Saturday, June 29, 2024

Supermodel, Actress, Peacekeeper, Producer

Shelley Hack went from teen model
to Hollywood producer

A Mini Biography of Shelley Hack

Shelley Marie Hack was born on July 6, 1947 in White Plains, New York, and was raised in nearby Greenwich, Connecticut. She graduated from Greenwich Academy and went off to Smith College where she earned a degree in history. But while still in school, as a teen, she was discovered by A&P heir Huntington Hartford who urged her to try modeling. So her mom took her to see model agent Eileen Ford and she began to model part-time, during her summer breaks. Subsequently, after graduating from Smith College, she signed on full-time at Ford Models Inc., and became one of the top models in the United States. In 1976, she jumped to Supermodel status when she began endorsing Revlon Charlie perfume, cosmetics and various beauty products. She was one of first batch of models who were able to negotiate previously unheard of, lucrative and exclusive million-dollar deals with giant cosmetics companies. The worldwide popularity she gained as THE Charlie Girl brought her to the attention of Hollywood. Woody Allen cast her in a bit part in his 1977 Academy Award-winning movie Annie Hall. She got her first leading lady role in the film If Ever I See You Again and went on to star in various big and small screen projects. In 1979, Aaron Spelling cast her in his hit series Charlie's Angels and she rose to Hollywood superstardom overnight. Although she left after one season, the publicity she gained from the series kept her in the public eye in the 1980s. Shelley then tackled stage via plays like Vanities (1981), Born Yesterday (1982), and Close Ties (1983), and was critically praised for her efforts. This led to roles in movies like Martin Scorsese's The King of Comedy (1983) and cult classics like Troll (1986) and The Stepfather (1987), as well as the lead in two other TV series, Cutter to Houston (1983) and Jack and Mike (1986-87). She married director Harry Winer and in 1990 gave birth to their daughter, Devon Rose. In the '90s, Shelley began delving in grassroots politics and political fund-raising. She would receive her MBA from the New York Institute of Technology (NYIT) and, in 1997, she formed Shelley Hack Media Consultancy (SHMC), a media consultancy firm that worked internationally in pre- and post-conflict countries. She would go into war-torn countries and help them establish democracy through media. She began in Bosnia, producing their first-ever televised presidential debates. She became a member of the Pacific Council on International Policy (PCIP) whose mission was to give a more effective voice to West Coast perspectives on critical global policy issues. She worked extensively in Eastern Europe and Western Asia and traveled all over the world. She also spent two years working with the largest media conglomerate in Eastern Europe helping to develop and build the infrastructure for a new state of the art film studio complex in the region. After ten years of doing that, Shelley settled down in California, and in 2010, she and her husband formed Smash Media Productions where she acts as co-president. Through Smash Media, she has produced documentaries like Citizen of the World (2010) and Maharajah of the Road (2012), feature films like The Expatriate/Erased (2012) and The Doorman (2020) and several movies for the Hallmark Channel [Lucky Christmas (2011), Perfect Match (2015), A Bramble House Christmas (2017), Falling for You (2018), Holiday Hearts (2019), Autumn in the City (2022), and Long Lost Christmas (2022)]. On her own, she has produced Summer of Dreams (2017) and Christmas in Evergreen (2017), also for Hallmark.


an advanced birthday greeting
to the ever glamorous, ever gorgeous
Ms. Shelley Hack

