a world aloft reduced to snacks and paper cups by providing printed menus, amenity kits, china service, complimentary alcoholic beverages, and free earphones in the coach cabin on the Vienna-New York and New York-Vienna route, a concept which had placed its product at the very top of the quality list.

Because of the size of the A-310, however, lower-deck cargo space had been limited, with the forward hold usually accommodating the baggage unit load devices (ULDs) and the aft hold accommodating the cargo itself, which had often been restricted to two pallets and a single AKE unit.

There had always been a certain “prestige” to flying to New York.  Although the number of annual passengers entering the United States through JFK had begun to decline as an increasing number of alternative US gateways had become available, it had still been the largest entry point.  New York had therefore remained the most logical destination for a small carrier which had only served a single US city.  Because JFK had handled 1990 traffic with a (then) insufficiently sized, outmoded 1950s International Arrivals Building facility, the operation often suffered service deteriorations, particularly during peak arrival times when it had became very strained, entailing delays during taxi and subsequent immigration, luggage retrieval, and customs formalities.  The saturated air traffic conditions stretching from Boston to Washington through which the aircraft had to fly; the subsequently dense approach pattern formed by JFK, La Guardia, and Newark International Airports; and the final difficulty in obtaining a landing slot equally impacted operations.  Passengers had often underestimated the time required to complete arrival processing after actually leaving the aircraft.  It had, however, been this environment that Austrian Airlines had chosen when it had elected to partake of the “New York experience.” 

Although these negative facets of the operation had sometimes placed it in a poor light, it had, in fact, been JFK’s operations, and not Austrian’s, which had been observed, since all carriers operating into JFK had fallen victim to these ills, and because of them, an extensive renovation and rebuilding project, designated “JFK 2000,” had at this time been launched, which would ultimately lead to the construction or renovation of almost every terminal, new parking garages, and an inter-airport light rail system.

Although New York-Vienna load factors had initially been low, these had steadily increased until the vast majority of flights had been full.  Large tour groups had constituted an increasing portion of the passenger mixture, along with the anticipated connecting passenger, who had been able to take advantage of the expanding Vienna hub.  It had been the ultimate testament to a carrier when a passenger had chosen to fly with it and make a connection at its intermediate hub as opposed to flying nonstop with a national carrier.

As a “second attempt” across the Atlantic, Austrian Airline’s intercontinental A-310 service to New York had ultimately proven successful.

With the acquisition of its third A-310-300, registered OE-LAC, Austrian Airlines had striven to serve a second US gateway in the spring of 1991 and had wished to establish a presence on the West Coast, specifically in Los Angeles, but the A-310-300’s 11-hour flight duration had precluded this reality.  Chicago had been alternatively considered, but American’s own nonstop Boeing 767-200ER service to Vienna from Chicago-O’Hare, where it had established its second largest hub, had proven too competitive and Washington-Dulles had therefore been chosen instead.

For the European continental network, a higher gross weight McDonnell-Douglas MD-83 had been scheduled for 1991 delivery and several of the existing MD-81s had been slated for conversion to this standard, thus permitting increased range and/or payload capability.  Two further Fokker F.50s had also been on order or option to facilitate increased domestic and long, thin international service.

During the five-year period, from 1989 to 1994, Austrian Airlines had operated independently at JFK, offering as few as four weekly departures during the winter and as many as seven during the summer. 

6. Delta Air Lines Code Share 

Changing market conditions had necessitated modified strategies at JFK.  Seeking to align itself with a US domestic carrier in order to obtain vital “feed” to its transatlantic flights it had been unable to achieve on its own, Austrian Airlines had concluded a marketing agreement with Delta Air Lines in 1994, in which it would place its two-letter “OS” code on Delta-operated flights, while Delta itself would reciprocally place its two-letter “DL” code on Austrian’s services.  Two Delta flight attendants, in their own uniforms, had initially also served in the cabins of Austrian’s A-310s to and from Vienna.

Although the concept had slowly reaped financial benefit, the aircraft had ultimately achieved high load factors, carrying both Austrian and Delta passengers from some two dozen US cities through New York to Vienna, often with beyond-travel.

