Casuals Get Together

a closeup of Shelley

from a spread on the JCPenney

Spring and Summer 1974 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 JCPenney Spring and Summer 1974 catalog.

Shelley in a spread for the JCPenney

Spring and Summer 1974 catalog

In the spread called "Casuals Get Together," Shelley wore an array of carefree, tailored skirts and tops that were paired up for a casual spring-fresh look. She wore the Geometric Print Shirt (which had short sleeves, front-button styling, and a pointed collar) over the Summer Skirt With The Cool, Crisp Look Of Linen (which was a welt-seamed A-line skirt with waistband styling, front tab-and-button trim, and a back zipper closure). Matching medium-heeled two-toned footwear and a simple clip on her hair finished her look. She also wore the Bright Knit Top (a short-sleeved slipover-style top with a rib-knit body as well as contrasting collar and cuffs) over another Summer Skirt With The Cool, Crisp Look Of Linen (this time, an A-line skirt with an inverted front pleat, a waistband with belt loops, a vinyl buckled belt, and a side zipper closure). Another simple clip on her hair finished her look. And Shelley looked summer casual and very well put together.

pics of Shelley

from a spread on the JCPenney

Spring and Summer 1974 catalog

Capt. Marilyn Stark

Shelley with Don Franklin (behind)

in a promo pic for the pilot episode

of SeaQuest DSV

Shelley appeared in the pilot episode of the Steven Spielberg produced TV series SeaQuest DSV in 1993. In the episode "To Be or Not to Be", she played Captain Marilyn Stark - the original and trigger-happy captain of SeaQuest Deep Submergence Vehicle (DSV) who was relieved of duty by her first officer Commander Jonathan Ford (played by Don Franklin) for disobeying orders. Nathan Bridger (played by Roy Scheider), the designer of SeaQuest, was then recruited to replace Stark; but during his first voyage aboard the vessel, Stark embarked on a revenge mission to destroy vessel.

screen captures of Shelley

from the SeaQuest DSV pilot episode 

"To Be Or Not To Be," 1993

The series originally aired between 1993 and 1996 and was renamed SeaQuest 2032 in its 3rd season. It originally starred Roy Scheider, teen star Jonathan Brandis and Dynasty alum Stephanie Beacham. Michael Ironside took over from Scheider in season 3. The pilot episode is currently out on DVD - as part of the SeaQuest DSV Season One DVD set, the SeaQuest DSV The Complete Collection DVD set, the SeaQuest DSV The Complete Collection Limited Edition DVD set and SeaQuest DSV The Complete Collection in Blu-Ray, released in 2005, 2013, 2016 and 2019 respectively. Get them all and "see who gets the parade".

Shelley's vital stats appeared

in SeaQuest DSV's pilot episode

"To Be Or Not To Be", 1993

In SeaQuest DSV's pilot episode "To Be Or Not To Be," Shelley's vital statistics were written down on the screen behind Capt. Nathan Bridger (Roy Scheider)  It read as:

STARK, MARILYN

NP34-675537-2

DOB 08-08-71 HARTFORD CT

SEX: FM   HT: 5' 8"   WT: 110

HAIR: BLND   EYES: BLU

RANK: SHIP CAPTAIN 1ST CL

CLEARNC: SEE REPORT

Except for the DOB and place of birth, it seems they got most of it right, her height (5 feet 8 inches), weight (110 pounds), hair (blonde) and eye color (blue). And if anyone noticed, there's a fabulous pic of Shelley up on the screen as well.

The Liberated Line

a closeup of Shelley

from an ad for I.Magnin, 1971

Shelley appeared in many ads during her tenure as Supermodel in the 1970s. In 1971, she appeared on the pages of Vogue, in an ad for I.Magnin, a California-based high fashion and specialty goods luxury department store with branches across the US. In the ad with the tagline "The Liberated Line," she modeled a printed "joy-of-spring" shirtdress by Jean Louis. Jean Louis Berthault was an Academy Award winning French-American costume designer who designed clothes for almost every star in Hollywood including Marlene Dietrich, Joan Crawford, Marilyn Monroe and Vivien Leigh. The Duchess of Windsor also became a famous client of his, as well as First Lady Nancy Reagan. Shelley wore a printed, long-sleeved daydress that closed in front, had a fitted bodice, a full knee-length skirt, a contrasting collar, and cuffs with button details. Square-heeled pumps and a matching wide brimmed hat finished her look. And Shelley definitely was in vogue.

