Blouse/Jacket '71

a closeup of Shelley from a fashion pic

used in a spread on the German mag

Brigitte Mit Constanze, 1971

Shelley was one of the most visible Supermodels in the 1970s. She appeared on the covers and pages of many major magazines around the world. In 1971, Shelley appeared on the pages of the December 10 issue of Brigitte Mit Constanze, a German women's magazine which featured fashions, home styles and health. In the section that featured fashion pieces recommended by the mag for reader's to make for themselves, Shelley modeled a versatile blouse/jacket fashion top. Her then boyfriend, photographer Steen Svensson, was the one that captured her image for the spread.

Shelley in a spread for the German mag

Brigitte Mit Constanze, 1971

In the spread called "Das Brigitte-Modell in Größe 34" (The Brigitte Pattern in Size 34), Shelley wore the "Bluse oder Jacke - je nach Drüber und Drunter" (Blouse or Jacket - depending on what is above and underneath). It was a fashion top that was made of thin wool jersey and that was warm enough to be used as a jacket with a sweater or as a winter blouse underneath a sweater. It was partly cut like a man's shirt, and partly like a woman's blouse (with pleating at the yoke). It had a comfortable width - important when wearing pullover sweaters underneath - that was held together with a belt. The striped material was in shades of pink, green and beige. Shelley wore it over a long-sleeved sweater and pants ensemble. A matching knitted skull cap finished her look. And, as always, Shelley looked smart, up-to-date and fabulous.

Shelley in a fashion pic

from a spread on the German mag

Brigitte Mit Constanze, 1971

Still Within The Top 20

Shelley with Cheryl Ladd and Jaclyn Smith

in a promo pic for Charlie's Angels, 1979

Shelley became Angel no. 5 in 1979 when she joined the cast of Charlie's Angels. Shelley was already a Supermodel when she joined the hit TV series and was known worldwide as THE Charlie Girl in those Revlon Charlie TV commercials and print ads. She auditioned, went though a screen test, and even a personality test; but what really got her the part, it seems, was the headline "THE Charlie Girl becomes Charlie's newest Angel" which was going through Angels exec producer Aaron Spelling's head as he was choosing TV's latest cherub. Also, Shelley had good rapport with her new co-Angels Cheryl Ladd and Jaclyn; and the three photographed really well together. When Shelley's debut episode "Love Boat Angels" aired, it topped the Nielsen ratings.

Shelley in a promo pic

for Charlie's Angels, 1979

But after three episodes at the top 10, the ratings 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 slip - 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 with Cheryl Ladd and Jaclyn Smith

on a the cover of AFN TV-Guide, 1980

Neat And Nautical

a closeup of Shelley from a spread

on Budget Catalog, 1978

Shelley appeared in both the ads and the catalogs of the Budget Uniform Center, a company that specialized in uniforms for professional women, as well as men. The catalog also featured various costumes and themed apparel for both genders. In 1978, Shelley appeared on the pages of Budget Catalog, in the spread called, "New Neat And Nautical: Down To The Sea With Gobs Of Good Looks." It featured wardrobe pieces that had a nautical feel and optional anchor and wheel patches.

Shelley in a spread

for Budget Catalog, 1978

Shelley wore the nautical-inspired mini dress. It was a cocktail dress that came with a matching red, white and blue striped panty brief. The sleeveless cocktail dress had a deep V-neck, a sailor collar and breezy pleats from the waist down to the hem. It had stripe details on the edges of the collar and hem and zipped at the back. It came in Navy (which Shelley wore), Red or White. Nautical Anchor Patches or Nautical Wheel Patches were available as options to be sewn in by buyers themselves as preferred.  Matching strappy sandals finished her look. And Shelley looked neat, nautical and fabulous.

closeups of Shelley from a spread

on Budget Catalog, 1978

Me, Myself & I Movie B

screen captures from the film feature

Me, Myself and I, 1992

Shelley starred alongside JoBeth Williams and George Segal in the 1992 comedy Me, Myself & I. JoBeth Williams played Diane, a woman living in a New York apartment building suffering from paranoia and nymphomania. She has two personalities the growling, howling "Crazy Diane" and the normal, level-headed "Sane Diane" - and they're constantly arguing and bickering. Her next-door neighbor, Hollywood TV-writer Buddy Arnett (George Segal) is "Crazy Diane's" peeve; he's constantly the subject of her commentaries on sex, violence and invisible persecutors. But when "Crazy Diane" manages to seduce Buddy, "Sane Diane" takes over and the two fall in love. But Buddy's estranged lesbian wife, Hollywood superstar Jennifer (Shelley Hack), reappears in Buddy's life and comes over from California, which rattles "Sane Diane" and so "Crazy Diane" makes a comeback. Don Calfa, Betsy Lynn George, Bill Macy and Sharon McNight round out the rest of the cast.

