Star Trek: Voyager Felony Murder

http://seattletimes.com/html/localnews/2020552610_piksachargesxml.html


The Seattle Times


Originally published Wednesday, March 13, 2013 at 7:34 PM


Suspect in shooting thought parks co-workers were against her

King County Prosecutors on Wednesday charged Carolyn “Zoom” Piksa, a 46-year-old Seattle Parks and Recreation Department employee, with first-degree assault for shooting a male co-worker in the chest on Friday and with second-degree assault for threatening to shoot a female co-worker.

By Sara Jean Green

Seattle Times staff reporter

Carolyn “Zoom” Piksa apparently believed two of her co-workers were involved in “a game of manipulation” against her and had deleted contacts from her cellphone, taken money from her bank account and caused noises at night that made it impossible for the Seattle Parks and Recreation Department employee to sleep, according to charges filed Wednesday.

On Friday, she confronted her co-workers to “find out how to get out of the game,” shooting one and threatening the other with a handgun, charging papers say.

Piksa was charged by King County prosecutors with first-degree assault for shooting Bill Keller, 65, in the chest with a .357-caliber revolver and with second-degree assault for brandishing her weapon and threatening to shoot co-worker Cynthia Etelamaki, 45, charging papers say.

In an interview with detectives at Harborview Medical Center, Keller said he pleaded with Piksa, telling her, “Don’t shoot me! Don’t shoot me in the head!” the papers say.

Piksa, 46, is to be arraigned March 27. She is being held in the King County Jail in lieu of $1 million bail.

Piksa’s nephew, Cody Shearer, last week told The Seattle Times his aunt is a wonderful woman who had the love and support of her family. But he also described her as “fragile” and said that after a burglary at her Burien home last summer, she suffered from post-traumatic stress disorder and took six months off work.

Both of Piksa’s alleged victims told police that before Friday neither had any personal conflicts with Piksa.

Just before 2 p.m. Friday, Piksa retrieved the revolver from her truck and went to Keller’s office at a parks-maintenance building at North 82nd Street and Densmore Avenue North and demanded to see him, charging papers say. Once inside his office, Piksa pulled out a gun and pointed it at Keller’s head.

She then lowered the handgun, opened and closed the cylinder as if checking her ammunition, “then abruptly raised the weapon” and shot Keller in the chest, the papers say.

Piksa left Keller’s office, retrieved her lunch from a refrigerator near her work area and left the building to drive to the Bitter Lake Community Center, according to the charges.

Keller, executive director of the Associated Recreation Council (ARC) which oversees the programs at the city’s community centers, called 911:

“Keller was in medical distress, could barely speak and was initially unable to provide his location or the nature of the emergency,” charging papers say. “Keller eventually gasped that he had been shot inside the building.”

At 2:11 p.m., Seattle police received a 911 call from the Bitter Lake Community Center from an employee who reported that a woman had entered the center armed with a gun, charging papers say.

Staff identified Piksa as the armed woman but she had already left by the time officers arrived, the papers say. Etelamaki, the community-center coordinator, told police she was inside the center when Piksa entered and asked to speak to her.

Once in Etelamaki’s office, Piksa asked her if she had talked to Keller and she replied that she hadn’t, the papers say.

When Piksa pulled out a handgun, Etelamaki was able to run out of the office and yell to other employees to evacuate the building, charging papers say. She then left the center and called 911, the papers say.

Piksa grabbed Etelamaki’s purse and left, according to the charges.

Police used Piksa’s cellphone signal to trace her to her home in Burien, where she was arrested around 5 p.m. Friday. Etelamaki’s purse was found inside the home, the charging papers say.

Keller is still being treated at Harborview, where he was in satisfactory condition on Wednesday, according to a hospital spokeswoman.

Piksa — who earned the nickname “Zoom” for her skill as a softball pitcher — has been a Seattle Parks Department employee since 1986.

She is an assistant coordinator for community centers and worked at several around the city, including Miller Community Center and Montlake Community Center, according to city records.