In order to reduce ground-handling costs and attain synergistic, inter-carrier benefits, Austrian Airlines had relocated its operations to Delta Terminal 1A (later redesignated Terminal 2) on July 1, 1994, retaining only nine of its original 21 staff members.  Delta Air Lines, the newly-designated ground-handling carrier, had performed arrivals, lost-and-found, passenger check-in, departure gate, ramp, and baggage room functions, while Austrian itself had continued to act within the ticketing, load control, administration, supervision, and management capacities.

Also in 1994, Austrian had taken delivery of the first of two long-range, quad-engined A-340-200s configured for 36 business class and 227 economy class passengers.  The two aircraft, which would periodically serve New York throughout the next decade, appeared with the following registrations:

1. OE-LAG

2. OE-LAH

From February 1997 to February 1998, Austrian also relocated its check-in counters and operational office to Delta Terminal 3, but otherwise operated within the same marketing framework.

1997 also marked the first time that the transatlantic route to New York had sufficiently matured to support a second departure on selected days during the summer timetable, with the aircraft arriving at 2045 and redeparting at 2205.  Usually operated by aircraft OE-LAC, an A-310 with a reduced-capacity business, but higher-capacity economy class section, the late flight had fostered better connections with the midday bank of departures from Vienna. 

7. Atlantic Excellence 

Once again yielding to airline deregulation-necessitated realignment and endeavoring to further attain cost-reducing synergies, Austrian Airlines had integrated its JFK operations with Sabena and Swissair on March 1, 1998 under the Atlantic Excellence Alliance, forming the first tri-carrier station.  Although the employees of the three carriers had continued to wear their respective uniforms, they had operated from single passenger service and load control offices, utilizing a joint Austrian, Sabena, and Swissair check-in facility, and equally handled each other’s flights.  During the peak summer season, seven daily departures operated by four airlines had been offered.

The Atlantic Excellence station had been comprised of eight functions, including Control, Arrivals, Departures, VIP/Special Services, Ticketing, Load Control, Ramp Supervision, and Trouble Shooting.  Because Swissair had already been contracted to provide Malev-Hungarian Airlines’ load sheet services, the Load Control function itself had entailed handling some six aircraft types, inclusive of the 747, the A-340, the MD-11, the A-330, the 767, and the A-310, and the Atlantic Excellence integration had often required inter-carrier training courses.

As had singularly occurred with Austrian Airlines, Delta had equally concluded reciprocal two-letter code-share agreements with Sabena and Swissair, but now took the former marketing arrangement to full alliance status at Delta’s significantly-maturing New York-JFK flight hub.  Delta continued to provide the ramp and baggage room functions for all three Atlantic Excellence airlines.

In August of that year, Austrian had taken delivery of the first of four longer-range, higher-capacity A-330-200s, registered OE-LAM and configured for 30 business and 235 economy class passengers, and the type had ultimately replaced the workhorse A-310-300 fleet.  The four aircraft, later operating with a reduced business class capacity of 24 when the Grand Class concept had been introduced, had included the following registrations:

1. OE-LAM

2. OE-LAN

3. OE-LAO

4. OE-LAP

During the summer timetable of 1998, JFK had fielded its first dual-aircraft type operation, with the first departure standardly operated by the A-330 and the second by the A-310. 

8. Star Alliance 

Although an ultimate “Swissport Solution,” under which all Atlantic Excellence JFK ground staff would be transferred to the ground-handling company, had been envisioned, the eventuality had never played out.  Rumors, rumbling through the station like the gentle forewarnings of a pending storm, had pervaded the atmosphere by mid-1999.  A new strategy seemed to loom on the horizon and its seeds, planted long before it had bloomed, had been multi-faceted and omni-encompassing.

1. In June of 1999, Delta Air Lines and Air France had formed the fundamental basis of a new global alliance, later named SkyTeam, thus dissolving the 25-month Austrian/Delta/Sabena/Swissair Atlantic Excellence Alliance whose agreement, without renegotiation, would have expired in August of 2000.

