Look Great In '75 A

a closeup of Shelley

from a spread on the JCPenney

Fall And Winter 1975 catalog

Shelley appeared on many spreads for many catalogs from the late '60s to the mid-'70s. Mail-order catalogs were at the height of its popularity at the time. They were big-book size publications that contained a list of general merchandise from, usually, a department store that were available for purchase and delivery straight to the homes of consumers. Everything from homeware to toys were featured in these catalogs... as well as garments and the latest fashion pieces. Many Supermodels - like Cheryl Tiegs, Beverly Johnson, Patti Hansen and Shelley Smith, just to name a few - appeared in the most popular catalogs of the era. Many models who eventually became actresses also appeared in these catalogs - like Veronica Hamel, Erin Grey, Kim Basinger and Pam Dawber.

Shelley was featured

in a spread for the JCPenney

Fall And Winter 1975 catalog

Shelley appeared on many spreads throughout the JCPenney Fall and Winter 1975 catalog. In the section called "Look Great Without Spending A Fortune," she modeled fashion pieces that could be incorporated into any woman's present wardrobe to give it a fresh, new, high-end and updated look. And, of course, the pieces were so budget-friendly, women wouldn't think twice about buying an armful of them. Over a turtleneck top, Shelley wore The Fabulous Wrap Cardigan, a V-neck style cardigan in an Aztec-pattern with wide kabuki-like sleeves, patch pockets and a self-tie belt. She paired them with the Longer Length Skirt, a gored skirt with a V-shaped front yoke and twin mock pockets. To accessorize, she wore the Filigree-Trimmed Pendant and chain set around her neck. And Shelley looked chic, high-end and so gorgeous on the spread.

Billie D.

a promo pic of Shelley from 1982

Shelley played Billie Dawn in the Pennsylvania Stage Company's 1982 staging of Born Yesterday in Allentown, Pennsylvania. "I am interested in developing my career as an actress and doing as much work in the theater as I can," Shelley said in 1982. As for working with the Pennsylvania Stage Company, she said, "I'm thrilled to be here, and to be working with such great people. This playhouse is getting a very good reputation. When I heard that they were doing this play, I got in contact with them. All I want to do now is to do good theater." PSC's 1982 staging of Born Yesterday starred Shelley alongside Michael O. Smith and Fritz Sperberg. Stephen Rothman, the executive director of the critically acclaimed Pasadena Playhouse, was the director.

a short writeup about Shelley

in the play Born Yesterday, 1982

"This is not a career change for me," Shelley explained, "I've always been an actor. However, this is a role which will help me grow - in a congenial environment." Shelley studied acting for several years with Lee Strasberg and Stella Adler, and had received glowing reviews for her performances in the plays Vanities (1981) and Close Ties (1982, aired in 1983), which were both filmed for television. She was also cast in the Martin Scorsese film The King of Comedy, which starred Robert de Niro and Jerry Lewis, and which was slated for release the year after. As for Shelley's performance in Born Yesterday - she again received glowing reviews. For more, check out: Born Yesterday 1982 and Critical Acclaim, 1982

Shelley on a "Billie Dawn for Congress"

promo button which was given out

to the Pennsylvania Stage Company's

Born Yesterday cast, 1982

Makeup 1971 I

a pic of Shelley

from Glamour magazine, September 1971

Shelley appeared on many magazine covers and spreads throughout her modeling career. In September of 1971, she appeared in a spread for Glamour magazine called "Makeup - How Far Do You Want To Go?" It featured seven recommended makeup styles that went from the barest look to the totally made-up face - choices that depended on the readers' preferences and moods. In the spread, Shelley wore makeup from Charles Revson's Great Designer Reds for 'Ultima' II. Maxine Van-Cliffe was the designated makeup artist. Makeup Style 7 was called "Nothing Held Back Here." It was a look that added to Makeup Style 6 - "Gingerly," a pale yellow, applied on the inner corner of the eye area, "Blue Violet" shadow dusted on the lids for more color intensity, and a full dose of color on the cheeks and lips. This time, Shelley's look was definitely bold and colorful - and definitely the most daring and the most sensational.