Shelley in an ad for I.Magnin, 1971

Blondes Vs. Brunettes

Shelley with fellow Charlie's Angels

Cheryl Ladd and Farrah Fawcett

on the cover and pages

of Movie Mirror mag, 1980

In the late 1970s and the early 1980s, Hollywood was awash with blonde stars and supermodels. It seemed like the blondes were taking over. Shelley joined the cast of Charlie's Angels in 1979, taking over from brunette Kate Jackson and changing the overall look of the show. Shelley played TV's newest blonde Angel opposite another blonde Angel Cheryl Ladd; and they were occasionally joined by another blonde Angel Farrah Fawcett. But they weren't the only blonde luminaries dominating Hollywood at the time. Singers Dolly Parton, Olivia Newton-John and film star Susan Anton were brightly shining stars as well; and they seemed to be greater in number than their brunette counterparts such as Lynda Carter, Victoria Principal and Pam Dawber. Even the blonde men seemed to outshine their brunette counterparts as John Schneider seemed to outshine brunette Erik Estrada. So were the blondes able to take over? Well, not after the the impact made by those glamorous brunettes, they didn't.

Shelley as well as fellow Charlie's Angels

Cheryl Ladd and Farrah Fawcett

were featured in Movie Mirror mag's

Hollywood Blondes Vs. Brunettes writeup, 1980

Shelley as well as fellow Charlie's Angels

Cheryl Ladd and Farrah Fawcett

were featured in Movie Mirror mag's

Hollywood Blondes Vs. Brunettes writeup, 1980

Shelley as well as fellow Charlie's Angels

Cheryl Ladd and Farrah Fawcett

were featured in Movie Mirror mag's

Hollywood Blondes Vs. Brunettes writeup, 1980

Shelley as well as fellow Charlie's Angels

Cheryl Ladd and Farrah Fawcett

were featured in Movie Mirror mag's

Hollywood Blondes Vs. Brunettes writeup, 1980

Shelley as well as fellow Charlie's Angels

Cheryl Ladd and Farrah Fawcett

were featured in Movie Mirror mag's

Hollywood Blondes Vs. Brunettes writeup, 1980

Mademoiselle's Charlie Summer

Shelley in a sporty promo pic for Charlie perfume

and in a 1978 beauty shot by Patrick Demarchelier

Shelley was THE quintessential Charlie Girl. She was THE Charlie Girl from 1976 to 1982; and she catapulted the brand (as well as herself) to iconic status. Shelley's gorgeous, sexy and young (not to mention confident and independent) image was an inspiration to many women worldwide. She appeared in countless ads and promotional items for the brand. In May of 1979, she appeared in Mademoiselle magazine's folded pullout advertisement for Charlie called "A Charlie Summer." A shot of her taken by Patrick Demarchelier in 1978 was used for the cover of the pullout ad. 

Shelley on the cover of Mademoiselle magazine's

folded pullout ad for Charlie, May 1979

The folded pullout ad featured suggestions for makeup, nails, maintenance and fragrance that women could wear and use for that summer season - for June, July and August of that year. It included beauty looks that could go from AM to PM with just an added touch of the right colors in the latest Charlie shades. June highlighted Charlie's City Lights. July was about Charlie's Firecracker Brights. And August featured Charlie's Bare Minimums. It also had recommendations for garments, fashions, and accessories that were summer-appropriate yet were the freshest and newest styles in the latest and trendiest colors. Readers were guaranteed to look and feel great, just like who else...? Shelley Hack THE Charlie Girl, of course.

Shelley on Mademoiselle magazine's

folded pullout ad for Charlie, May 1979

Monday Woman

Shelley on the cover

of Monday Woman, 1984

Shelley appeared on the cover of the mag Monday Woman in 1984; and inside, there was a writeup about her called "Shelley Hack: Women Today Want Everything." The writeup went though the ups and downs of Shelley's acting career so far. After leaving Charlie's Angels in 1980, she was determined to learn her craft and be good at it. She received praise for her stage efforts in Jack Heifner's Vanities, Elizabeth Diggs's play Close Ties and Garson Kanin's Born Yesterday. She received great reviews for her performance in Martin Scorsese's film The King of Comedy, for her work on the TV movies Trackdown: Finding the Goodbar Killer and Found Money (aka Max and Sam). She starred in her second TV series Cutter to Houston. And in 1984, she was cast as Christine Sullivan on the second season of Night Court. But when the series started shooting, Shelley and producer Reinhold Weege decided she wasn't right for the part; and they mutually and amicably agreed to call the whole thing off. That same year, Shelley starred in the TV movie Single Bars, Single Women.

