Showing posts with label Flight 266. Show all posts
Showing posts with label Flight 266. Show all posts

Excerpt--January 16, 1969: "...While I Kiss the Sky"

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(United Airlines, Flight #266, on approach to Denver, Colorado)


Purple haze all in my brain

Lately things just don’t seem the same

Actin’ funny, but I don’t know why

‘Scuse me while I kiss the sky


–Jimi Hendrix, "Purple Haze"

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I hate flying, especially when I’m going somewhere I don’t want to be. Last summer, it wasn’t so bad flying to California–somehow, the prospect of crashing to earth and becoming part of a smoldering heap doesn’t seem so likely when you’re going somewhere fun.

Excerpt moved to Memoir Madness

Outtake: United Airlines Flight #266

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Flight Transcript

1819:04
LOS ANGELES DEPARTURE CONTROL: United 266, go ahead.

First Officer: Ah, we've had a fire warning on Number One engine we shut down. We'd like to come back.

1819:10
LOS ANGELES DEPARTURE CONTROL: United 266, roger. What is your present altitude?

1819:13.5
(COCKPIT VOICE RECORDER OPERATION STOPPED)

0000.00
(COCKPIT VOICE RECORDER RESUMED OPERATION AT AN INDETERMINATE LATER TIME)

0000.02
SECOND OFFICER: We're gonna get screwed up. I don't know [what's going on]

0000.06
FIRST OFFICER: Keep it going up, Arnie. You're a thousand feet...pull it up...

(SOUND OF IMPACT)

Breaking News:

18 January 1969; United Airlines 727, Flight #266; Los Angeles, CA: The aircraft crashed into Santa Monica Bay shortly after a night takeoff in poor weather. The crew reported an engine one fire warning, shut down the engine, and initiated an air turn back before crashing into the water at high speed and an unusual attitude. Electrical failure was suspected. All six crew members and 32 passengers were killed.
This is an important fact; two days earlier, on January 16, my grandfather and I had flown this very flight.

I had begged my grandfather for two extra days in Hollywood, to tie up some loose ends.

"No," he said. "You've had enough time."

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I Believe in Destiny



Enigma's "Return to Innocence" (1984)

ownhearts
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More details about the crash of United Flight 266

United Airlines Flight 266 was a scheduled flight from Los Angeles International Airport, Los Angeles, California, to General Mitchell International Airport, Milwaukee, Wisconsin, via Stapleton International Airport, Denver, Colorado, with 38 on board. On January 18, 1969, at approximately 18:21 PST it crashed into Santa Monica Bay, Pacific Ocean, approximately 11.5 miles west of Los Angeles International Airport four minutes after takeoff.

Two minutes into its flight, the pilots reported a fire warning in the No. 1 engine and shut it down. The aircraft had departed LAX with one of its three generators inoperable, and shutting down the suspect engine took a second generator offline. The remaining generator became overloaded and shut down, resulting in the loss of all electrical power.

The pilots began flying in total darkness with less than 3 miles visibility due to fog and rain, with no lights or instruments, and consequently lost complete control of the aircraft due to disorientation and crashed killing all 38.

At the time, a battery powered back-up source for instruments was not required on commercial aircraft. The accident prompted the Federal Aviation Administration to require all transport category aircraft to have new backup instrumentation installed, and powered by a source independent of the generators.


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Disclaimer and Copyright Notice

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Memoir Madness: driven to involuntary commitment is a work of non-fiction.
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However, some names and/or minor characteristics of real persons have been changed to protect their privacy. Nicknames have been used for some real persons, most notably, Stoney.
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Some minor locales have been changed. The Crystal Ship was a real rock/head shop, but the name and locale have been changed.
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For coherence and literary purposes, some passages have been compressed, expanded, or shifted around. Some scenes and dialogue have been recreated.
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The time lines, late 1968 to May 9, 1969, April 2002, and August 2004 are accurate, and the facts of the case are correct, including the amount of time I spent in the Cherokee Mental Health Institute in Cherokee, Iowa.
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Events for which I have no documentation and/or memory of exact dates have been presented as flashbacks.
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Most of the illustrations shown on this website are symbolic and artistic representations of 1968-1969 and should not be interpretated literally. Some video clips have been embedded; copyrights remain with their respective owners.
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Minor factual errors, albeit unintentional, are mine alone.
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Website and all text copyright 1969 - present, Jennifer Semple Siegel. Text/images may not be republished or reposted without permission.
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Special Thanks and Acknowledgments

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To Dr. Mariano A. Favis, Jr., for being one of the good guys. Your wisdom changed the course of my life. Thanks to Michael Klein, author of Track Conditions and The End of Being Known and my former Goddard advisor, for his careful comments on my draft; he helped me to decide what to add and delete–mostly delete.
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Thanks, also, to York College of Pennsylvania’s Faculty Development Committee for a much-needed grant so that I could finish this book in a timely manner. Last, but definitely not least, thanks to my husband Jerry Siegel who read several drafts and offered me many valuable comments and insights.
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Apologies to Jeff Brown, a starring player and still my friend, for his immense understanding. I can only imagine what it might be like to have one’s past life dragged out and exposed to the world by an ex-spouse. Also, thanks to Jeff for reading the drafts and commenting on them.
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Apologies to one bit player: although my husband Jerry had no role in my life during the late 1960's, he has patiently accompanied me in my various quests for information. It must feel strange to read about that other Jennifer, not quite the Jennifer he met, courted, and married.
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Additional apologies to three offstage players: Eric, my son by Jeff; Casey, Jeff’s present wife; and Rhia, my granddaughter–Eric’s daughter. They have absolutely no role in this drama, and yet, by association, they are a peripheral part of it.
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