Shelley was featured in a spread

for Glamour magazine's September 1971 issue

Personal Foul 8

screen captures from the Jack and Mike

episode "Personal Foul," 1986

Shelley's third foray into series TV was Jack and Mike. It was about a married yuppie couple living in Chicago, trying to find time for each other in their busy schedules. Shelley played Jackie Shea, a star columnist at The Mirror, a widely-circulated Chicago paper. Her column was awaited by everyone every week. Her husband was Mike Brennan (played by Tom Mason), a successful restaurateur. Other cast members were: Nora Adler (Jacqueline Brookes), Jackie’s editor;  Anthony Kubecek (Kevin Dunn), Jackie's assistant; Carol (Holly Fulger), the head waitress at Mike's restaurant, Brennan's Grill; and Rick Scotti (Vincent Baggetta), an attorney who appears occasionally. In the episode "Personal Foul," a college professor is suspended for trying to flunk the school's star basketball player, and Mike is upset that Jackie's covering the story, since it's his alma mater and he's the team's No. 1 supporter. The episode was originally aired in September 30, 1986.

screen captures from the Jack and Mike

episode "Personal Foul," 1986

To continue, Jackie convinces Prof. Powell to share her side of the story. Powell informs Jackie that the university was pressuring her to give Andrew a passing grade so he could play on the basketball team. She adds that the school lowers the entrance requirements to get these star-athlete kids, give them full scholarships and passing grades. Unfortunately, many of them don't finish the courses and don't even graduate. She tells Jackie that the goal isn't to teach the kids but to cash in on their athletic prowess. When she flunked Andrew, she was relieved of her courses. Powell wrote a letter of protest but it was ignored. All she wants is to give Andrew and students like him a good education while they're still in the university. Powell is determined to make a change and is willing to write as many letters of protest as possible. Jackie decides to write about Powell's predicament. Meanwhile, Mike is having a hot water problem at Brennan's Grill; they have no hot water for that evening, as the problem could only be completely fixed by the next morning. Mike has Carol call the a neighboring restaurant for help.

screen captures from the Jack and Mike

episode "Personal Foul," 1986

THE Dress of '74 C

a closeup of Shelley

from a spread for Vogue, Sep '74

When Shelley graduated from Smith College in 1970, she decided to become a model full-time. Represented by the top model management company, Ford Models Inc., she began her transition from teen model to top model (and eventually to Supermodel.) Her then boyfriend, photographer Steen Svensson, and make-up artist extraordinaire Rick Gillette came up with test shots of Shelley in the early '70s with the hope that the images could get her on the pages of Vogue and Harper's Bazaar - which eventually happened. She appeared on both the US and international editions of the magazines. According to Rick, "In the early 70’s before "Charlie", before "Charlie’s Angels", Shelley Hack was an ex-teen model looking for a more sophisticated look to get her into Vogue. I was creating a portfolio with the same goal in mind." By the late 1970s, Shelley was a certified Supermodel.

a pic of Shelley

from a spread for Vogue, Sep '74

Shelley appeared on the pages of Vogue's September 1974 issue. In the spread called "The New York Collections: The Undercoat Life All Around Town," she wore the most sought-after dress of that year - The Two-Piece Dress. It was THE dress any woman that year would have wanted to wear under her coat and the first thing she would have wanted to be seen in without her coat. Under a fur coat, Shelley wore the perfect two-piece dress. Over a printed chiffon shirt, she wore the long-sleeved top (with a drawstring waist) and skirt (a longer, easier gored style) set by Adolfo. Matching hose and high-end pumps finished her look. Button earrings, a scarf, a leather clutch bag, leather gloves, and sunglasses accessorized her look. And Shelley looked every inch the Supermodel she had finally become.