2. Despite an agreed investment limitation of 10%, Swissair had nevertheless attempted to purchase additional Austrian Airlines stock, precluding Austrian’s goal of autonomous identity and independent ownership and forcing it to withdraw from the Swissair-led Qualiflyer Alliance of European carriers.

3. Swissair and Sabena had formed a combined commercial management structure, which again had proven contrary to Austrian Airlines’ independent direction.

4. In early 2000, both Sabena and Swissair had concluded a code-share cooperation agreement with American Airlines, a US airline-alignment counter to Austrian Airlines’ US feed strategy.

Austrian Airlines, a small, but profitable international carrier of considerable quality, had nevertheless needed the reach of a global alliance to remain financially viable and thus concluded a membership agreement with the Lufthansa- and United-led Star Alliance, which had become effective on March 26, 2000.  Still the largest and longest-running alliance, it had then been comprised of Air Canada, Air New Zealand, All Nippon, Ansett Australia, Austrian Airlines, British Midland, Lauda Air, Lufthansa, Mexicana, SAS, Thai Airways International, Tyrolean, United, and Varig, and had collectively carried 23-percent of the world’s passenger traffic.  At the same time, the decision had permitted continued independent identity and autonomous operation, yet expansion potential for both the airline and its Vienna hub.  Expressed as a sentiment, the decision could be stated as, “Here we grow again!”

The transition from the Atlantic Excellence to the Star Alliance, having commenced as early as January 2000, had entailed four integral changes:

1. An entirely new IT (information technology) system and frequent flier program.

2. The operational relocation to a new terminal, passenger service office, passenger check-in counter, load control-aircraft dispatch center, and gate at JFK.

3. New alliance airline code-share flights and traffic feed had resulted in the closing of the Atlanta station and the subsequent opening of the Chicago and reopening of the Washington stations in the US.

4. The company-wide migration training in Oberlaa, Austria.

Star Alliance membership, once again entailing a relocation to Terminal One at JFK, had prompted another handling carrier change, from Delta to Lufthansa, which had now performed the Baggage Services and Passenger Check-In functions, while Austrian itself had continued to act in the capacities of Arrivals, Ticketing, Load Control, Ramp Supervision, and Management.  Under a reciprocal agreement, it had also provided these passenger services to Lufthansa for its own Frankfurt departures during non-operational hours.  Aircraft loading and baggage room functions had been provided by Hudson General, which had later been renamed GlobeGround North America.

In a further cost-reduction strategy, Austrian Airlines had relocated to a smaller, lower-rent Passenger Service office on the ground floor of Terminal One in September 2002, at which time the Load Control/Ramp Supervision function had been awarded to Lufthansa.  No longer serving Lufthansa’s flights, the Austrian staff had been further reduced to six full-time and two part-time positions and the daily shift hours had decreased from nine to eight.

Austrian’s largest-capacity aircraft, the A-340-300–accommodating 30 business class and 261 economy class passengers–had intermittently also provided service to JFK, particularly during the summer 2002 timetable when a late Saturday departure had been scheduled.  Two such aircraft had then been in the fleet:

1. OE-LAK

2. OE-LAL 

9. Swissport USA 

The consistent thrust to reduce costs had resulted in yet another handling-company change at JFK on January 1, 2003, when most of the ground services had been transferred from Lufthansa to Swissport USA.

In preparation for the change, the Swissport passenger service staff had attended the Guide Check-In course in Vienna in December 2002, while one Swissport agent, who had structured the Baggage Services department, had attended the World Tracer Basic course in October of the following year.

Outfitted in Austrian Airlines uniforms, the Swissport staff had performed the Arrivals, Lost-and-Found, Passenger Check-In, Departure Gate, Load Control, and Ramp Supervision functions, while Austrian itself had continued to provide Ticket Sales, Administration, Supervision, and Management services.  Load control, which had initially been performed in Terminal 4 using the Swissair DCS system, had been transferred to Terminal One and the Lufthansa-WAB system after the Swissport operations personnel had completed a computerized load control course in Vienna that March. 