According to relatives, Piksa has had a troubled past and was the victim of a break-in last summer in which her dog was killed.





http://www.seattlepi.com/local/article/Charge-Armed-parks-worker-feared-colleagues-4348589.php


seattle pi


Charge: Armed parks worker feared colleagues' 'game'

BY LEVI PULKKINEN, SEATTLEPI.COM STAFF

Updated 4:35 pm, Wednesday, March 13, 2013


A Seattle Parks and Recreation Department worker accused of shooting a coworker believed her colleagues were conspiring against her in an absurd “game,” according to charging papers filed Wednesday.

King County prosecutors contend Carolyn “Zoom” Piksa shot William Keller, the head of a parks-support group, on Friday afternoon at a North Seattle parks office. Piksa was arrested hours after the shooting following a manhunt.

Piksa, a 46-year-old Burien resident, is alleged to have made nonsensical claims to police following her arrest. In addition to Keller’s shooting, Piksa is accused of threatening another Seattle Parks Department worker; she has been charged with assault in both instances.

According to charging documents, Piksa claimed Keller and the other woman had meddled with her cell phone, taken money from her bank account and kept her awake at night. Piksa allegedly told detectives she hoped to “find out how to get out of the game.”

Neither of Piksa’s alleged victims reported any prior bad interactions with her.

Claiming Piksa has confessed to the shooting, authorities say Piksa came to the Densmore Parks and Recreation Office, located several blocks north of Green Lake at 8061 Densmore Ave. N., demanding to see Keller.

Prosecutors contend Piksa drew a .357 cal. revolver and shot Keller, 65, in the chest just before 2 p.m. She then left the scene after retrieving her lunch from the office refrigerator.

Keller suffered serious injuries during the shooting and was initially listed in critical condition at Seattle’s Harborview Medical Center.

Following the shooting, Piksa robbed the second woman at gunpoint near the Bitter Lake Community Center at 13035 Linden Ave. N. According to charging papers, Piksa asked the woman if she knew what had happened to Keller before threatening to shoot her.

“Maybe I should just shoot you right now!” Piksa yelled while pointing the revolver at the woman, according to court documents. The woman later told police she hadn’t had any difficulties with Piksa prior to the incident.

She was arrested at her home shortly after the robbery. Police contend Piksa admitted to shooting Keller and stealing the other woman’s purse.

Writing the court, Seattle Police Detective Rolf Norton said Piksa claimed Keller told her to shoot him in the chest.

“Piksa stated that she went to confront Keller and (the other employee) about their ‘manipulation’ on this day because she was finding it more and more difficult to do her everyday tasks,” Norton said, recounting Piksa’s statements to police. “She believed it was time to ‘put my cards on the table.’”

“And now I’m out of the game,” Piksa is alleged to have told police.

Following the shooting, Mayor Mike McGinn previously had met Bill Keller and called him “a great, great friend, not just of the parks department but of the city.” Keller is the head of the Associated Recreation Council, a non-profit organization that helps the parks department.

Piksa has been with the Seattle Parks and Recreation Department since 1986 and was listed in a recent brochure as a recreation coordinator. Court records and friends portray Piksa as a distraught woman who was left paranoid by the 1985 killings of her sister and brother-in-law at a Pierce County cemetery.










http://www.guardian.co.uk/music/2013/mar/13/harlem-shake-internet-killing-sampling


theguardian


Harlem Shake: could it kill sampling?

An unexpected viral dance craze shot Baauer's Harlem Shake to the top of the Billboard charts. Almost immediately, legal letters began to arrive. So, can cut-and-paste culture continue to flourish on the internet?

Dorian Lynskey

The Guardian, Wednesday 13 March 2013 13.03 EDT

It didn't take long for Baauer, AKA Brooklyn producer Harry Bauer Rodrigues, to realise the downside of freak success. Almost as soon as his bass-heavy minimalist dance track Harlem Shake was propelled to the top of the Billboard charts last month by a viral dance craze and a change in chart rules that took into account YouTube views he was contacted by representatives for retired reggaeton artist Hector Delgado and Philadelphia MC Jayson Musson. Without realising it, both men were collaborators on a hit. It was Delgado who sang "Con los terroristas" on his 2006 single Maldades, and Musson who rapped "Do the Harlem Shake!" on Miller Time, a 2001 track by his group Plastic Little. Both vocal hooks were fundamental to the success of Baauer's record but neither performer had been approached or paid.