Street Angels 3

Shelley with Cheryl Ladd and Jaclyn Smith

in a promo pic for Charlie's Angels, 1979

Shelley became Charlie's Angel Tiffany Welles in May of 1979. After a long search, executive producers Aaron Spelling and Leonard Goldberg chose Shelley to fill the spot vacated by Kate Jackson in the spring of 1979. Shelley said, "I remember there was a big Angel hunt going on, and they asked me to audition. The hunt seemed to go on for a long time. A lot of my girlfriends went in to be tested, but I wasn't involved until sometime later when my agent called and said, 'It's a terrific show - you really should think about testing.' So, I thought about it again and went in." Shelley was cast; and she along with Jaclyn Smith (Kelly Garrett) and Cheryl Ladd (Kris Munroe) became the newest Angel team.

Shelley with Jaclyn Smith

filming the Charlie's Angels episode

"Angels on the Street," 1979

The 7th episode of Shelley's season on Charlie's Angels was called "Angels on the Street." It was partly filmed (the exterior shots) on location at Culver City, California. As always, the paparazzi and fans were around, taking pics of the Angels as they were filming there. Interior shots were filmed at the 20th Century Fox Studios in Century City, Los Angeles. In the opening office scene, according to writer/producer Edward J. Lakso, Shelley adlibbed a line that was a callback to episode 4, "Angels at the Altar." When Kelly said, "I can dance and Kris is a singer," the camera was supposed to cut from her to Kris and Tiffany just sitting there. But Shelley added the line, "I play the violin... when it's not in the repair shop," to which Cheryl Ladd does a double-take and laughs. It was kept in the episode.

Shelley with Jaclyn Smith

filming the Charlie's Angels episode

"Angels on the Street," 1979

Build a Wardrobe D

closeups of Shelley from a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

Shelley appeared on many Simplicity pattern catalogs, brochures and packaging during the 1960s and 1970s. The Simplicity Pattern Company is the leading manufacturer of sewing patterns and sewing pattern guides which are distributed throughout the world. They have been manufacturing sewing patterns since 1927 and have allowed fashionistas on a budget and sewing aficionados to create clothes in a reliable manner. Shelley appeared in Simplicity Young Ideas Catalog's Fall-Winter 1972 issue.

Shelley  in a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

In the issue, Shelley appeared in the spread called "Sew! You Build A Wardrobe!" - which featured fashion pieces that could be put together into a cohesive, easy to mix-and-match wardrobe set. The basics featured were tops, skirts and pants that could be planned and constructed (through smart fabric choices and fabric pairings) into fabulous wardrobe separates that mixed well with each other. Shelley wore Simplicity pattern number 5204, a "How-To-Sew" pattern for a bias mini-skirt, vest and pants set. Shelley wore the vest and the skirt from the set. The bias mini-skirt had a waistband and a back zipper closing. The vest was lined and had a front button closing, V-shaped neckline, slips in the side seams and flaps. She also wore Simplicity pattern number 5198, a pattern for an unlined jacket, skirt and pants set. Shelley wore the jacket from the set. The top-stitched unlined jacket had a collar, front button closing, forward shoulder seams, long set-in sleeves and it softly gathered to the waistband. Under the jacket, she wore a matching turtle neck top. For all outfits, a construction hat accessorized her look - as the photo shoot was set in a construction site. Shelley looked young and fab in all outfits.

Maharani '75

a closeup of Shelley

from an ad for Maharani, 1975

Shelley appeared in an ad for Maharani in 1975. The ad appeared in the November 1975 issue of Harper's Bazaar. In the ad, she modeled a posh version of the Burnoose (a hooded cloak in either a coarse woolen or embroidered and even tasseled fabric) that had been restyled into a jacket. It was made with "silken threads in opulent shades of red, purple, emerald and gold - and woven in traditionally brilliant Indian patterns." And of course, it came with a hood (which had a gold silken tassel hanging from its crown). It was great to wear over dresses, pants, skirts and even evening gowns for those cold, chilly nights out in the town. And Shelley definitely made it look like fashionable must-have for the season.