The Most Disciplined

Shelley appeared on the pages
of Photoplay magazine, May 1978

Shelley was an up-and-coming actress in the late 1970s. He popularity as as Revlon's effervescent Charlie Girl had caught the attention of Hollywood bigwigs; and she was in consideration for various roles on the big and small screens. She was even considered for Bond Girl duties (check out: Shelley Hack - Bond Girl). The Ford Supermodel had appeared in the Woody Allen film Annie Hall (1977) and was currently the leading lady in the upcoming movie If Ever I See You Again (1978). As a sort of promo for the latter film, she was featured in the May 1978 issue of Photoplay magazine, one of the first American film magazines for film fans. "Gorgeous, sexy, and young" Shelley was featured in the article called "Staying Beautiful." The long-stemmed, 5'8" beauty with tawny hair, peaches-and-cream complexion, wide blue eyes and wholesome yet sensual vibrancy was asked about her secrets to maintaining her looks; and Shelley openly divulged her beauty secrets. Diet, exercise, face care, makeup, and hair care... she willingly discussed all of her beauty secrets. She said, "Models aren't necessarily the prettiest; often they are the girls who are the most disciplined."

Shelley appeared on the pages
of Photoplay magazine, May 1978

Knit Tops and Flared Pants

a closeup of Shelley from a spread
on Sears Great Catalog Buys, June 1975

Shelley appeared in many catalogs throughout her modeling career, from the late '60s to the late '70s. Mail-order catalogs were at the height of its popularity at the time. They were big-book size publications that contained a list and pictures of the general merchandise from, usually, a department store that were available for purchase and delivery straight to the homes of their customers. Everything from homeware to toys were featured in these catalogs... as well as garments and the latest fashion pieces. Sears is an American chain of department stores founded in 1892. Aside from the big-book catalogs, they came out with tabloid-sized catalogs that featured items on sale. In June 17 of 1975, Shelley appeared on the pages of Sears Great Catalog Buys.

Shelley (with Colleen Corby)
appeared on a fashion spread
for Sears Great Catalog Buys, June 1975

She appeared in the spread which featured knit tops paired with casual flared pants. She wore the flame red and cream Striped Knit Top (a pullover style top with a high, square neckline and slightly puffed short sleeves) over the cream-colored Cuffed Demin Jeans (a trouser style jean with a wide waistband, front slash pockets and flared cuffed legs). Matching cream canvas and rope-wedge-heeled footwear as well as a thin woven red belt (of braided vinyl with a gold-colored prong buckle) finished her look. She also wore the white Open-Stitch Knit T-Shirt (a pullover T-shirt with a crew neckline and short sleeves) over the grass green Flared Twill Pants (trousers with a hook-and-eye closing on the waistband, side-seam pockets, and front and back darts). Casual sandal-style clogs finished her look. A matching bangle accessorized her look. And Shelley looked cool and ready for those warm summer days.

Shelley (with Colleen Corby)
in a pic from a fashion spread 
for Sears Great Catalog Buys, June 1975

Exciting New Opportunity

a closeup of Shelley from a promo pic
for Charlie's Angels, 1979

In late-May of 1979, the phenomenal-hit TV series Charlie's Angels had finally found a new girl to fill-in the slot left open by original Angel Kate Jackson. THE Charlie Girl Shelley Hack, Revlon's Supermodel, became the new Angel and was going to be introduced as a new character on the 4th season of the series. Charlie's latest heavenly recruit came with the approval of not just executive producers, Aaron Spelling and Leonard Goldberg, but also of incumbent Angels Jaclyn Smith and Cheryl Ladd. "We hired her 40 percent from the screen test and 60 percent from the personality test," Spelling told TV Guide, "We decided she was a nice person with sparkle and intelligence." Cheryl Ladd said, "Shelley seemed like a doll and we were going to have a lot of fun working together." Jaclyn Smith said, "She was sort of like the debutante."

a short writeup about Shelley, 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." And she won the role of Angel Tiffany Welles, whose father was a police chief in Boston and an old friend of Charlie. Excited about her new opportunity, Shelley signed a one-year contract with a four-year option. "Jackie, Cheryl and I hit it off immediately." Shelley said of her new co-stars, "Put your ear to the wall, all you'll hear is laughter." When Shelley's debut episode "Love Boat Angels" was aired, it topped the Nielsen ratings.

Shelley in a promo pic
for Charlie's Angels, 1979

New York Supermodel

closeups of Shelley
from a spread for Vogue, 1974

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.