screen captures from the film feature

Me, Myself & I, 1992

The movie was the directorial debut of Cuban-American visual designer Pablo Ferro. Ferro came into film titles from being a director-editor of television commercials. He designed the title sequence of Stanley Kubrick's 1964 doomsday film Dr. Strangelove. In 1968, Ferro also designed the title sequence for The Thomas Crown Affair, as well as reduced a key sequence in the film (from six minutes to around forty seconds) in order to speed up the narrative. He later acted as supervising editor for Michael Jackson’s 1983 music video "Beat it." Ferro has experimented and developed various techniques that are still being used to this day. He began shooting Me, Myself & I in October of 1991 and completed the film in December of that same year.

screen captures from the film feature

Me, Myself & I, 1992

The movie is quite a fun ride. JoBeth Williams' Diane is a kooky character prone to paranoid outbursts and hilarious guttural sounds that she can't seem to control. George Segal is amusing as Buddy, an everyman who finds himself in love with a woman with multiple personalities and is trying to make sense of what he has gotten himself into... aside from trying to get over his marriage to a wife who clearly prefers the same sex. Shelley Hack is funny as the narcissistic Hollywood star Jennifer, who will do anything to get what she wants (her reactions to Diane's growls are hilarious). The chemistry between the three main characters is terrific. The scene where the two women finally meet and all three main characters come together is hysterical. There is a comfortable rapport between JoBeth and George; and a comfortable rapport between Shelley and George as well (They were co-stars in the TV movie Trackdown: Finding the Goodbar Killer in 1983). Me, Myself & I was released in the United States in May of 1992; and it was screened at the Cannes Film Festival that same year. The movie was released in VHS format in 1993.

screen captures from the film feature

Me, Myself & I, 1992

She's Charlie

a closeup of Shelley

from a modeling pic from 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 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.

Shelley in a modeling pic from 1974

In 1976, after a string of other models, Shelley signed a ground-breaking exclusive modeling contract with Revlon. She was hand-picked to represent the Revlon Charlie brand. 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." And Shelley became a sort of poster girl for the modern, gorgeous, sexy, young woman in charge of her own life; and everyone wanted to be a Charlie Girl. Rick recalls, "I can't tell you how many of these ads we shot for Revlon from Central Park to San Francisco and Paris the list grew and grew for years." For almost seven years (1976 to 1982), Shelley was the image model of Revlon Charlie; so much so that Shelley and Revlon Charlie became synonymous.

Hollywood Star in the 1980s

Shelley in a 1980s promo pic

Immediately after leaving Charlie's Angels, Shelley jumped into theater-acting in 1981 via the play Vanities by Jack Heifner. In the following years, she ventured further and did Elizabeth Diggs' Close Ties, and later Born Yesterday. In 1989, she appeared in the John Krizanc play Tamara. She impressed her critics and detractors and received glowing reviews for her stage performances. In 1983, she appeared in the Martin Scorsese film The King of Comedy and held her ground acting-wise opposite acting legend Robert De Niro. Later, she appeared in the 1984 children's fantasy feature Troll with Michael Moriarty (who would later star in Law & Order) and the 1987 cult classic The Stepfather (with Terry O'Quinn and Jill Schoelen) directed by Joseph Ruben. Joseph Ruben was impressed with Shelley's performance in The King of Comedy and had no second thoughts casting her in his film. She would receive great reviews for her acting in Ruben's film. She also played a blind character in the 1989 suspense thriller Blind Fear. On TV, she delivered great work opposite acting veterans George Segal (Trackdown: Finding the Goodbar Killer, 1983), Dick Van Dyke and Sid Ceasar (Found Money, 1983). She worked with Paul Michael Glaser and Tony Danza (Single Bars, Single Women, 1984) with soap superstar Anthony Geary (Kicks, 1985) with Sela Ward and Brooke Adams (Bridesmaids, 1989). She also starred in two of her very own TV series - Cutter to Houston in 1983 with Alec Baldwin, and Jack and Mike from 1986-1987 with Tom Mason. All in all, she racked up a great body of work in the 1980s.