Shelley in an ad for Maharani, 1975

Supermodel Wives

a closeup of Shelley from a promo pic

for A Perry Mason Mystery:

The Case of the Wicked Wives, 1993

In December of 1993, Shelley guest starred in a TV movie that was a tribute to Raymond Burr, one of Hollywood's most respected actors. Raymond Burr, who famously played Perry Mason in the TV series which ran from 1957 to 1966 and in 26 TV movies, passed away in September of 1993. As a tribute to him, a Perry Mason TV movie entitled A Perry Mason Mystery: The Case of the Wicked Wives was made. But to honor Burr's legacy, the part of Perry Mason wasn't recast. Instead, a new character was brought in, Anthony Caruso (played by Paul Sorvino) who was introduced as Mason's good friend. Cast regulars Barbara Hale and William Moses returned. And, as guest stars, Supermodels were cast as the "wicked wives." Shelley Hack, Beverly Johnson, Kim Alexis, Maud Adams and Kathy Ireland played the present and former wives of a slain fashion photographer played by Eric Braeden. Paula Marsh rounded out the cast.

Shelley with Beverly Johnson, Kim Alexis,

Maud Adams, Paul Sorvino and Kathy Ireland

in a promo pic for A Perry Mason Mystery:

The Case of the Wicked Wives, 1993

Makeup 1971 H

a pic of Shelley

from Glamour magazine, September 1971

Shelley appeared on many magazine covers and spreads throughout her modeling career. In September of 1971, she appeared in a spread for Glamour magazine called "Makeup - How Far Do You Want To Go?" It featured seven recommended makeup styles that went from the barest look to the totally made-up face - choices that depended on the readers' preferences and moods. In the spread, Shelley wore makeup from Charles Revson's Great Designer Reds for 'Ultima' II. Maxine Van-Cliffe was the designated makeup artist. Makeup Style 6 was called "Unshy And Proud Of It." It was a look that added to Makeup Style 5 - "Opal" Transparent Eye Shadow Tint on the inner corner of the eye area, "Sari Pink" shadow under the brow and on the lids, a stronger application of color on cheeks, and a stronger application lipstick under the lip-gloss with the use of a lipstick brush. This time, Shelley's look was a lot more bold and colorful - and definitely even much more sensational.

Shelley was featured in a spread

for Glamour magazine's September 1971 issue

Personal Foul 7

screen captures from the Jack and Mike

episode "Personal Foul," 1986

Shelley's third foray into series TV was Jack and Mike. It was about a married yuppie couple living in Chicago, trying to find time for each other in their busy schedules. Shelley played Jackie Shea, a star columnist at The Mirror, a widely-circulated Chicago paper. Her column was awaited by everyone every week. Her husband was Mike Brennan (played by Tom Mason), a successful restaurateur. Other cast members were: Nora Adler (Jacqueline Brookes), Jackie’s editor;  Anthony Kubecek (Kevin Dunn), Jackie's assistant; Carol (Holly Fulger), the head waitress at Mike's restaurant, Brennan's Grill; and Rick Scotti (Vincent Baggetta), an attorney who appears occasionally. In the episode "Personal Foul," a college professor is suspended for trying to flunk the school's star basketball player, and Mike is upset that Jackie's covering the story, since it's his alma mater and he's the team's No. 1 supporter. The episode was originally aired in September 30, 1986.

screen captures from the Jack and Mike

episode "Personal Foul," 1986

To continue, since Mike cancelled on their lunch date, instead of going back to The Mirror, Jackie decides to head to Lincoln University. She wants to look into the scholastic life of Lincoln U's star basketball player Andrew Taylor. She arrives at the university and decides to see Prof. Powell, one of Andrew's professors. From a student, Jackie discovers that Powell had been relieved of all her courses, of all her teaching classes. Jackie goes to see the professor anyway and asks her about Andrew, who was flunking one of her courses. Powell informs Jackie that Andrew is no longer flunking. Jackie suspects that the professor's current situation and Andrew's sudden academic improvement are somehow connected. Jackie asks Powell if she would like to share her side of the story. 