Shelley in a spread for Vogue, 1974

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 latest fashions from the collections of the top American designers of the era. She wore the most sought-after dress of that year - The Two-Piece Dress, 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. She wore the two-piece dress in soft jersey by Rodrigues. She also wore the three-piece two-piece dress by Chester Weinberg for N.O.W. Studio. And she wore the perfect two-piece dress by Adolfo. And finally, she wore the fur-collared wrap coat by Nat Kaplan. And Shelley looked every inch the Supermodel she had finally become.

Shelley (and Shelley Smith)
in a spread for Vogue, 1974

Looking Forward To Playing Christine

Shelley on the cover
of Acadiana TV magazine, 1984

In 1984, Shelley joined the cast of the nighttime sitcom Night Court for its second season (replacing Paula Kelly). She was cast to play public defender Christine Sullivan and the character was going to be romantically involved with Judge Harry Stone (played by Harry Anderson). "I know that she's a lawyer and she's supposed to be funny," Shelley said in one interview. "I think I'm supposed to have a love interest somewhere along the line with Judge Harry Stone," she added. Shelley was looking forward to doing the series. She said, "It especially appeals to me because of the ensemble aspect. It should be like doing mini-theater." By then, Shelley had received glowing reviews for her past performances in the plays Vanities, Close Ties and Born Yesterday. She had also received positive reviews for her performance in the 1983 Martin Scorsese feature film The King of Comedy opposite Robert De Niro.

a short writeup about Shelley
from Acadiana TV magazine, 1984

Looks to Wear Everywhere 1

a closeup of Shelley from a pic on a spread
on McCall's Needlework & Crafts, 1975

Shelley appeared on many magazines throughout her modeling career. She appeared on the cover and pages of McCall's Needlework & Crafts spring-summer 1975 issue. In the spread called "Country-Girl Looks to Wear Everywhere", she modeled a poncho that was perfect for those cooler days in spring and summer. She modeled the Long, Long Fringe - a poncho with large knit and crochet squares on the sides and cable and popcorn panels on the front, back and hem which ended in long fringes. She wore it over a shirt by Lady Manhattan and pants by Time And Place. And she looked like she was ready for those cooler spring and summer days. (For more, check out: Country-Girl Looks)

a pic of Shelley from a spread
on McCall's Needlework & Crafts, 1975

Saturday, June 22, 2024

Knit Tops and Denim Shorts

a closeup of Shelley from a spread
on Sears Great Catalog Buys, June 1975

Shelley appeared in many catalogs throughout her modeling career, from the late '60s to the late '70s. Mail-order catalogs were at the height of its popularity at the time. They were big-book size publications that contained a list and pictures of the general merchandise from, usually, a department store that were available for purchase and delivery straight to the homes of their customers. Everything from homeware to toys were featured in these catalogs... as well as garments and the latest fashion pieces. Sears is an American chain of department stores founded in 1892. Aside from the big-book catalogs, they came out with tabloid-sized catalogs that featured items on sale. In June 17 of 1975, Shelley appeared on the pages of Sears Great Catalog Buys.

Shelley (with Colleen Corby)
appeared on a fashion spread 
for Sears Great Catalog Buys, June 1975

She appeared in the spread called "Knit Tops and Denim Shorts." In the spread, she wore a Rib-Knit Top with knit-in stripes in navy and white. It was a pullover-style top with a halter neckline and white edging. She wore it over a pair of white Cotton Denim Shorts. The boy-cut style shorts rode 2 inches below the waist, had 1 1/4-inch cuffs and had two front slash pockets. A thin woven red belt finished her look. It was of braided vinyl and had a gold-colored prong buckle and tip with an adjustable ratchet under the buckle. And Shelley looked cool and ready for those warm summer days.