Shelley in a 1980s promo pic

Young Contemporary Fashions '71 A

a closeup of Shelley from a pic

used on the Simplicity Home Catalog

Fall/Winter 1971 catalog

Shelley appeared in a number of spreads for Simplicity Home Catalog Fall/Winter 1971. She appeared in the spread called "Splice-Ups" which featured fashions enhanced with color slicing, using color blocks for different parts of a garment (for more, check out: Splice-Ups). She also appeared in the spread called "Jumpers" which featured jumpers of every kind (for more, check out: Jumpers). And she appeared in the spread that featured Young Contemporary Fashions - outfits that were fun, young and up-to-date for the modern miss.

Shelley in a spread

for the Simplicity Home Catalog

Fall/Winter 1971 catalog

In the spread, Shelley modeled pattern 9580. Simplicity Pattern 9580 was a pattern for creating a blouse and pants (as well as skirt) ensemble. The blouse had a front neckline zipper, stand-up collar, set-in sleeves and an optional purchased belt. The pants were hip-hugger bell-bottoms with a front zipper and a waistband below the normal waistline. Contrasting patch pockets, band and suspenders fastened with hook-up closures were suggested. Matching footwear completed her look. And Shelley looked young, contemporary, fun, and definitely up-to-date.

a closeup of Shelley from a pic

used on the Simplicity Home Catalog

Fall/Winter 1971 catalog

Great Value Knits

a closeup of Shelley

from a spread on the Montgomery Ward

Spring and Summer 1971 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 many spreads throughout the Montgomery Ward Spring and Summer 1971 catalog.

Shelley in a spread for the Montgomery Ward

Spring and Summer 1971 catalog

In the spread called "These Dacron Polyester Knits Are Great Values at $10," she wore a dress that was just right for the women of the new decade, the 1970s... stylish, up-to-date and could go from day to evening. She wore the Step Into A Shirtwaist dress that was fashionably light textured and easy to care for. It was a dress that closed to just below the waist with pearl-like button. It had stitching detail on the collar and tab front opening. It had long sleeves that ended in 2-button cuffs and had came with a slim self-tie sash. Medium-heeled square-toed pumps with buckle detail finished her look. With her hair hair partially tied back, Shelley looked fabulous and 1970s chic.

a closeup of Shelley

from a spread on the Montgomery Ward

Spring and Summer 1971 catalog

The Angels Jinx

Shelley in a promo pic from 1980

Charlie's Angels is an unforgettable and groundbreaking TV series and it aired from 1976 to 1981. The premise was simple - three beautiful women working as detectives for a millionaire recluse named Charles Townsend. They got their assignments via speaker phone and weren't allowed any face time with the boss for his protection as well as their own. The series broke new ground because aside from having women as leads (a first for TV), it portrayed women as buddies, helping each other through jams and having each other's backs. It portrayed women as independent, liberated and capable of taking care of themselves without the help of men - which was perfect for the time when women's lib was at its peak. Kate Jackson, Farrah Fawcett (then Majors) and Jaclyn Smith played the first ever team of Angels in season 1 (1976). Cheryl Ladd, Shelley Hack and Tanya Roberts followed suit in seasons 2 (1977), 4 (1979) and 5 (1980) respectively. The series was a phenomenal hit around the world, and all the Angels garnered their own fan following and became superstars in their own right.

a writeup about Charlie's Angels from 1980

a writeup about Charlie's Angels from 1980

In 1980, when Tanya became the newest Angel, some observed that becoming a Charlie's Angel seemed to be a double-edged sword. Yes, instant worldwide fame was guaranteed; but then, along with that, came havoc on the Angels' personal and professional lives. Farrah Fawcett was first to leave the show after season 1 due to the pressure it was putting on her marriage to Lee Majors. Her megastardom put too much strain on their marriage; they were divorced by 1980. By 1980, Farrah also had a hard time finding projects that could propel her career to the next level. After season 3, Kate Jackson was next to go, as she felt really bad for not being given time off her Angels filming sked to film the movie Kramer vs. Kramer with Dustin Hoffman (the part of Joanna Kramer was written for her). Meryl Streep replaced her in the film (and later won an Oscar for the role). The disappointment tainted Kate's enthusiasm for the series; her unhappiness led to problems and to her eventual departure from the show. Like Farrah, by 1980, Kate had a difficult time finding that next career-boosting project. Furthermore, her 2-year marriage to actor Andrew Stevens was beginning to fizzle out; they were divorced in 1981.