screen captures from the Jack and Mike

episode "Personal Foul," 1986

THE Dress of '74 B

a closeup of Shelley

from a spread for Vogue, Sep '74

When Shelley graduated from Smith College in 1970, she decided to become a model full-time. Represented by the top model management company, Ford Models Inc., she began her transition from teen model to top model (and eventually to Supermodel.) Her then boyfriend, photographer Steen Svensson, and make-up artist extraordinaire Rick Gillette came up with test shots of Shelley in the early '70s with the hope that the images could get her on the pages of Vogue and Harper's Bazaar - which eventually happened. She appeared on both the US and international editions of the magazines. According to Rick, "In the early 70’s before "Charlie", before "Charlie’s Angels", Shelley Hack was an ex-teen model looking for a more sophisticated look to get her into Vogue. I was creating a portfolio with the same goal in mind." By the late 1970s, Shelley was a certified Supermodel.

a pic of Shelley

from a spread for Vogue, Sep '74

Shelley appeared on the pages of Vogue's September 1974 issue. In the spread called "The New York Collections: The Undercoat Life All Around Town," she wore the most sought-after dress of that year - The Two-Piece Dress. It was THE dress any woman that year would have wanted to wear under her coat and the first thing she would have wanted to be seen in without her coat. Under another leather coat, Shelley wore the three-piece two-piece dress. She wore a white wool-and-angora turtleneck sweater under a pullover shirt and skirt set in tweedy blue-and-grey pinchecks - all by Chester Weinberg for N.O.W. Studio. A narrow suede belt, matching hose and high-end pumps finished her look. Button earrings, fancy bangles, a leather clutch bag and a scarf around her hair accessorized her look. And Shelley looked every inch the Supermodel she had finally become.

Street Angels 2

Shelley with Cheryl Ladd and Jaclyn Smith 

in a promo pic for Charlie's Angels, 1979

Shelley became Charlie's Angel Tiffany Welles in May of 1979. After a long search, executive producers Aaron Spelling and Leonard Goldberg chose Shelley to fill the spot vacated by Kate Jackson in the spring of 1979. Shelley said, "I remember there was a big Angel hunt going on, and they asked me to audition. The hunt seemed to go on for a long time. A lot of my girlfriends went in to be tested, but I wasn't involved until sometime later when my agent called and said, 'It's a terrific show - you really should think about testing.' So, I thought about it again and went in." Shelley was cast; and she along with Jaclyn Smith (Kelly Garrett) and Cheryl Ladd (Kris Munroe) became the newest Angel team.

Shelley with Jaclyn Smith, 

Nancy Fox and the Angels crew

filming the Charlie's Angels episode

"Angels on the Street," 1979

The 7th episode of Shelley's season on Charlie's Angels was called "Angels on the Street." It was partly filmed (the exterior shots) on location at Culver City, California. As always, the paparazzi and fans were around, taking pics of the Angels as they were filming there. Interior shots were filmed at the 20th Century Fox Studios in Century City, Los Angeles. In the opening office scene, according to writer/producer Edward J. Lakso, Shelley adlibbed a line that was a callback to episode 4, "Angels at the Altar." When Kelly said, "I can dance and Kris is a singer," the camera was supposed to cut from her to Kris and Tiffany just sitting there. But Shelley added the line, "I play the violin... when it's not in the repair shop," to which Cheryl Ladd does a double-take and laughs. It was kept in the episode.