10. North American Station Training Program               

Because most of the Swissport agents had had little previous airline experience; had been unfamiliar with Austrian Airlines’ product and procedures; and had mostly had only a basic, entry-level Passenger Service Course, I had endeavored to create a local training program by drafting the course descriptions, writing the textbooks, devising the quizzes and exams, teaching the courses themselves, and subsequently issuing the training certificates in order to more adequately prepare them to perform their functions.

The program, tracing its routes to the Austrian Airlines Passenger Handling Course created in 1989 and the introductory Load Control material written in 1998, had evolved into the full-fledged North American Station Training Program, whose content, updated in accordance with aircraft, system, procedure, and alliance change, had entailed the four integral curriculums of “Initial Passenger Service,” “Ramp Supervision Certification,” “Load Control Licensing,” and “Airline Management;” and had ultimately encompassed 27 Passenger Service, Ramp Supervision, Load Control, Air Cargo, and Airline Station Management procedural and training manuals; two station histories; 28 curriculums; and 63 courses taught to Austrian Airlines and Austrian Airlines-handling carriers Delta, Lufthansa, Passenger Handling Services/Maca, SAS, Servair, and Swissport at the eight North American stations of Atlanta, Cancun, Chicago, Montreal, New York, Punta Cana, Toronto, and Washington.

The program, which had quickly become the equivalent of an “Airline University” and had often been sited as the reason why Swissport staff had continually striven to transfer to the Austrian Airlines account, had often proven instrumental in their career path advancements, facilitating their promotions or acceptances by other airlines. 

11. Boeing and Lauda to JFK 

JFK, hitherto exclusively served by Austrian Airlines and its fleet of A-310, A-330, and A-340 Airbus widebody aircraft, had received its first regularly scheduled Lauda Air 767 operation during the summer of 2004, while the frequency had multiplied four-fold by the following year.  During 2007, it had altogether replaced the 17-year Airbus service.

Founded in April 1979 by Niki Lauda, of racing car fame, Lauda Air had acquired Alpair Vienna’s charter license for ATS 5 million and had initiated charter and air taxi service in cooperation with Austrian Airlines with two Fokker F.27 Friendship turboprops, predecessors to the Fokker F.50s Austrian Air Services itself had later operated.  Niki Lauda, born in Vienna, Austria, in 1949, had amassed his wealth as a Formula I racing driver, having won two world champion titles and 25 Grand Prix races.  It had quickly became apparent, however, that two Austrian carriers could not coexist because of fierce competition, downward yield pressure, and an inadequate local market base, and the F.27s had ultimately been leased to Egyptair.

Six years later, in January of 1985, two BAC-111-500s, a British twin-jet not unlike the SE.210 Caravelle in size, range, and design, had been leased from Tarom Romanian Airlines, increasing its fleet capacity to 208 seats, and these had later been deployed on charter and inclusive-tour (IT) services, initially to Greece, but later to other European destinations.  Demand became so high that it had ultimately exceeded available capacity and a larger 737-200, leased from Transavia Holland, had replaced one of the BAC-111s, with both types later disposed of upon delivery of two still-higher capacity, new technology 737-300s.  These had been operated on a steadily growing charter route network.

In May 1986, Lauda Air had applied to the Austrian Ministry of Transport for a license to operate scheduled international service.  This had been approved in November 1987, thus ending Austrian Airlines’ long-held monopoly.  A subsequently-acquired, 235-passenger, dual class Boeing 767-300ER had permitted long-range, intercontinental flights to be inaugurated, the first of which, on May 7, 1988, had been a weekly scheduled Vienna-Bangkok-Hong Kong service, shortly joined by a Vienna-Bangkok-Sydney sector.  Filling the need for lower-fare, long-haul, leisure-oriented travel, Lauda Air grew rapidly.  In 1985, for instance, it had carried 95,768 passengers and had flown 2,522 flight hours with 67 employees, while in the first ten months of 1987, it had carried 236,730 passengers and had undertaken 5,364 flight hours with 169 employees, a 147-percent passenger increase.  By 1990, its fleet had swelled to five aircraft, comprised of three 146-passenger 737-300s and two 235-passenger 767-300ERs, which had been deployed on charter services to European destinations such as Spain and Greece, Middle Eastern destinations like Israel, and to Africa and the Far East, and on scheduled services to Vienna, Bangkok, Hong Kong, and Sydney.