a writeup about Charlie's Angels from 1980

a writeup about Charlie's Angels from 1980

Jaclyn Smith's career was going nowhere either. Like Kate, she had to turn down the leading role in the James Bond movie Moonraker as filming it would conflict with her Angels filming sked. And by 1980, her 2-year marriage to actor Dennis Cole was on the rocks; they likewise were divorced in 1981. Cheryl Ladd's career was going nowhere either. Her sexy image may have propelled her to superstardom, but it also made it difficult for her to transition into a serious actress. Her 8-year marriage to David Ladd couldn't survive her stardom either; they were divorced in 1980. By 1980, Shelley Hack was the latest Angel to fly the coup. The Supermodel joined the show a year before and became a Hollywood superstar overnight. But as season 4 progressed, she was consistently given little to say and do. Consequently, viewers lost interest, and the show began to slip in the ratings. When she was finally given "equal status" with the other Angels, it was too late. She left the show in 1980; and her romance with writer/director Nicholas Meyer fizzled out along the way. Tanya Roberts joined the show in 1980, amidst talks about the show being jinxed. But she was determined to break the cycle... as well as keep her 7-year marriage to Barry Roberts (which she ultimately did). For more on what happened to the Angels, check out: An Angels Catch Up 1   An Angels Catch Up 2  An Angels Catch Up 3

a writeup about Charlie's Angels from 1980

Luxurious Apron

a closeup of Shelley from a spread

on Budget Catalog, 1978

Shelley appeared in both the ads and the catalogs of the Budget Uniform Center, a company that specialized in uniforms for professional women, as well as men. The catalog also featured various costumes and themed apparel for both genders. In 1978, Shelley appeared on the pages of Budget Catalog, in the spread called, "Budget's Patchwork Party." It featured wardrobe pieces that were put together in a patchwork-style. Shelley wore the Apron in a luxurious one-piece country patchwork print. It was trimmed with ruffles around the skirt and had ruffles as perky shoulder epaulets. Underneath it, she wore a plain white short-sleeved mini-dress with collar. And Shelley looked fun and luxurious at the same time.

Shelley in a spread for Budget Catalog, 1978

Me, Myself & I Movie A

screen captures from the film feature

Me, Myself and I, 1992

Shelley starred alongside JoBeth Williams and George Segal in the 1992 comedy Me, Myself & I. JoBeth Williams played Diane, a woman living in a New York apartment building suffering from paranoia and nymphomania. She has two personalities the growling, howling "Crazy Diane" and the normal, level-headed "Sane Diane" - and they're constantly arguing and bickering. Her next-door neighbor, Hollywood TV-writer Buddy Arnett (George Segal) is "Crazy Diane's" peeve; he's constantly the subject of her commentaries on sex, violence and invisible persecutors. But when "Crazy Diane" manages to seduce Buddy, "Sane Diane" takes over and the two fall in love. But Buddy's estranged lesbian wife, Hollywood superstar Jennifer (Shelley Hack), reappears in Buddy's life and comes over from California, which rattles "Sane Diane" and so "Crazy Diane" makes a comeback. Don Calfa, Betsy Lynn George, Bill Macy and Sharon McNight round out the rest of the cast. The movie was the directorial debut of Cuban-American visual designer Pablo Ferro. 

screen captures from the film feature

Me, Myself & I, 1992

The movie is quite a fun ride. JoBeth Williams' Diane is a kooky character prone to paranoid outbursts and hilarious guttural sounds that she can't seem to control. George Segal is amusing as Buddy, an everyman who finds himself in love with a woman with multiple personalities and is trying to make sense of what he has gotten himself into... aside from trying to get over his marriage to a wife who clearly prefers the same sex. Shelley Hack is funny as the narcissistic Hollywood star Jennifer, who will do anything to get what she wants (her reactions to Diane's growls are hilarious). The chemistry between the three main characters is terrific. The scene where the two women finally meet and all three main characters come together is hysterical. There is a comfortable rapport between JoBeth and George; and a comfortable rapport between Shelley and George as well (They were co-stars in the TV movie Trackdown: Finding the Goodbar Killer in 1983). Me, Myself & I was released in the United States in May of 1992; and it was screened at the Cannes Film Festival that same year. The movie was released in VHS format in 1993.

screen captures from the film feature

Me, Myself & I, 1992

Looking and Feeling Charlie

Shelley in a promo pics

for Charlie perfume and cosmetics, 1979

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. And Shelley THE Charlie Girl catapulted to icon. 