On the surface, Baauer's failure to license the samples would appear to stem from some combination of naivety, laziness and stupidity, but nothing about Harlem Shake is straightforward. At the beginning of February, this year-old underground club track suddenly became a worldwide phenomenon thanks to tens of thousands of people (including Egyptian protesters, Manchester City players, Stephen Colbert and The Simpsons) filming themselves dancing like idiots to a 30-second excerpt. By 20 February it was No 1 off the back of 103m YouTube views in a single week.

Had Baauer known a year ago that this would happen, he would doubtless have been more careful, but nobody saw it coming. The record got away from him, upending his assumptions and making him yet another name in the long and controversial history of sampling: a bewildering grey area shaped by legal confusion, financial necessity, technological advances, arguments over artistic freedom, and old-fashioned seat-of-the-pants chutzpah.

Hip-hop began in the early 1970s as a DJ-driven artform, with MCs initially employed as energetic hypemen. So when it eventually graduated from the club to the recording studio, the principle of rapping over other people's records was a given, and the only obstacle was technological. The primitive nature of early samplers forced producers to use stiff programmed drums (think of any early Run-DMC or Beastie Boys single), rather than fluid breakbeats. But the release of samplers such as the E-mu SP-1200 and the Akai MPC60 in the late 80s revolutionised the form, enabling producers to ransack their record collections for ideas. Albums such as De La Soul's 3 Feet High and Rising and the Beastie Boys' Paul's Boutique worked dozens of samples into collages of psychedelic complexity. Public Enemy claimed that they had used so many sources in their 1989 hit Fight the Power that even they couldn't identify them all afterwards.

Sometimes the original artists were paid and credited, but usually not. This wasn't legal, it was just the way things were done. In retrospect, it seems startlingly blatant. Did MC Hammer and Vanilla Ice really not think to clear the huge and obvious samples (from Rick James and Queen respectively) that underpinned their breakthrough hits? No, because hardly anybody did. It was a free-for-all.

The Wild West era waned with Hammer and Vanilla Ice's expensive retroactive settlements and ended decisively in 1991 when a federal court found rapper Biz Markie and his record label guilty of copyright infringement against singer-songwriter Gilbert O'Sullivan. "Thou shalt not steal has been an admonition followed since the dawn of civilisation," wrote Judge Kevin Thomas Duffy. "Unfortunately, in the modern world of business this admonition is not always followed." When Markie was ordered to pay damages and remove the offending track from his album, the music industry panicked and insisted that artists declare all their samples in advance, thus making De La Soul-style collages prohibitively expensive and dramatically affecting the sound of hip-hop. These days, big stars rarely cross the line deliberately. Kanye West and Jay-Z's recent scuffle with soul singer Syl Johnson arose from a paperwork error at their record label. Generally, the system works: in 2010 Johnson boasted that his house had effectively been paid for by the Wu-Tang Clan.

The Biz Markie case changed the practice of sampling but without establishing a watertight precedent or inspiring any clarifying legislation. Subsequent cases have only complicated the issue.

The problem for artists is that the criteria are nebulous and the judgments subjective. In the US, the "fair use" doctrine grants exemptions from copyright law in certain circumstances, for example if the new work is considered "transformative" rather than merely "derivative", and doesn't affect the value of the original work. The Supreme Court ruled in favour of Florida rap group 2 Live Crew in a 1994 case because their unlicensed copying of Roy Orbison's Oh, Pretty Woman was deemed a parody and therefore permissible under fair use. But artists who sample cannot be sure what qualifies as fair use until a case goes to court, so in practice it becomes a question of weighing risks against rewards.