Earning its license for European scheduled service on August 23, 1990 for the first time, a right thus far only held by incumbent Austrian Airlines, it had commenced service from Vienna to London-Gatwick with five weekly 737-300 flights.

Seeking entry into the Austrian market, Lufthansa-German Airlines had announced a marketing cooperation with Lauda Air in July 1992, sealing this alliance the following January with a 26.5-percent capital increase, shortly after which the two carriers had inaugurated a quad-weekly 767-300ER service to Los Angeles.

Well aware of competition from Austrian Airlines on inter-European routes from its limited Vienna market, Lauda had sought to inaugurate its own service with small-capacity, 50-passenger, twin-engined Canadair Regional Jets, ordering six of the type in October 1993, which had been deployed on routes to Barcelona, Madrid, Brussels, Geneva, Manchester, and Stockholm with the start of the summer timetable on March 27, 1994.  Singapore, which had replaced Bangkok in November of that year, had become the new “bridge” between Vienna and Sydney/Melbourne, and the weekly 767 service had been doubled.

On March 26, 1995, Lauda Air had established a second European hub, Milan-Malpensa, in cooperation with Lufthansa, which now held a 39.7-percent stake in the fledgling Austrian carrier, basing three of the six originally-ordered CRJ-100s there. These had been deployed to Vienna, Manchester, Brussels, Paris, Barcelona, and Dublin.  The Candair Regional Jets, along with an increasing number of 737s, had provided the backbone of its European fleet.

It had soon become apparent that pending European deregulation would not likely tolerate dozen-aircraft airlines unless they had served very small, specific market niches.  Lauda Air had been unable to survive in the face of competition from Austrian Airlines once before.  Both had operated medium- and long-range, twin-engine aircraft from bases in Vienna and had offered considerable passenger service quality.  An ultimate cooperation with Austrian Airlines seemed inevitable.  This had been partially consummated in June 1996, at which time Austrian Airlines and Lauda Air had operated single-aircraft, dual-code flights to Nice, Milan, and Rome with the regional jet for the first time.  On March 12, 1997, this had been expanded, with the announcement of a strategic, tri-carrier Austrian/Lauda/Lufthansa cooperation, Austrian Airlines now taking a 36-percent stake in its former competitor with Lauda himself retaining 30 percent and Lufthansa 20 percent.

On September 24 of that year, Lauda Air took delivery of its second wide body aircraft type, the 777-200, which had been inaugurated into service on the Vienna-Singapore-Sydney-Melbourne route on October 1, replacing the venerable 767.

On September 21, 1999, now one of the three integral “Austrian Airlines Group” members along with Austrian Airlines itself and Tyrolean Airways, Lauda Air had announced its intention to join the Star Alliance, which became effective on March 26, 2000.

As the lower-cost arm within the three-airline group, Lauda Air had provided medium- and long-range scheduled and charter service on leisure-oriented routes with a four-type, 22-aircraft fleet, maintaining its own brand identity.  In 2004, however, the first steps toward integration with the Austrian Airlines brand had occurred with the ratification of a joint Austrian-Lauda Air cockpit crew contract, and in January of 2005, aircraft OE-LAE had become the first of four 767-300s to have been repainted in the Austrian Airlines livery, featuring the new interior color scheme and a 24-business class and 230-economy class passenger configuration.  Lauda Air itself had reverted entirely to a single-class, high-density charter carrier within the Austrian Airlines Group with a narrow body fleet of Boeing 737s and Airbus A-320s.

The summer 2004 Lauda 767 flight, which had operated as an addition to the daily Austrian frequency during the 11-week period from June 26 to September 5, had arrived at 2055 on Saturday evenings and departed some 25 hours later on Sunday at 2200.  In order to prepare the station for the additional service, local Boeing 767 Passenger Service and Boeing 767 Load Control courses had been created and taught to the Swissport staff.  Because Lufthansa had not been licensed on 767 aircraft, maintenance had been contracted to Delta Air Lines, which had operated all three -200, -300, and -400 series 767s, and an extensive night stop and security procedure had been performed before aircraft push-back to the Terminal One hardstand, at which time security seals had been applied to all access doors.  The inbound galley equipment had been offloaded and washed and prepared for the following evening. 

