Yvette Mimieux has passed away. I told everyone that I'd grab it. I was a kid reading TV GUIDE the frist time I came across her. It was 1985 and she was starring in the nighttime soap BERRENGER'S. It was about a department store and one of NBC's quickly cancelled shows. I think it aired on Saturdays. It never really made an impression as a show to me but the article stood out because it explained that Yvette was an actress with quite a career including starring in DISNEY's THE BLACK HOLE. A film I'd loved. So I was all set o love Yvette.
And from that TV GUIDE article, I learned to pay attention to her. And when one of her older films came on TV, I'd make a point to catch it. DEADLINE reports:
Mimieux was a prolific actress best remembered for starring opposite Rod Taylor in the 1960 George Pal-directed film version of the H.G. Wells novel The Time Machine at MGM, where she was soon put under a long-term contract. Another big hit came months after in Where the Boys Are. Among her other credits around that time were Platinum High School, Mr. Lucky, Four Horsemen of the Apocalypse and Light in the Piazza.
The latter garnered her strong reviews for playing a mentally disabled girl, and at the time she said: “I supposed I have a soulful quality. I was often cast as a wounded person, the ‘sensitive’ role.” She played Dean Martin’s child bride in the 1963 pic Toys in the Attic and teamed with director Serge Bourguignon in the films The Reward and The Picasso Summer.
In the ’70s, Mimieux wrote and starred as a remorseless assassin in the 1974 ABC telefilm The Hit Lady, portrayed a falsely accused woman victimized by a sadistic guard in Jackson County Jail (1975) and appeared in the sci-fi drama The Black Hole (1979), the first PG-rated film from Disney.
Mimieux was married to Singin’ in the Rain director Stanley Donen from 1972 until their divorce in 1985 and to Howard Ruby, founder of Oakwood Worldwide, the provider of furnished corporate housing, since December 1986. He survives her.
The blond, blue-eyed actress played a co-ed alongside Connie Francis, Dolores Hart, Paula Prentiss and George Hamilton in the iconic spring break comedy Where the Boys Are (1960); a disturbed woman in A Light in the Piazza (1962), also featuring Hamilton and Olivia de Havilland; and the bride of Dean Martin’s character in the George Roy Hill drama Toys in the Attic (1963), based on Lillian Hellman play.
Meanwhile, she starred as a princess in George Pal’s The Wonderful World of the Brothers Grimm (1962) and as the headstrong sister of a Hawaiian pineapple baron (Charlton Heston) in Diamond Head (1963), directed by Piazza director Guy Green.
In 1964, she became what is believed to be the first actress to show her naval on an America TV show when she guest-starred in a two-part episode of NBC’s Dr. Kildare in which her surfer character has an ill-fated romance with Richard Chamberlain.
A year later, she played a struggling law student in a reunion with Chamberlain in the big-screen melodrama Joy in the Morning (1965).
She also made THREE IN THE ATTIC. I got that on videocassette when I was in college. A small, hole in the wall, video store was closing. They charged way too much for rentals so I only went in there once until they had their closing sale. I couldn't find anything to pick up and then I saw the box for that movie and that Yvette was in it.
This was a comedy -- and it's a fairly well known film thought I didn't know anything about it at the time.
It takes place on a college campus. Christopher Jones plays a ladies man, think the character Moobs played in JOHN TUCKER MUST DIE. So three women are upset with him because he's cheated on them, etc, so they grab him and hold him in the attic. He's their little sex slave. ]
This was supposed to be funny in 1969 -- the thought that women could hold a man prisoner. There is humor in the film and some complexity. I'd urge you to watch it at least once.
The film was AIP's highest-grossing film of the decade.[4][14] It was the 18th most popular movie at the US box office in 1969.[15]
It led to a less successful follow-up originally known as The Late Boy Wonder[13] but then called Up in the Cellar (1970).
Due to the film's success, Wilson then signed a seven-picture deal with Universal.[16] Jones was announced for another AIP film called We Outnumber You but the film was never made.[17]
In 1974 Samuel Z. Arkoff said the film was AIP's highest grossing to that point. He put this down to "the theme of the picture" saying Jones "should have been a big star but got sidetracked by some... nervous problems."[18]
Going out with C.I.'s "Iraq snapshot:"
Tuesday, January 18, 2022. A world thqt makes no sense allows the continued persecution of Julian Assange and tries to pass the continued tragedy that is Iraq off as a 'success.'
Something's don't make sense and never will.
That would include Adel's "Can I Get It."
The songwriting credit on this track from Adele's 30 album gives credit to Adele Adkins, Max Martin and Shellback.
Is that accurate? Will it take the courts to make it accurate?
Not since George Harrison's "My Sweet Lord" cribbed from "He's So Fine" have I heard such a bold 'borrowing' or theft.
That's Oasis' "Wonder Wall" which, for the record, does not credit Adele or any of her co-writers. But the hook of ADele's song is a direct steal from "Wonder Wall" -- especially notable when the hook is whistled in the song.
It happens and sometimes it happens purely by accidwent. but Oasis is not a minor band and "Wonder Wall" is not an obscure song -- especially for a British artist like Adele. No one in the studio thoughts, "This sounds a lot like a song that was a huge hit for Oasis"? Right before the Rolling Stones' BRIDGES TO BABYLON was released, the similiary of "Anybody Seen My Baby" to k.d. lange's "Constant Craving" were noted and lange and Ben Mink were added as co-writers to the song.