Even apparently legitimate samples can be contentious. The Beastie Boys licensed the recording of jazz flautist James Newton's 1978 track Choir for use on 1992's Pass the Mic but not the publishing rights, so a court had to decide in 2004 whether the six-second sample ("three notes separated by a half-step over a background C note" in the court's words) counted as a significant part of Newton's composition. The judge decided it did not.

The Verve, famously, were not so lucky when they lifted a loop on Bittersweet Symphony from the Andrew Oldham Orchestra's cover version of The Last Time by the Rolling Stones.

They did, in fact, license the sample but ABKCO, which owned the rights to the record, claimed the Verve had used "too much" of it and won, in an out-of-court settlement, 100% of the publishing as well as a songwriting credit for Jagger/Richards, even though the sampled section owes nothing to the Stones' own recording. The extremity of the settlement called into question the very nature of authorship.

Sampling lawsuits require judges to make aesthetic calls that don't always make sense. In a longrunning wrangle between Kraftwerk and two German hip-hop producers over a two-second drum loop from 1977's Metal on Metal, Germany's supreme court decreed that an unlicensed sample was only permissible if the same effect could not be achieved without sampling. After several expert witnesses banged pieces of metal together and fed the sounds through sampling technology available at the time the hip-hop track was made, the court decided that it was indeed possible and ruled in Kraftwerk's favour.

But the court misunderstood the philosophy behind sampling. Producers such as DJ Shadow use samples precisely because they want to play with the aura of the original text. As sampling pioneer Steinski told the Guardian five years ago, "You want the thing; you don't want the almost-thing". By the German court's criteria, Warhol should have painted his own pictures of Marilyn Monroe.

This would be a ruinous and artistically tone-deaf legal precedent.

So the law is a mess but the law isn't all that counts. Most of the time the key question is what you can get away with, and it's often a great deal. When bedroom producers began disseminating free online "mash-ups" of famous records a decade ago, the record industry initially responded with a flurry of cease-and-desist letters, but it soon realised that there was nothing to be gained by playing corporate Goliath to legions of plucky Davids. Danger Mouse's 2004 release The Grey Album, a flagrantly illegal mash-up of Jay-Z and the Beatles, led not to a court case but a prolific, Grammy-winning career producing the likes of the Black Keys, Beck and Gorillaz.

Even more provocatively, US DJ Girl Talk, who describes himself as "taking a Warhol approach", has released five albums, either free or on a pay-what-you-want basis, based on recontextualising chunks of instantly recognisable hit singles. Copyright reformers are eager for an artist or label to take the bait and sue Girl Talk, hoping that the case would clarify "fair use" in their favour, but the industry realises that is wiser to leave the arty outlaws alone while continuing to make money from licensing samples to mainstream artists.

The same goes for online "mixtapes": albums, often stuffed with unlicensed samples, that are given away online to whet appetites for official releases. R&B star Frank Ocean's 2011 mixtape Nostalgia, Ultra used huge slabs of music from artists including Coldplay and MGMT but only his sample-cum-cover of the Eagles' Hotel California inspired a threat of legal action. Frank Ocean's defence was typical of the mixtape-and-mash-up generation: "Why sue the new guy? I didn't make a dime off that song. I released it for free. If anything, I'm paying homage." Cooler heads seem to have prevailed and the threat has gone no further. Nobody wants to be painted as a multimillionaire killjoy, especially when there's no money to be made even if they won.

For now, the not-making-a-dime defence seems to be keeping potential litigants at bay, enabling a return to the unshackled creativity of the late 80s, but it is a precarious freedom. A single lawsuit, and a ruling more in line with Judge Duffy's "thou shalt not steal" views than those of the copyright reformers, could bring the shutters clanging down.

For producers who choose to sell their copyright-flouting work, the situation is even hazier because their only defence is obscurity. Most independent labels lack the staff to vet and clear samples, and most of their artists lack the funds, so some choose to release the records anyway and, perversely, hope they don't become attention-grabbing hits. Sometimes producers don't even know what they're meant to be clearing. The labyrinthine nature of the internet makes it easy for someone to come across samples via a trail of links without thinking to note their origin. Baauer's claim that he can't remember where he came across Hector Delgado's vocal could be disingenuous but it's at least possible.