Shelley with Jaclyn Smith and the Angels crew

filming the Charlie's Angels episode

"Angels on the Street," 1979

Build a Wardrobe C

a closeup of Shelley

from a pic used in a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

Shelley appeared on many Simplicity pattern catalogs, brochures and packaging during the 1960s and 1970s. The Simplicity Pattern Company is the leading manufacturer of sewing patterns and sewing pattern guides which are distributed throughout the world. They have been manufacturing sewing patterns since 1927 and have allowed fashionistas on a budget and sewing aficionados to create clothes in a reliable manner. Shelley appeared in Simplicity Young Ideas Catalog's Fall-Winter 1972 issue.

a pic of Shelley used in a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

In the issue, Shelley appeared in the spread called "Sew! You Build A Wardrobe!" - which featured fashion pieces that could be put together into a cohesive, easy to mix-and-match wardrobe set. The basics featured were tops, skirts and pants that could be planned and constructed (through smart fabric choices and fabric pairings) into fabulous wardrobe separates that mixed well with each other. Shelley wore Simplicity pattern number 5204, a "How-To-Sew" pattern for a bias mini-skirt, vest and pants set. Shelley wore the skirt from the set. The bias mini-skirt had a waistband and a back zipper closing. With it, she wore Simplicity pattern number 5198, a pattern for an unlined jacket, skirt and pants set. Shelley wore the jacket from the set. The top-stitched unlined jacket had a collar, front button closing, forward shoulder seams, long set-in sleeves and it softly gathered to the waistband. Under the jacket, she wore a matching turtle neck top. A construction hat accessorized her look - as the photo shoot was set in a construction site. Shelley looked young and fab.

Back to Nature

a closeup of Shelley from an ad

for Back to Nature, 1975

Shelley was a very busy model in the 1970s. She appeared on many covers and spreads throughout the decade. She was one of the busiest models represented by Ford Models Inc. Eileen Ford, the FMI matriarch, said of Shelley, "She is a very good model and an intelligent, well-educated lady." Ford added, "Modeling was just a vehicle she used to get educated. It was never a thing where she wanted to be the best model in the world. She simply became one of them despite herself." In 1979, Shelley was cast in the phenomenal hit TV series Charlie's Angels.

Shelley in an ad for Back to Nature, 1975

One of the biggest trends of the 1970s was going back to nature or the hippie trend. It was a trend that was a carryover from the late 1960s. Tie-dyed shirts, peasant blouses, ponchos, capes, jeans and military surplus clothing were defined the look. In the September 1975 issue of Glamour magazine, Shelley appeared in an ad for Back to Nature. The Back to Nature clothing line specialized in "natural things to wear." In the ad, Shelley wore the Boat Top, a long-sleeved scoop-necked Madras cotton top with a flap on the chest and a pouch pocket. She wore it over a pair of trousers and accessorized it with a scarf around her hair. And Shelley looked trendy and terrific.

Tanya Roberts in an ad for Ulla, 1975

In the same issue, Shelley's fellow Charlie's Angel Tanya Roberts (who likewise dabbled in modeling in the 1970s) also appeared in an ad - for Ulla, a mail order catalog. Tanya modeled The Cossack Blouse, a blouse inspired by the Cossacks in Russia. It was a blouse that gently gathered on a curved yoke, had a Mandarin collar and billowing long sleeves drawn into buttoned cuffs. It could be worn loose or wrapped with a matching sash. She wore it over a pair of trousers and accessorized it with a beaded choker and beaded bracelets. Tanya looked trendy and terrific as well.

From Angel to Actress

Shelley in a 1980s promo pic

Shelley was a busy actress in the 1980s. After opting to leave Charlie's Angels in 1980, she went full-time into an acting career. She appeared on stage, TV and in the movies. She immediately tackled stage after Angels via the Jack Heifner play Vanities and gained critical praise for her work. Other stage plays soon came after (Elizabeth Diggs's play Close Ties, Garson Kanin’s Born Yesterday and John Krizanc's Tamara at the end of the decade) and she got critical praise for them as well. She starred in feature films like Martin Scorsese's The King of Comedy and Joseph Ruben's The Stepfather and got glowing reviews. In the series Cutter to Houston and Jack and Mike, she was praised for acting efforts.