In 1979, Shelley appeared in an ad for Charlie's latest promo in Australia called "Looking Good, Feeling Great." It was open to all the fun, free, independent and individual Charlie Girls down under. It had $1000 worth of fabulous prizes, along with three grand prizes. And Shelley was gorgeous in the promo ad, as always. For more, check out: Looking Good, Feeling Great

Looking Good... Feeling Great Shelley

in a 1979 Charlie perfume ad

Rare 2009 Appearance

Shelley with ultimate Angel-ologist Mike Pingel in 2009

Thank you so much to Mike Pingel for posting the pic

Shelley made a very rare appearance at the Hollywood Collector’s Show in 2009. The two-day event (July 18 and 19) was held in Burbank, California at the Burbank Airport Marriott Hotel & Convention Center. Shelley who had been previously very busy with SHMC (Shelley Hack Media Consultancy) was now back in the United States and ready to take on a new career (she and her husband Harry Winer eventually established SMASH MEDIA Inc. where they are currently co-presidents). Many fans were excited because it was the first time in many years that Shelley had gone out to meet, chat, and take pictures with them.  Also at the event was her fellow Charlie's Angel Tanya Roberts whom Shelley got to meet for the very first time. It was a historic event in Charlie's Angels history and many fans were thrilled to meet and be with both Angels.

Shelley with ultimate Angel-ologist Mike Pingel in 2009

Thank you so much to Mike Pingel for posting the pic

Also in the event was ultimate Angel-ologist Mike Pingel. Mike is an author, actor, photographer, reporter, host and one of the biggest collectors of Charlie's Angels memorabilia in the world. He has written books on Charlie's Angels such as Angelic Heaven - A Fans Guide to Charlie's Angels, The Q Guide to Charlie's Angels, Channel Surfing: Charlie's Angels, Angelic Heaven: 25 years of Charlie's Angels News, and he had written the introduction to The Original Charlie's Angels Scrapbook. He has met all the Angels and had worked as Farrah Fawcett's assistant and Tanya Roberts' publicist. Check out his Charlie's Angels FB page called CharliesAngels.com for the latest news on all the Angels including Shelley, of course. Thank you so much, Mike. We LOVE these pics.

Create Your Own Playthings 3

a closeup of Shelley from a pic

on the Simplicity Young Ideas Catalog, 1972

Shelley appeared in the Simplicity Young Ideas Catalog in 1972. The catalog featured fashions readers could make themselves - young and up-to-date fashions. She appeared in many spreads throughout the catalog and one of them was called "Create Your Own Playthings... For Fun And Sun", which featured tops, shorts, pants, and dresses for young misses to play around in for that summer.

Shelley in a spread

for the Simplicity Young Ideas Catalog, 1972

Shelley modeled pattern 9880. Simplicity Pattern 9880 was a short jumpsuit and mini wrap-skirt combo. The sleeveless short jumpsuit had a front zipper, a high round neckline, contrasting collar and an optional belt. The mini wrap-skirt had a drawstring cord at the waistline that could be tied into a bow on the side. Shelley wore a casual hairstyle and went barefoot. Shelley looked fresh and ready to play those fun summer games.

a closeup of Shelley from a pic

on the Simplicity Young Ideas Catalog, 1972

Up-To-Date Knits

a closeup of Shelley

from a spread on the Montgomery Ward

Spring and Summer 1971 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 many spreads throughout the Montgomery Ward Spring and Summer 1971 catalog.

Shelley with Cybill Shepherd (on the left)

in a spread for the Montgomery Ward

Spring and Summer 1971 catalog

In the spread called "Some Great Ways With Up-To-Date Knits," she wore an outfit that was just right for the women of the new decade, the 1970s... stylish, up-to-date and could go from day to evening. She wore the Double Knit Polyester Print dress. It was a day dress that could be worn well into the night. It came in a print that was a vivacious mix of red, white, and navy with touches of yellow. It had a high round neck, long sleeves, and a graceful knee-length skirt that had an inverted front pleat. It zipped at the back and came with a self-tie belt. Medium-heeled T-strap Mary Janes finished her look. Matching earrings and bracelet, and a fold-over envelope-style bag (that could be worn as a shoulder bag or as a clutch) accessorized her look. With her hair hair partially tied back, Shelley looked fabulous and 1970s chic.