It was success that got him into trouble. When Harlem Shake was first released on an underground EP in May last year, the samples predictably went unnoticed. Only when it took off last month did Delgado and Musson become aware of the record, and by then there was clearly big money involved. Understandably they both want their cut, although, interestingly they disagree on the ethics of illegal sampling. Musson responded equably, "I'm cool with it. That's how artists do," while Delgado complained: "It's almost like they came on my land and built a house."

Even if nothing is certain in the field of sampling law, the lesson of Baauer's case is clear: thou can indeed steal as long as the people you're stealing from don't smell a payday. The same sample of Delgado's voice that appears on Harlem Shake had been used three years ago in a remix by DJ duo Philadelphyinz. They haven't heard from Delgado's representative yet, but their remix wasn't a hit.










JOURNAL ARCHIVE: From: Kerry Burgess

Sent: Tuesday, February 12, 2013 3:51 AM

To: 'Chad Trammell'

Subject: "The ghosts of those three dead officers came to me in the middle of the night and taught me the true meaning of Christmas."

I can't recall the last time I actually watched the premiere episode of the 1995 television series "Star Trek: Voyager." I know I was following it whenever a new episode premiered during the time I started working at Microsoft here in Washington State on 07 December 1998.

A few hours ago I noticed that hulu.com has episodes available for free viewing.

Watching it now as they have just been *matter* transported onto the farm-house surroundings the only part of that scene that is familiar is the old woman who greets them. I have seen that actress before in other productions but what is important is that she resembles a guy named Wally Simpson that I used to work with at Microsoft. I remember Wally because he and a couple other guys starting work there at the same time I did and Wally and I had cubicles in the same row and I talked to him about every day at work in my first year. So I think I saw that episode last time during my early years at Microsoft. I think that what is familiar is that I vaguely recall thinking to myself at some point about how Wally Simpson reminded me of that woman. One day I scolded Wally Simpson back in 1999 because I found out he was spreading rumors among coworkers on our building floor that I was a US military sniper. That was ridiculous. I don't even talk about guns. Nobody who knows me in the past fifteen years, in the past since 1999, nobody in all that time would agree that they have heard me talking about firearms. There was no reason for him to be making such comments about me.

If I had sit down before starting to watch this premiere episode and tried to write down what all I remember about that episode before I started watching it today I doubt I would have recalled anything about that farm. It's familiar but it was a really distant memory. Maybe about two weeks ago I was thinking again about that episode and I was wondering about what all goes on in it and I was looking for a source for it on the usual internet sites I track.

The premiere date of "Star Trek: Voyager" associates 3/16/1991 with the birthdate listed for a racketeer from Microsoft named Robbie Bach. He was one of Microsoft al Qaida forces in charge of video games, such as the Microsoft XBox. The association depends on whether the Wikipedia article listing his birthdate is accurate. I can't find any other sources for it.










http://www.chakoteya.net/Voyager/101.htm

Caretaker

Stardate: 48315.6

Original Airdate: January 16 1995


[Maquis ship]

(A massive Cardassian ship is firing at a tiny little vessel.)

CHAKOTAY: (native American with a tattoo) Damage report.

TUVOK: (Vulcan) Shields at sixty percent.

TORRES: (human-Klingon woman) A fuel line has ruptured. Attempting to compensate. Damn it! We're barely maintaining impulse. I can't get any more out of it.

CHAKOTAY: Be creative!

TORRES: How am I supposed to be creative with a thirty nine year old rebuilt engine?

GUL EVEK [on viewscreen]: Maquis ship, this is Gul Evek of the Cardassian Fourth Order. Cut your engines and prepare to surrender or we will d

(Chakotay cuts the transmission.)

CHAKOTAY: Initiating evasive pattern omega. Mark.

TUVOK: Shields at fifty percent.

CHAKOTAY: I need more power if we're going to make it to the Badlands.