a pic of Shelley from a spread
on Sears Great Catalog Buys, June 1975

Daddy for the Defense Episode

Shelley in a promo pic
for Night Court season 2, 1984

In 1984, Shelley joined the cast of the nighttime sitcom Night Court for its second season (replacing Paula Kelly). She was cast to play public defender Christine Sullivan and the character was going to be romantically involved with Judge Harry Stone (played by Harry Anderson). "I'll be doing my research at the New York court," Shelley said, "I always look forward to researching a role. It will be interesting." Publicity photos were taken, and the announcement was made. Shelley's first episode "Daddy for the Defense" was going to be the season opener.

a writeup about Shelley joining
the cast of Night Court, 1984

But when the series started shooting, at the last minute, producer Reinhold Weege decided she wasn't right for the part. And Shelley felt the same way. "I liked the show. They offered me the role. I went and met with them and liked them," Shelley said. "But what happened was the role was changed somewhere between that meeting and my first day on the set," she explained. So the actress and the producer mutually and amicably agreed to call the whole thing off. Ellen Foley was brought in for that season to replace Shelley - as a new character, public defender Billie Young. Markie Post took over the role of Miss Sullivan for the "Daddy for the Defense" episode, which was switched from the opener to the 2nd episode. A year later, Markie Post became a permanent part of the cast.

Up-To-The-Minute

a closeup of Shelley from a fashion pic
for Bobbie Brooks, 1967

Shelley appeared in many ads for Bobbie Brooks from the 1960 to the early 1970s. Bobbie Brooks Incorporated was one of the five largest garment manufacturers in the United States in the 1960s and 1970s, specializing in women's garments. The company produced fashion pieces that were affordable yet up-to-the-minute. It was one of the big fashion brands during the mid-20th century and was known to produce clothes of good quality. In 1967, Shelley appeared on the cover of the Bobbie Brooks Incorporated Annual Report for the Year Ended April 30, 1967. On the cover, she wore the Ring-A-Ding Clinger, which was made up of a rib knit top with waist-whittling ribbing and an A-line skirt in all wool-houndstooth. Matching white hose and footwear finished her look. A pink ribboned ponytail and a gold O-ring chain belt accessorized her look. And Shelley looked fabulous and definitely up-to-the-minute. (For more, check out: Ring-A-Ding Clinger)

Shelley on the cover of the Bobbie Brooks
Incorporated Annual Report
for the Year Ended April 30, 1967

SuperMag 1980

Shelley with Jaclyn Smith and Cheryl Ladd
on the cover of SuperMag Vol. 4 No. 7, 1980

Shelley was already a Supermodel in 1979 and was known worldwide as THE Charlie Girl from the many commercials and print ads she appeared in for Charlie by Revlon. She was already familiar with fame by that time as she was recognized by fans when she went out. Shelley said, "The Charlie (Girl) image is interesting because people recognize me and some actually chase me down the street." But by mid-1979, when she joined the cast of phenomenal hit TV series Charlie's Angels, she was immediately thrust into unfamiliar space, rock star space. "I was totally unprepared for the press 'bonanza' that followed," she said in 2000. "I had press people crawling in my widow," she told E! in 2002. When her debut episode "Love Boat Angels" finally aired in September of that year, it topped the Nielsen ratings. Shelley's casting was a coup. Her Charlie Girl image brought even more publicity for the show and it renewed interest in the series (Charlie's Angels had slipped significantly in the Nielsen ratings the year before - from #4 in 1977 to #12 in 1978.) Us Weekly, on their September 18, 1979 issue, predicted that Shelley was going to be a big hit as the new Charlie's Angel. The magazine picked the show, now on its fourth season, as one of "the hits on the tube" that fall. And Shelley was off to a good start in Hollywood.