closeups of Shelley

from a spread on the Montgomery Ward

Spring and Summer 1971 catalog

More True Stories Collections

Shelley (and William Devane) in promo pics

for Freefall: Flight 174, 1995

Shelley starred in the TV movie Freefall: Flight 174 in 1995. Originally titled Falling from the Sky: Flight 174, it was based on a true story. The film was a dramatization of Air Canada Flight 143, the Canadian domestic passenger flight between Montreal and Edmonton nicknamed the "Gimli Glider." It was a brand-new Boeing 767 that, in 1983, lost fuel mid-flight and "freefalled" its way to safety. The flight crew was able to successfully glide the plane to an emergency landing at a former Royal Canadian Air Force base in Gimli, Manitoba, which had been converted to a racetrack, Gimli Motorsports Park. There were no serious injuries to passengers or persons on the ground, and only minor damage to the aircraft. The film is gripping and keeps you on your seat.

Freefall: Flight 174 was included

in the 10 Extraordinary True Stories

DVD set, 2014

In the film, Shelley starred as as Flight Attendant Lynn Brown. William Devane played Captain Robert Pearson, a former glider pilot who has performed many deadstick landings. Mariette Hartley played Beth Pearson, Robert's wife. Nicholas Turturro played Air traffic controller Al Williams. Scott Hylands played First Officer Maurice Quintal. In 2014, Freefall: Flight 174 was included in a 10 True Stories Collection DVD set. It was included in the 10 Extraordinary True Stories DVD set along with First Do No Harm (Meryl Streep), Sharing the Secret (Mare Winningham), The Other Woman (Jill Eikenberry, Lloyd Bridges), Behind The Mask (Donald Sutherland, Matthew Fox), Trial by Fire (Keith Carradine), Deadly Whispers (Tony Danza), To Live For a.k.a. My Last Love (Nancy Travis), Death In The Shadows (Peter Strauss), and Gone In The Night (Shannen Doherty).

Meeting Mrs. Ford

Shelley modeling in the mid-1970s

Shelley began modeling in late 1964. Shelley was discovered by A&P supermarket heir and publisher Huntington Hartford at a debutante ball when she was just 14 years old. It was her first time to be invited to one and her mother instructed Shelley, "If  any older men bother you, go powder your nose." And she kept powdering her nose all night because "A guy kept bothering me," Shelley said, "He kept coming up to ask, 'Have you ever thought of being a model?'" After careful consideration, and with the help of her mother, a former Conover model, she finally decided it was a better summer job than waitressing. They went to went to New York to meet with Eileen Ford (a friend of her mother's) for representation. At the end of the meeting, Mrs. Ford turned to Shelley and said, "We'll be expecting you at 9 o’clock tomorrow." And the rest is modeling history. (For more, check out: Best-Built Fords)

Shelley modeling in the mid-1970s

Superstar Angel

Shelley with Jaclyn Smith and Cheryl Ladd

on the cover of TV Times, 1979

Shelley became Angel no. 5 in 1979 when she joined the cast of Charlie's Angels. Her character was Tiffany Welles, a classy Boston-bred policewoman who was the daughter of one of Charlie's oldest friends. She was chosen from among a bevy of beautiful actresses which included Priscilla Presley, Kim Basinger, Michelle Pfeiffer, Connie Sellecca and Shari Belafonte. In May of 1979, Bond Girl Barbara Bach was announced as the newest Angel. But it was quickly retracted and, by late-May of that year, Shelley was announced as Charlie's newest Angel. The newest 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.

a writeup about Charlie's Angels, 1979

The news of Shelley's casting quickly spread around the world and writeups about her were translated in many languages. She became Hollywood's newest Superstar even before she filmed one frame for the hit TV series; and she was written about in Latin America, Europe, Asia and all over. Images of her appeared everywhere and everyone was excited to see THE Charlie Girl as Charlie's newest Angel. And the paparazzi relentlessly pursued her after the announcement of her Angel-dom. "I was totally unprepared for the press 'bonanza' which followed," she said on Jane Pauley's show Time and Again in 2000. "I was surprised by the amount of attention," she said. "I had press people crawling in my window," she told E! in 2002.

Shelley with Jaclyn Smith and Cheryl Ladd

in a promo pic for Charlie's Angels, 1979