Shelley in a 1980s promo pic

Makeup 1971 G

a pic of Shelley

from Glamour magazine, September 1971

Shelley appeared on many magazine covers and spreads throughout her modeling career. In September of 1971, she appeared in a spread for Glamour magazine called "Makeup - How Far Do You Want To Go?" It featured seven recommended makeup styles that went from the barest look to the totally made-up face - choices that depended on the readers' preferences and moods. In the spread, Shelley wore makeup from Charles Revson's Great Designer Reds for 'Ultima' II. Maxine Van-Cliffe was the designated makeup artist. Makeup Style 5 was called "Bold and Beautiful Color Is The Idea Here." It was a look that added to Makeup Style 4 - "Sari Pink" shadow brushed up through the brow on the eyelid and shadowed around to meet the blusher (deeper in shade than in 4 and applied higher on the cheek) under the outer corner of the eye. A deeper shade of lipstick was applied as well, and again over lip-gloss. This time, Shelley looked a lot more made-up and more colorful - and definitely even more sensational.

Shelley was featured in a spread

for Glamour magazine's September 1971 issue

Personal Foul 6

screen captures from the Jack and Mike

episode "Personal Foul," 1986

Shelley's third foray into series TV was Jack and Mike. It was about a married yuppie couple living in Chicago, trying to find time for each other in their busy schedules. Shelley played Jackie Shea, a star columnist at The Mirror, a widely-circulated Chicago paper. Her column was awaited by everyone every week. Her husband was Mike Brennan (played by Tom Mason), a successful restaurateur. Other cast members were: Nora Adler (Jacqueline Brookes), Jackie’s editor;  Anthony Kubecek (Kevin Dunn), Jackie's assistant; Carol (Holly Fulger), the head waitress at Mike's restaurant, Brennan's Grill; and Rick Scotti (Vincent Baggetta), an attorney who appears occasionally. In the episode "Personal Foul," a college professor is suspended for trying to flunk the school's star basketball player, and Mike is upset that Jackie's covering the story, since it's his alma mater and he's the team's No. 1 supporter. The episode was originally aired in September 30, 1986.

screen captures from the Jack and Mike

episode "Personal Foul," 1986

To continue, back at Lincoln University where Mike is on his once-a-week catch up/basketball game with his his old friend Coach Cyril Brock, the two have just finished their game and Brock tells Mike about his little secret. Impressed with what he had done with the university's basketball team so far, a university in California has offered him a job and a big pay raise. Cy tells Mike to keep quiet about it because it wasn't sure thing yet - as it all depended on the outcome of that basketball season. Mike promises to keep quiet and says he's off to meet Jackie for lunch. Cy receives a phone call about Andrew Taylor, who is at the police station for missing a detour sign and driving the wrong way down a one way street. He asks for Mike's help with the police at the precinct. Mike knows a few people and agrees to help. From the precinct, Mike rushes to meet Jackie to tell her he has to cancel. Jackie is disappointed but she understands. Then, she wonders how Andrew Taylor could have made such a mistake... she had the impression that he's a very responsible boy. Mike says goodbye and returns to the precinct. Jackie decides to return to The Mirror, but on a hunch, changes her mind and heads to Lincoln University instead.

screen captures from the Jack and Mike

episode "Personal Foul," 1986

THE Dress of '74 A

a closeup of Shelley

from a spread for Vogue, Sep '74

When Shelley graduated from Smith College in 1970, she decided to become a model full-time. Represented by the top model management company, Ford Models Inc., she began her transition from teen model to top model (and eventually to Supermodel.) Her then boyfriend, photographer Steen Svensson, and make-up artist extraordinaire Rick Gillette came up with test shots of Shelley in the early '70s with the hope that the images could get her on the pages of Vogue and Harper's Bazaar - which eventually happened. She appeared on both the US and international editions of the magazines. According to Rick, "In the early 70’s before "Charlie", before "Charlie’s Angels", Shelley Hack was an ex-teen model looking for a more sophisticated look to get her into Vogue. I was creating a portfolio with the same goal in mind." By the late 1970s, Shelley was a certified Supermodel.