The late departure had proven difficult to sell in the business cabin without considerable marketing promotion and fare reduction because of the aircraft’s then 36-passenger Amadeus Class capacity.  Due to the size of its aft, lower-deck door, cargo-pallet loading had been restricted to four positions in the forward compartment.  The aircraft themselves had operated in a combination of Lauda Air and Star Alliance liveries.

During the summer 2005 timetable, the 767-300 had operated up to four additional weekly frequencies from June 14 to September 2, resulting in 11 weekly departures from JFK, with the A-330 standardly operating the early service and the 767-300 operating the late flight.

In 2007, the type had altogether replaced the A-330 and A-340 fleet. 

12. Centralized Load Control 

In late-2006, a concept known as the “Centralized Load Control” (CLC) System had been implemented at JFK, and the station, like the nucleus of an atom, had become the core of it all.

Brainchild of Michael Steinbuegl, JFK Station Manager, the procedure, following trends set by Swiss International in New York, Lufthansa in Cape Town, and SAS in Bangkok, had its origins in an earlier investigative project in which he had explored cost reductions by means of a large, single Centralized Load Control department in Vienna or several regional ones, although the latter inherently carried language and time zone obstacles.  Michael, former Aircraft Handling Manager, had amassed considerable experience creating operational procedures and methods, central to which had been weight and balance.

Seeking to apply this knowledge and simultaneously attempting to rectify the system incompatibility and communication difficulties encountered with the SAS-Bangkok arrangement in Washington, he tackled this station first, which, like JFK, already used the Lufthansa-WAB system.  In the process, he set the course for the many transitions to come by making several duty trips to establish local station-compatible procedures and then drafting a detailed booklet concerning them.  The first centralized load sheet for the Washington flight, OS 094, occurred on November 1, 2006.

Charlie Schreiner, the head of Austrian Airlines Load Control, subsequently marked the occasion with the following words:  “With Austrian Airlines Flight OS 094 on November 1, our first line station had been connected to a regular Centralized Load Control process with ULD aircraft.  All activities toward the operational flight preparation, load planning, ULD coordination, and WAB System documentation, inclusive of the load sheet transmitted to the cockpit via ACARs, had been successfully controlled by our JFK station yesterday.  I would like to thank our colleagues Mike Steinbuegl and Robert Waldvogel for the professional and excellently organized preparation of the CLC procedures, as well as the Austrian ladies, Regula Munz and Eva Lingeman in Washington and the handling agents in JFK and Washington (Swissport and SAS Scandinavian Airlines System) in their engaging work during this transition.  This good work had also led to the first flight departing three minutes ahead of its scheduled departure time.  I wish all participants continued success in the CLC process.”

The remainder of the CLC program, however, involved phased implementation.  In May of the following year, service had been reinaugurated from Chicago.  Because this could now be considered a “new” station, it logically followed that its load sheet would be integrated into the CLC system from the start and, despite computer system differentiations, had been successfully adapted with the first flight on May 29 after procedural modifications.

With these cities being handled by JFK, it had been decided to integrate the last North American station, Toronto, whose first centralized load sheet had been issued on July 1.

Three Austrian Airlines-dedicated Swissport Load Controllers, two of whom had worked on a given day during the peak summer season, had formed the Centralized Load Control System team.

Since the fourth station had been integrated, JFK had produced some 120 load sheets per month, and the highly successful system had yielded numerous benefits.

1. It had, first and foremost, produced considerable savings.

2. All flights had departed on time relative to load plan and load sheet preparation.

3. All four North American flights had been operationally handled by only one more daily Load Controller than JFK had had for a single departure.

4. All loading instruction reports and load sheets had been generated in the Lufthansa-WAB system.

5. And Vienna had had immediate access to all load control-related data and documentation.

13. Boeing 777 

When Austrian Airlines had turned the page of its winter 2008-2009 timetable on March 29, JFK had fielded its first Boeing 777-200ER operation, the carrier’s largest capacity equipment and the fifth basic type to have served New York after the A-310, the A-330, the A-340, and the 767.