Shelley and her fellow Charlie's Angels
were featured on the cover and pages
of SuperMag Vol. 4 No. 7, 1980

Jaclyn Smith was featured on the cover and pages
of SuperMag Vol. 4 No. 7, 1980

Shelley and Cheryl Ladd
were featured on the cover and pages
of SuperMag Vol. 4 No. 7, 1980

Shelley with Jaclyn Smith and Cheryl Ladd
were featured in a pull-out poster
on SuperMag Vol. 4 No. 7, 1980

Charlie's Put-Ons 8

Shelley in a 1977 promo pic for Charlie perfume,
wearing the Charlie T-Shirt and Scarf promo items

Shelley first became famous in the 1970s as THE Charlie Girl.  In 1976, she was hand-picked to represent the Revlon Charlie brand, as she was the embodiment the brand's ideal – gorgeous, sexy and young. Makeup artist Rick Gillette recalls, "Shelley Hack was really the perfect girl for Charlie. I remember when Revlon creative director David Leddick had Steen Svensson shoot the first presentation with her that got her the contract." They shot a commercial with her and when it debuted, it was an immediate and immense hit. By 1977, Charlie became the #1 fragrance in the world (the first American-made international bestseller) and Revlon sales figures passed the $1 billion mark. Shelley THE Charlie Girl had catapulted to icon.

Shelley in a newspaper ad
for Charlie perfume and cosmetics, 1977

Shelley was THE quintessential Charlie Girl and appeared in many, many ads for the brand. In 1977, she appeared in a newspaper ad for Charlie promoting "Charlie's Put-Ons." It was a promo that offered customers a chance to purchase a $20.00 worth Charlie T-Shirt and Scarf combo for only $6.00 with any purchase of $5.00 or more from the Charlie collection. The T-shirt was blue and came in sizes S-M-L. And the long scarf was blue, yellow and white striped. Of course, Shelley looked fab in both of them.

A Staple In The 1990s

Shelley with Sela Ward, Brooke Adams
and Stephanie Faracy on the cover 
of Sunday News TV Week, 1989

In 1989, Shelley along with Sela Ward, Brooke Adams and Stephanie Faracy starred in the TV film Bridesmaids. It was about a group of friends who were reunited after a number of years at another friend's wedding. The film wasn't just about the many things that binds friends together such as humorous anecdotes, common experiences, and secrets; but it also explored the varied and changing roles women were coming to terms with at the time - such as civil service official Kimberly's (Shelley Hack) dilemma of either having a baby or ending her marriage, self-made career woman Caryl's (Sela Ward) choice of becoming a single mother, Pat's (Brooke Adams) acceptance of the challenge that she could bring up her children well on her own, and Beth's (Stephanie Faracy) guilt of having unintentionally betrayed a friend's trust. Audra Lindley and Jack Coleman was also in the cast. The movie was a staple on cable TV in the 1990s.

a writeup about Brooke Adams
and the TV film Bridesmaids from the pages
of Sunday News TV Week, 1989

Your Way To The Sun

a closeup of Shelley from a pic on a spread
on McCall's Needlework & Crafts, 1975

Shelley appeared on many magazines throughout her modeling career. She appeared on the cover and pages of McCall's Needlework & Crafts spring-summer 1975 issue. In the spread called "Crochet Your Way to the Sun", she modeled a bikini top over a pair of super short shorts. The soft plaid design was made up of horizontal bands of double crochet/single crochet pattern with verticals chain-stitched in later. The top tied at the back and the shorts had an elasticized waist. A matching scarf around her hair was all that was needed to finish her look. And she looked like she was ready for those warm sunny days. (For more, check out: Crochet Your Way to the Sun)

a pic of Shelley from a spread
on McCall's Needlework & Crafts, 1975

Saturday, June 15, 2024

The Many Looks Of Blouses

a closeup of Shelley
from a spread on the Montgomery Ward
spring and summer 1967 catalog

Shelley appeared in many catalogs throughout her modeling career, from the late '60s to the late '70s. Mail-order catalogs were at the height of its popularity at the time. They were big-book size publications that contained a list and pictures of the general merchandise from, usually, a department store that were available for purchase and delivery straight to the homes of their customers. Everything from homeware to toys were featured in these catalogs... as well as garments and the latest fashion pieces. Shelley appeared in spreads throughout the Montgomery Ward spring and summer 1967 catalog.