TORRES: Take the weapons offline. We'll transfer all power to the engines.










http://en.wikipedia.org/wiki/United_Airlines_Flight_232


United Airlines Flight 232

From Wikipedia, the free encyclopedia

United Airlines Flight 232 was a scheduled flight from Stapleton International Airport in Denver, Colorado, to O'Hare International Airport in Chicago, with continuing service to Philadelphia International Airport. On July 19, 1989, the DC-10 (registration N1819U) operating the route crash-landed in Sioux City, Iowa, after suffering catastrophic failure of its tail-mounted engine, which led to the loss of all flight controls. 111 people died in the accident while 185 survived.


Notable survivors


Pete Wernick – Prominent banjo player with the Hot Rize bluegrass band and instructor, he was on his way to a festival in the Albany, New York, area.










http://www.drbanjo.com/instructional-petessonglyrics.php#day89


DrBanjo.com [ RETRIEVED 12 FEBRUARY 2013 ]


Pete's Song Lyrics


UNRECORDED PETE WERNICK LYRICS:

A DAY IN 89 (YOU NEVER KNOW), Pete Wernick

Not recorded

There's a movie that I've seen a lot
I've even seen it in my dreams
About a day out of my life
I remember all the scenes

Just a day in 89
My wife and child were at my side
Going east on a vacation
Lining up to take a ride

Two hundred ninety six went through the gate
Leaving earth with few goodbyes
It's such a sunny pretty July day
Up here in the friendly sky

Short subject playing on TV
Lunch was good, the end is nigh
I hope you made the best of your short life
You never know when you could die

There goes the bang, the engine's gone
Captain says we're gonna try
To get her down to ground safe and sound
With no controls he's gonna fly

Me and my family sitting there
I hope it's gonna be all right
My little boy sleeping next to me
I hope it's gonna be all right

I can't believe what's going on
This aint no roller coaster ride
Now we're out here in the tall green corn
You never know when you could die

You've seen the coverage on TV
The crew and captain saved a lot of lives
But when the fire and the smoke had cleared
One hundred twelve good people died

A lot of people ask about that day
Has it changed my life in any way
Well I can tell you but it'd take too long
It wouldn't fit in just a song

The most important thing that I can say
Is when I think of those who died
They never said some things they had to say
They never heard a last goodbye

Even if you didn't almost die
You should feel lucky just to be alive
Tell your dear ones that you love them so
That's the main thing that I know.










http://www.chakoteya.net/Voyager/101.htm

Caretaker

Stardate: 48315.6

Original Airdate: January 16 1995


[Engineering]

JANEWAY: Unlock the magnetic constrictors.

CAREY: Constrictors online.

JANEWAY: Pressure?

CAREY: It's working. Twenty five hundred kilopascals and holding.

ROLLINS [OC]: Bridge to Janeway. We're being scanned by the array, Captain. It's penetrated our shields.

JANEWAY: What kind of scan? Bridge? Janeway to Bridge, respond.

(Carey vanishes.)

JANEWAY: Initiate emergency lock-off.

(Janeway vanishes.)

[Sickbay]

(Kim and Paris help a man onto a biobed as the EMH examines a woman on the next one.)

EMH: You're not seriously hurt. You can return to your station.

(She starts to sit up and vanishes. Then everyone else vanishes too.)

EMH: This is the Emergency Holographic Doctor speaking. I gave no permission for anyone to be transported out of Sickbay. Hello? Sickbay to Bridge. I believe someone has failed to terminate my programme. Please respond.

[Farm]

(The corn is as high as Kim's eye. Palomino ponies graze. A middle-aged woman comes off the verandah of a big white clapperboard house carrying a tray.)

AUNT ADAH: Come up here. Come on, now. I have a pitcher of lemonade and some sugar cookies.

(Every crew person has a tricorder.)

PARIS: Captain?

JANEWAY: Don't believe your eyes, Mister Paris. We've only transported a hundred kilometres. We're inside the array.

KIM: There's no indication of stable matter. All this must be some kind of holographic projection.

AUNT ADAH: Oh, you poor things. You must be tired out. Come on and sit down and rest awhile. Have a cold drink, hmm?