The aircraft, having originally been acquired by Lauda Air, had been configured for 49 business and 258 economy class passenger, although two later examples, which had featured higher gross weights and modified passenger arrangements, had accommodated 260 economy class passengers in ten-abreast, three-four-three, configurations.

During the six-month period between April and September of 2009, the single flight had carried 34 percent more arriving and departing passengers, along with significantly increased complements of cargo and mail, than the comparable year-earlier period, when the 767 had been deployed.

The four 777 registrations had included the following:

1. OE-LPA

2. OE-LPB

3. OE-LPC

4. OE-LPD

14. Lufthansa Acquisition 

2009 had been a pivotal year for Austrian Airlines.   Because of the global economic downturn, escalating fuel prices, eroding yields, and strong competition within Western Europe from low cost carriers, its financial viability and therefore continued existence as a company had been threatened, despite previously unsuccessful attempts to stem its losses by selling its A-330 and A-340 fleet, reducing its long-range route system, and implementing several restructuring plans.  Its savior, in the form of an agreement with Lufthansa-German Airlines to assume its debt and acquire the majority of its shares, had enabled it to continue operating.

On August 28, the European Commission had officially approved the proposed acquisition of the Austrian Airlines Group by Lufthansa-German Airlines, comprised of the 500 million euro restructuring assistance from the state holding company and the merger between the two carriers, thus paving the way toward Austrian Airlines’ integration into the Lufthansa Group by September.  In order to achieve the required antitrust immunity, Lufthansa had agreed to relinquish key flight slots and reduce the number of services between Vienna and Brussels, Cologne, Frankfurt, Munich, and Stuttgart.  For Austrian Airlines, which would become one of Lufthansa’s many independent, European hub carriers, it had signaled financial survival; an improved economic foundation; cost synergies, such as joint fuel and aircraft purchasing; and access to Lufthansa’s extensive international sales and route network.  Austrian Airlines’ own niche within this system had entailed the establishment of Vienna as a high-performance hub for traffic feed to its dense Central and Eastern European route system.

As a result of this ownership change, numerous, fundamental North American changes had occurred.

In Toronto and Washington, for example, agreements had been reached wherein Lufthansa had assumed the ground operations handling at these stations.

In New York, more than half of its Whitestone, North American headquarters, employees had been laid off and the location, for almost a quarter of a century its “fortress” located on the fifth floor of Octagon Plaza, had been closed, with the remaining staff relocating to Lufthansa’s East Meadow, Long Island, facility, and integrating with its staff.

At JFK, Austrian Airlines Cargo had relocated to the Lufthansa facility on November 1, and 16 days later Swissport had passed the ground-handling torch to Lufthansa-German Airlines.

Michael Steinbuegl, Manager of that station for four years, had been promoted to Key Account Manager, North America, but four Ticket Sales-Reservation positions had been rendered redundant when Lufthansa had assumed those functions, reducing the Austrian Airlines’ staff to just three members, all of whom had received limited, six-month contracts which had expired on May 15, 2010.  They had subsequently been integrated into the Lufthansa operation and schedule.

The last Austrian Airlines “red presence,” whether having been created by purely Austrian Airlines or Swissport staff, had occurred on November 15, and the first floor office in Terminal One, hitherto “home” for both the Austrian Airlines and Swissport Management, Passenger Service, Centralized Load Control, Ticket Sales-Reservations, and Baggage Services/Lost and Found Departments, had been relinquished for three desks in the Lufthansa facility, two of which had been Duty Manager stations located on the main level and one of which had been the Key Account Manager position located on the lower level in the Station Operations office.

All things seem to come fully cycle.  The event, effectively ending 21 years of autonomous Austrian Airlines presence, had marked the carrier’s return to its 1938 integration with Lufthansa and its 2000 ground-handling arrangement at JFK. 