Shelley in a spread
for the the Montgomery Ward
spring and summer 1967 catalog

In the spread which featured the many looks of blouses, sleeveless as well as knitted versions, Shelley wore a blouse that kept its shape, that was wrinkle-resistant, and that packed small and unpacked smooth.  Her multicolored printed blouse had long sleeves, a flattering cowl neck, and a back zipper. She wore it over the white, fully-lined, proportioned-to-fit slim skirt that  had a side zipper and a button close. It had ample seams and an adjustable 2-inch hem. And Shelley looked fab in her blouse and skirt combo.

a pic of Shelley
from a spread on the Montgomery Ward
spring and summer 1967 catalog

Working With A British Cast

Shelley in a publicity pic
from the mid/late 80s

Shelley appeared in the TV movie Frederick Forsyth Presents A Casualty of War in 1989. It was the first of a series of feature-length TV movies (called Frederick Forsyth Presents) written by internationally acclaimed author Frederick Forsyth. In it, Shelley played Monica Browne, an enigmatic and very wealthy horse breeder who becomes the love interest of retired British secret service agent Tom Rowse (played by British actor David Threlfall) who was recruited to intercept an arms shipment from Libya to the IRA. The telefilm was shot in England, Germany and Yugoslavia. Shelley said she read Forsyth's books as a young girl and found them to be "very macho, exciting Cold War stuff." Being the only American among the predominantly British cast, she laughed and said, "Yes, I'm the token." She enjoyed working with her British co-stars and found their approach to their craft very interesting.

Shelley with David Threlfall
in a promo pic/advertisement for the TV movie
Frederick Forsyth Presents A Casualty of War, 1989

Health & Beauty Mag

Shelley on the cover of the Greek mag
Health & Beauty, 1980

Shelley was one of the most visible Supermodels in the 1970s. She became famous around the world as Revlon's effervescent Charlie Girl and had appeared on the covers and pages of many major international magazines including Vogue, Harper's Bazaar, Glamour, Mademoiselle and Seventeen. But by 1978, she decided to do less modeling (except for Revlon Charlie which she continued modeling for until 1982) and began concentrating on a burgeoning acting career. She eventually was cast as Angel Tiffany Welles in the hit TV series Charlie's Angels and was instantly propelled to Hollywood superstardom. Her face appeared on newspapers and magazine around the world. In 1980, she appeared on the cover of the Greek magazine Health & Beauty, on their February/March issue. It was their 4th issue and was priced at 35 drachma (the official currency of modern Greece since 1832 until the launch of the euro in 2001). The mag featured pics and writeups on Makeup-Hairstyles-Fashion. And Shelley was absolutely gorgeous on the cover.

Shelley in a modeling pic
from around the mid-1970s
For more, check out: Supermodel of the 1970s

Very Generous To Work With

Shelley with Sid Caesar and Dick Van Dyke
on the cover of Northeast Woman mag, 1984

Shelley had a very promising acting career immediately after leaving the TV series Charlies Angels in 1980. She honed her acting skills on stage via the plays Vanities, Close Ties and Born Yesterday - surprising and wowing her fans, critics and detractors alike. She shined in the Martin Scorsese film The King of Comedy opposite Robert De Niro. She was great opposite George Segal in the TV movie Trackdown: Finding the Goodbar Killer. And she held her own in the telefilm Max and Sam (a.k.a Found Money) opposite legendary comedians Dick Van Dyke and Sid Caesar. Shelley found both of them "very generous to work with" but had to keep up with the their pace. "You had to work so fast, because everything was left loose," she told TV Guide. "I felt like I kind of jumped on a moving train," she added. Shelley would again work with Dick Van Dyke in 1997 - as a guest star in his TV series Diagnosis Murder. For more, check out: Diagnosis: Great Work and Looks Can Kill

screen captures of Shelley
from the TV movie Max and Sam
a.k.a. Found Money, 1983