JANEWAY: No, thank you. My name is Kathryn Janeway, captain of the Federation Starship Voyager.

AUNT ADAH: Now, just make yourselves right at home. The neighbours should be here any minute. Oh! Why, here they are!

(A group of people arrive.)

CARETAKER: (old man with banjo) Well, good to see you. Welcome.

DAUGHTER: We're real glad you dropped by.

AUNT ADAH: Now we can get started. You're all invited to the welcoming bee!

CARETAKER: Let's have some music!

(The old man starts playing and the farm folk dance. After a while -)

PARIS: The crew's scattered around this farm, Captain, but they're all accounted for.

JANEWAY: Move around. Scan the area. See if you can find anything that might be a holographic generator.

AUNT ADAH: Have some nice fresh corn on the cob. Fresh corn on the cob. Corn on the cob. Corn on the cob.

JANEWAY: Can you tell me why we're here?

AUNT ADAH: Oh, we don't mean you any harm. I'm sorry if we put you out. Why don't you just put your feet up and get comfortable while you wait?

JANEWAY: Wait for what?










http://www.tv.com/shows/star-trek-voyager/caretaker-1-6758/


tv.com


Star Trek: Voyager Season 1 Episode 1

Caretaker (1)


While in pursuit of a Maquis ship in a region of space known as the Badlands, the starship Voyager, under the command of Captain Kathryn Janeway, is transported 70,000 light years from home into the uncharted region of the galaxy known as the Delta Quadrant.


AIRED: 1/16/95



http://www.highbeam.com/doc/1G1-55588294.html


HighBeam RESEARCH


National Journal

August 22, 1998 Rauch, Jonathan; Simendinger, Alexis; Cannon, Carl M.; Wildavsky, Ben; Cohen, Richard E.; Victor, Kirk; Barnes, James A.; Stone, Peter H.


On May 5, 1960, the Soviets announced to a startled world that they had shot down an American spy plane. President Eisenhower, having been assured that none of his secret spy planes could survive a missile hit, declared that the pilot of a missing "weather service" plane might have strayed into Soviet airspace by mistake.


http://www.airdisaster.com/photos/ua232/2.shtml


AirDisaster.com


Date: 19 July 1989

Airline: United Air Lines

Flight No.: 232

Aircraft: DC-10-10

Location: Sioux City, IA

Fatalities: 112:296










http://www.chakoteya.net/Voyager/101.htm

Caretaker

Stardate: 48315.6

Original Airdate: January 16 1995


PARIS: I've never seen a Federation starship that could manoeuvre through the plasma storms.

JANEWAY: You've never seen Voyager. We'd like you to come along.

PARIS: You'd like me to lead you to my former colleagues. I was only with the Maquis a few weeks before I was captured, Captain. I don't know where most of their hiding places are.

JANEWAY: You know the territory better than anyone we've got.

PARIS: What's so important about this particular Maquis ship?

JANEWAY: My Chief of Security was on board, undercover. He was supposed to report in twice during the last six days. He didn't.

PARIS: Maybe it's just your Chief of Security who's disappeared.










http://www.tv.com/shows/star-trek-voyager/caretaker-1-6758/


tv.com


Star Trek: Voyager Season 1 Episode 1

Caretaker (1)


While in pursuit of a Maquis ship in a region of space known as the Badlands, the starship Voyager, under the command of Captain Kathryn Janeway, is transported 70,000 light years from home into the uncharted region of the galaxy known as the Delta Quadrant.


AIRED: 1/16/95



http://www.imdb.com/title/tt0039339/releaseinfo

IMDb


Release dates for

Dragnet (1947)

Country Date

USA 16 August 1947



http://www.airdisaster.com/photos/ua232/2.shtml


AirDisaster.com


Date: 19 July 1989

Airline: United Air Lines

Flight No.: 232

Aircraft: DC-10-10

Location: Sioux City, IA

Fatalities: 112:296










http://www.chakoteya.net/Voyager/101.htm

Caretaker

Stardate: 48315.6

Original Airdate: January 16 1995


[Federation Penal Settlement, New Zealand]

(Inmates are busy constructing something. They all wear ankle-tags. One young man is up a piece of scaffolding using a laser-like device.)