a pic of Shelley

from a spread for Vogue, Sep '74

Shelley appeared on the pages of Vogue's September 1974 issue. In the spread called "The New York Collections: The Undercoat Life All Around Town," she wore the most sought-after dress of that year - The Two-Piece Dress. It was THE dress any woman that year would have wanted to wear under her coat and the first thing she would have wanted to be seen in without her coat. Under a brown leather coat, Shelley wore a beige two-piece dress in soft jersey that was wrapped at the waist - by Rodrigues. The top had long sleeves with cuffs, a V-neckline, buttons down the front, and a self-tie belt. The matching skirt was slightly A-line and knee-length. Printed scarves, matching hose and high-end pumps finished her look. A beret, fancy bangles, a leather clutch bag and leather gloves accessorized her look. And Shelley looked every inch the Supermodel she had finally become.

Street Angels 1

Shelley with Jaclyn Smith and Cheryl Ladd

in a promo pic for Charlie's Angels, 1979

Shelley became Charlie's Angel Tiffany Welles in May of 1979. After a long search, executive producers Aaron Spelling and Leonard Goldberg chose Shelley to fill the spot vacated by Kate Jackson in the spring of 1979. Shelley said, "I remember there was a big Angel hunt going on, and they asked me to audition. The hunt seemed to go on for a long time. A lot of my girlfriends went in to be tested, but I wasn't involved until sometime later when my agent called and said, 'It's a terrific show - you really should think about testing.' So, I thought about it again and went in." Shelley was cast; and she along with Jaclyn Smith (Kelly Garrett) and Cheryl Ladd (Kris Munroe) became the newest Angel team.

Shelley with Jaclyn Smith and the Angels crew

filming the Charlie's Angels episode

"Angels on the Street," 1979

The 7th episode of Shelley's season on Charlie's Angels was called "Angels on the Street." It was partly filmed (the exterior shots) on location at Culver City, California. As always, the paparazzi and fans were around, taking pics of the Angels as they were filming there. Interior shots were filmed at the 20th Century Fox Studios in Century City, Los Angeles. In the opening office scene, according to writer/producer Edward J. Lakso, Shelley adlibbed a line that was a callback to episode 4, "Angels at the Altar." When Kelly said, "I can dance and Kris is a singer," the camera was supposed to cut from her to Kris and Tiffany just sitting there. But Shelley added the line, "I play the violin... when it's not in the repair shop," to which Cheryl Ladd does a double-take and laughs. It was kept in the episode.

Shelley with Jaclyn Smith and the Angels crew

filming the Charlie's Angels episode

"Angels on the Street," 1979

Build a Wardrobe B

a closeup of Shelley

from a pic used in a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

Shelley appeared on many Simplicity pattern catalogs, brochures and packaging during the 1960s and 1970s. The Simplicity Pattern Company is the leading manufacturer of sewing patterns and sewing pattern guides which are distributed throughout the world. They have been manufacturing sewing patterns since 1927 and have allowed fashionistas on a budget and sewing aficionados to create clothes in a reliable manner. Shelley appeared in Simplicity Young Ideas Catalog's Fall-Winter 1972 issue.

a pic of Shelley used in a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

In the issue, Shelley appeared in the spread called "Sew! You Build A Wardrobe!" - which featured fashion pieces that could be put together into a cohesive, easy to mix-and-match wardrobe set. The basics featured were tops, skirts and pants that could be planned and constructed (through smart fabric choices and fabric pairings) into fabulous wardrobe separates that mixed well with each other. Shelley wore Simplicity pattern number 5204, a "How-To-Sew" pattern for a bias mini-skirt, vest and pants set. Shelley wore the vest and the skirt from the set. The bias mini-skirt had a waistband and a back zipper closing. The vest was lined and had a front button closing, V-shaped neckline, slips in the side seams and flaps. She wore a long-sleeved turtle neck top under the vest and finished her outfit with a matching hose and lace-up Oxford-style footwear. A construction hat accessorized her look - as the photo shoot was set in a construction site. Shelley looked young and fab.