1977 Charlie Promo

pics of Shelley for Charlie
perfume and cosmetics, 1977

Shelley was THE Charlie perfume girl from 1976 to 1982. She was dubbed as THE quintessential Charlie Girl because she was the embodiment of the brand's ideal - gorgeous, sexy, young... as well as independent, confident and loving every minute of it. In 1977, she appeared in an ad for Charlie called "Charlie's Mirror Image," which was a promo for a regular-and-magnifying mirror (back-to-back on a flexible goose stand) valued at $23.50 for just $5.50 with any $5.00 purchase from the Charlie or Chaz collection. It was also a promo for the "Get A Charlie Clip!", a $14.50 Charlie Hair Cut, shampoo and blow dry for just $10.00. And it was also a promo for the "Charlie Has A Taste For Life" bonus, a gift certificate from Baskin-Robbins (for a $3.00 Charlie purchase or more) that entitled the bearer to a one Single Scoop Ice Cream Cone. Shelley appeared in the ad and was Charlie-Girl fabulous in it as always.

Shelley in a Charlie perfume ad, 1977

New Angel 1979/1980

a closeup of Shelley from a promo pic
for Charlie's Angels, 1979

In 1979, Shelley was cast as the newest Angel for the 4th season of the hit TV series Charlie's Angels - taking over from Kate Jackson who left the series after the previous season. "We hired her 40 percent from the screen test and 60 percent from the personality test," executive producer Aaron Spelling (of Spelling-Goldberg Productions) told TV Guide magazine, "We decided she was a nice person with sparkle and intelligence." Her casting made Shelley a Hollywood superstar overnight. Her face appeared on virtually every magazine in the world and was even mentioned in the evening news. "I couldn't believe it. What was I doing in the evening news?" Shelley exclaimed. Charlie's Angels 4th season debut episode, "Love Boat Angels," topped the Nielsen ratings, and the addition of Shelley had revived interest in the show (the series had slipped significantly from #4 [in 1977] to #12 [in 1978] in the Nielsen ratings during its third season.)

a short writeup about Shelley, 1980

But after three episodes at the top 10, it began descending to the 20s, then to the 30s. And the "disappointing" season was unfairly blamed on Shelley and everything from her acting, her attitude, her voice and even her hair were cited as the reason for the show's further slip in the ratings - and everybody jumped on that bandwagon. The verdict: she was let go at the end of the season. Spelling-Goldberg Productions issued the statement, "When she signed her contract for the series, Miss Hack had a personal agreement that she could review her continuation with the show at the end of her first season since series television represented an enormous change in her career and lifestyle." The statement further said, "In case Miss Hack decides not to come back next season on a regular basis, she has agreed to do several guest-star appearances on the show." (FYI: In spite of everything, in the Nielsen ratings, the fourth season of Charlie's Angels still finished within TV's top 20 shows of 1979 - which wasn't bad for a show that had been on the air for 4 seasons.)

Shelley in a promo pic
for Charlie's Angels, 1979

Ribby Lines

a closeup of Shelley
from a pic used in a spread
on McCall's Needlework & Crafts, 1975

Shelley appeared on many magazines throughout her modeling career. She appeared on the cover and pages of McCall's Needlework & Crafts spring-summer 1975 issue. In the spread called "Great Looks To Button Up," Shelley wore several stylish sweaters that were recommended by the mag. She wore the one dubbed Ribby Lines. It was was a "twinset" made up of a sleeveless U-neck pullover and a V-neck cardigan - both trimmed in a darker color. Shelley wore them over McCall's pattern 3550 (a pullover collared blouse with a button front, long sleeves that gathered into buttoned cuffs, and had a matching fabric belt) and McCall's pattern 3996 (flat front pants with a side zipper and flared legs). And Shelley looked great and ever so stylish. For more, check out: Great Looks To Button Up

a pic of Shelley from a spread
on McCall's Needlework & Crafts, 1975