JANEWAY: Tom Paris? Kathryn Janeway. I served with your father on the Al-Batani. I wonder if we could go somewhere and talk.

PARIS: About what?

JANEWAY: About a job we'd like you to do for us.

PARIS: I'm already doing a job for the Federation.

JANEWAY: I've been told the Rehab Commission is very pleased with your work. They've given me their approval to discuss this matter with you.

PARIS: Well then, I guess I'm yours.

(Walking through the trees.)

JANEWAY: Your father taught me a great deal. I was his science officer during the Orias expedition.

PARIS: You must be good. My father only accepts the best and the brightest.

JANEWAY: I'm leaving on a mission to find a Maquis ship that disappeared in the Badlands a week ago.










http://www.tv.com/shows/star-trek-voyager/caretaker-1-6758/


tv.com


Star Trek: Voyager Season 1 Episode 1

Caretaker (1)


While in pursuit of a Maquis ship in a region of space known as the Badlands, the starship Voyager, under the command of Captain Kathryn Janeway, is transported 70,000 light years from home into the uncharted region of the galaxy known as the Delta Quadrant.


AIRED: 1/16/95



http://www.imdb.com/title/tt0644882/releaseinfo

IMDb

The Internet Movie Database

Release dates for

"McHale's Navy"

An Ensign for McHale (1962)

Country Date

USA 11 October 1962

http://www.imdb.com/title/tt0644882/

IMDb

The Internet Movie Database

McHale's Navy (TV series 1962–1966)

An Ensign for McHale (#1.1)


Ernest Borgnine ... Lt. Commander Quinton McHale


Release Date: 11 October 1962 (USA)



http://www.dtic.mil/dpmo/medals/pow

Department of Defense

United States of America

DPMO

Defense Prisoner of War

Missing Personnel Office


Prisoner of War Medal










http://www.chakoteya.net/Voyager/101.htm

Caretaker

Stardate: 48315.6

Original Airdate: January 16 1995


PARIS: There, you see? I told you it wouldn't take long.

KIM: Is it true?

PARIS: Was the accident my fault? Yes. Pilot error. But it took me a while to admit it. Oh, fourteen varieties and they can't even get plain tomato soup right.

KIM: They said you falsified reports.

PARIS: That's right.

KIM: Why?

PARIS: What's the difference? I lied.

KIM: But then you came forward and you admitted that it was your fault?

PARIS: I'll tell you the truth, Harry. All I had to do was keep my mouth shut and I was home free. But I couldn't. The ghosts of those three dead officers came to me in the middle of the night and taught me the true meaning of Christmas. So I confessed. Worst mistake I ever made but not my last. After they cashiered me out of Starfleet, I went out looking for a fight and found the Maquis. And on my first assignment, I was caught.

KIM: It must have been especially tough for you, being the son of an admiral.

PARIS: Frankly, I think it was tougher on my father than it was on me. Look, I know those guys told you to stay away from me. And you know what? You ought to listen to them. I'm not exactly a good luck charm.










http://www.chakoteya.net/Enterprise/01.htm

Broken Bow [ RACKETEER INFLUENCED AND CORRUPT ORGANIZATIONS US Title 18 ]

Mission date: Sep 21, 2151

Original Airdate: Sep 21, 2001


WILLIAMS: And just who gets to decide what's pertinent information?

ARCHER: Admiral.

FORREST: Jon. I think you know everyone.

ARCHER: Not everyone.

LEONARD: It's a Klingot.

TOS: A Klingon.

ARCHER: Where'd he come from? (they're viewing through window)

WILLIAMS: Oklahoma.

FORREST: A corn farmer named Moore shot him


[JOURNAL ARCHIVE 12 February 2013 exceprt ends]



- posted by H.V.O.M - Kerry Wayne Burgess 11:52 PM Pacific Time Seattle USA Wednesday 13 March 2013