Adele's 30 is the most discussed album of 2021. Sorry, I didn't listen to it until last night. First thing I noted was the cribbing from "Wonder Wall."
I;ll also never understand how or why Frances Moore Lappe signed off on the recipes that her daughter Anna picked out for the latest edition of DIET FOR A SMALL PLANET (the fiftieth anniversary edition). As we noted at THIRD, the book was supposed to give working parents the tools they needed to make quick and nutrious food for their family but Anna's bread rccipe in the new edition is for . . . white bread -- garbage bread because it has no real nutritional value -- and this garbage bread takes approximately 22 hours to make. Grasp that. A recipe that requires you invest 22 hours into making the bread and there's nothing in the bread of value, it's home made Wonder Bread. How far from the point of the book and the planet, Anna and Frances have wandered.
It doesn't make sense that US President Joe Biden continues to persecute Julian Assange. The Dissident AU Tweets:
The minute you believe you should know what your government is doing behind your back is the minute supporting Julian #Assange is no longer an honour. It is a duty. Every effort counts in this once-in-a-generation battle. #FreeAssangeNOW
CONSORTIUM NEWS' Cathy Vogan has composed a song about Julian entitled "Time To Change The World."
In Iraq? It doesn't make sense that the western press has all eyes on Moqtada al-Sadr, but never fails to see anything but glowing moments. The Shi'ite cleric's slate did not get a majority of the votes and it still can't pull together a coalition all these months after the October 10th election but western outlets keep typing the same damn (fact-free) pieces on Moqtada and pretending that somehow they've covered Iraq and, even funnier, that they've done some actual reporting.
Reality, he's accomplishing nothing and while the western media produces hagiography on Moqtada, they ignore other players -- and you ignore Nouri al-Maliki at your own peril. The former prime minister and forever thug does not give up easy. News outlet IRAN INTERNATIONA ENGLISH Tweets:
Fereshteh Sadeghi offers:
Three months and still no progress on forming a government.
We'll wind down with this from Black Alliance for Peace's latest newsletter:
It is January, and in the U.S. this means it is time for the annual ritual of revisiting the white-washed, de-radicalized, pro- “American” M.L. King fairytale as part of the official celebration of King’s birthday.
In the official story, Dr. King was not the creation of the movement that was fighting for the democratic and human rights of Black people. No, it was Dr. King who created the movement, according to the colonial white elite and the neocolonial Black misleadership. In this story, the objectives of the movement were not for radical social transformation and Black self-determination but the redemption of the U.S. settler-colonial nation/state and the quiet integration of Black people into the state. In other words, to complete the establishment of a “more perfect nation,” as Obama would put it.
But King did not just show up to save Black people. Dr. King was a product of the post-war Black movement. And as such, the King that the movement produced reflected the changing, and sometimes contradictory development of that movement. As a product of the movement, Dr. King’s experiences as the leader of the Southern Christian Leadership Conference (SCLC) evolved. He began to raise criticisms of capitalism, eventually opposed imperialist war and embraced a program of class struggle represented by the Poor People's campaign.
Positions that created tensions in the civil rights wing of the black liberation movement and make King a target for assassination.
This is the King that BAP recognizes. The King that in his last few years of activism was finding his way to the Black radical tradition, a tradition that takes an uncompromising position on colonialism, structural white supremacy and war.
This commitment to the highest articulations of our people for peace, people(s)-centered human rights and the belief that the Pan European white supremacist colonial/capitalist patriarchal project can be defeated, is what animates the worldview and actions of the Black Alliance for Peace.
And it is why BAP takes an uncompromising position on standing with and defending peoples’ and nations who find themselves in the crosshairs of U.S. and European aggression, no matter the criticism we receive from the social imperialist left and morally bankrupt liberals.
Below, you will see just some of the courageous positions that our members have taken in opposition to imperialism and war. Despite questions, we proudly accepted the invitation to attend the inauguration of Daniel Ortega as the newly elected president of Nicaragua. BAP’s representative Margaret Kimberley was given a place of honor on the stage along with the heads of states from Cuba and Venezuela.
As Margaret Kimberley said in her statement following the inauguration, BAP is clear on its mission and responsibility at this critical moment in history. An unambiguous commitment to human rights and anti-colonialism guides our worldview and politics. And for that - we are unapologetic.
“As an organization committed to reviving the Black radical tradition, and committed to an anti-imperialist stance, the Black Alliance for Peace is always ready to defend human rights.
This hemisphere in particular has been viciously targeted by the U.S. government and its vassals in the European Union and United Nations. The Organization of American States should be a platform for discussion and consensus building but it is a U.S. invention and operates under its thumb. The U.S. congress overwhelmingly approved the RENACER Act which legitimizes the regime change effort and makes a mockery of claims that the U.S. acts as a democracy. From Haiti to Nicaragua to Venezuela to Cuba, millions of people in this hemisphere live under U.S. dictates masquerading as democracy in action.
Black Alliance for Peace is committed to giving voice to the peoples of targeted nations and to providing insights and analysis that people in a supposedly free country are deprived of. Our mission demands that we do no less.”
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