15. JFK Station Strengths 

Throughout its 21-year presence at JFK International Airport, Austrian Airlines had handled five aircraft types–the Airbus A-310, the Airbus A-330, the Airbus A-340, the Boeing 767, and the Boeing 777; had assumed four strategies–its initial, independent operation; the Delta Air Lines code share agreement; the tri-carrier Atlantic Excellence station; and the Star Alliance integration; had operated from four JFK terminals–Terminal One, Terminal Two, Terminal Three, and the International Arrivals Building; had been handled by three companies–Delta Air Lines, Lufthansa-German Airlines, and Swissport USA; and had used two computer systems.

Because the talents and abilities of many of the staff had been channeled to produce creative and innovative accomplishments during the last chapter of its existence, JFK had notched up several strengths and successes, some of which had enabled it to play an increasingly nucleic role within North America.  These achievements can be subdivided as follows:

1. The textbooks and courses had subsequently been used to duplicate this success at Austrian Airlines’ other North American stations.

2. The Centralized Load Control (CLC) Department, entailing the preparation of loading instruction/reports and load sheets for the four North American stations of Chicago, New York, Toronto, and Washington, had been highly successful and had once involved four aircraft types: the Boeing 767, the Airbus A-330, the Airbus A-340, and the Boeing 777.

3. Omar himself had often traveled to other stations in order to restructure their Baggage Services Departments.

4. The Ticket Sales-Reservations counter, under the direction of Sidonie Shields, had consistently collected significant amounts of annual revenue in ticket sales, excess baggage, and other fees.

5. The visible presence of Austrian Airlines, in red uniforms, to the passenger, whether worn by Austrian Airlines or Swissport staff.

6. The special flights, such as those carrying the Rabbi Twersky group, the American Music Abroad group, the IMTX group, the Vienna Boys’ Choir, the Vienna Philharmonic Orchestra, and Life Ball, the latter with its high-profile celebrities, colorful characters, and predeparture parties.

7. The special events, including “The Year in Review,” the Pennsylvania ski trips, the summer pool parties, the birthdays, the Thanksgiving dinners, and the Secret Santas at Christmas.

8. And, finally, the daily briefings, the family atmosphere, the jokes, the laughs, the raps, and the human connection which had continually emphasized the life forces behind it all.

Michael Steinbuegl, who assumed command as JFK Station Manager in September of 2005, had cultivated the environment and orchestrated the steps which had allowed every one of these strengths and accomplishments to have been made. 

16. Two Decades of Elasticity 

Austrian Airlines, hitherto among the smallest European airlines, had to assume a considerable degree of necessary “elasticity” during its 21 years at JFK, ebbing and flowing in the ever-changing turbulence of prevailing market conditions, seeking financial benefit, synergistic strength, market niche, alliance realignment, and ultimate change of ownership.  Defying Darwinian philosophy, whose “survival of the fittest” prediction is often translated as “survival of the largest,” Austrian Airlines had, despite numerous, necessary redirections, proven the contrary, perhaps prompting a rewording of the philosophy to read, “survival of the smallest”–to which should be added, “as a global player.”

Toward this end, the latest strategy had enabled the carrier to survive.  For station JFK and its staff, however, it had not. 

Epilogue 

Because I had been hired by Austrian Airlines two months before its inaugural transatlantic flight from JFK on March 26, 1989 and had held several positions there throughout its 21-year history, I had felt singularly qualified to write its story.  It is, in essence, my story.  It is what I lived.  And what I leave…

A graduate of Long Island University-C.W. Post Campus with a summa-cum-laude BA Degree in Comparative Languages and Journalism, I have subsequently earned the Continuing Community Education Teaching Certificate from the Nassau Association for Continuing Community Education (NACCE) at Molloy College, the Travel Career Development Certificate from the Institute of Certified Travel Agents (ICTA) at LIU, and the AAS Degree in Aerospace Technology at the State University of New York – College of Technology at Farmingdale. Having amassed almost three decades in the airline industry, I managed the New York-JFK and Washington-Dulles stations at Austrian Airlines, created the North American Station Training Program, served as an Aviation Advisor to Farmingdale State University of New York, and devised and taught the Airline Management Certificate Program at the Long Island Educational Opportunity Center.

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