Shelley in a promo pic

for Night Court season 2, 1984

Dainty Flowers

a closeup of Shelley from the cover

of McCall's Needlework & Crafts, 1975

Shelley appeared on many magazine covers throughout her modeling career. She appeared on the cover (as well as the pages) of McCall's NeedleWork & Crafts spring-summer 1975 issue. On the cover, Shelley wore one of the Great Looks To Button Up - stylish sweaters that were recommended by the mag. She wore the one dubbed Dainty Flowers. It was a knitted sweater with pencil-slim ribbing around the waistline, cuffs and shoulders. It had dainty floral details on selected places - on the inner shoulder edges, down the button front, above the waistline, and above the cuffs. Shelley wore the sweater with a shirt by The Right Time and pants by Time And Place. For the cover, she donned the sweater's matching babushka or headscarf - which had floral details on the headscarf's edges. And Shelley was ever so dainty and stylish.

a pic of Shelley from the cover

of McCall's Needlework & Crafts, 1975

Suiting Made Easy

a closeup of Shelley

from a spread on the JCPenney

Spring and Summer 1974 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 JCPenney Spring and Summer 1974 catalog. 

Shelley in a spread for the JCPenney

Spring and Summer 1974 catalog

In the spread called "Suiting Made Easy," Shelley wore an array of eye-catching separates - like jackets, skirts and pants in crisp twill-weave texturized polyester - that matched or mixed with coordinating solid-colored pieces. She wore a rib-knit turtle-neck top (which was lightweight and sleeveless) over the Woven-Plaid Flare-Leg Pants (which had a waistband style that featured side tabs with button trims). She topped it off with The Contrast Top-Stitched Jacket (which had length-adjusting roll-up cuffs, slightly fitted button-front styling and twin patch pockets with white button trim). She finished her look with a pair of matching open-toed heeled footwear. And Shelley looked stylish, fab and perfectly suited for spring and summer in her outfit.

pics of Shelley

from a spread on the JCPenney

Spring and Summer 1974 catalog

Ford Supermodel

a closeup of Shelley

from a promo pic from 1978

Shelley was one of the most successful models at the Ford Modeling Agency (now known as Ford Models Inc.), one of the leading modeling agencies in the entire world. Her mother, Patricia, was a former model herself; and she brought Shelley to Eileen Ford (an acquaintance of hers) in New York for representation. Shelley recalls, "She [Mrs. Ford] barely looked at me, but at the end of the meeting, she turned and said, 'We'll be expecting you at 9 o’clock tomorrow.'" And Shelley became one of the top Ford Supermodels of all time, one of the first models to sign those lucrative and exclusive modeling contracts models nowadays aspire to get. She ranks among some of the highest-paid, most recognizable Ford Models whose names and faces rocked the world of modeling - such as Dorian Leigh, Carmen Dell'Orefice, Dovima, Suzy Parker, Wilhelmina Cooper, Jean Shrimpton, Twiggy, Lauren Hutton, Karen Graham, Beverly Johnson, Margaux Hemingway, Cheryl Tiegs, Cristina Ferrare, Jerry Hall, Christie Brinkley, Brooke Shields, Shari Belafonte and Kim Alexis - just to name a few. (For more, check out: Best-Built Fords ) Eileen Ford said of Shelley, "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."

Shelley in a promo pic from 1978

Voluminous Cotton Shirt

Shelley in an outtake of the pic

used for a June 1978 spread

on Cosmopolitan magazine

Shelley appeared on many issues Cosmopolitan, one of the best-selling magazines that caters to the female readers, mainly to modern single liberated career women. The magazine has grown throughout the decades and has spawned numerous international editions. In June 1978, Shelley appeared in the magazine's US edition, in the spread called "Turquoise... for Summer Show-offs!" It featured Shelley wearing the latest summer fashions in turquoise blue and shades similar. The pictures were taken by Shelley's former flame, photographer Steen Svensson, at the Southampton Princess Hotel in Bermuda. (For more, check out: Summer Girl 1 Summer Girl 2 Summer Girl 3 Summer Girl 4) An outtake of one of the pics from that set was used in a spread for the May 1980 UK edition of the magazine, in the What's New by Pandora Jeffreys department of the mag. In the pic, Shelley was in a voluminous crispy cotton shirt tunic (that could be worn on its own or over a skirt, leggings or pants) by Porter House. Her belt and accessories were by Greek Island Ltd. And Shelley was, of course, gorgeous as always.

Shelley in a spread for the May 1980 issue

of Cosmopolitan magazine, UK edition

Being An Angel

Shelley with fellow Charlie's Angels

Kate Jackson, Farrah Fawcett, Jaclyn Smith

and Cheryl Ladd on the cover and pages

of Modern Screen mag, 1980

Charlie's Angels was and is one of the most groundbreaking and unforgettable TV series to ever hit the small screen. It was one of the first and most successful TV series that had women as leads and that captured the imagination of the entire world. The premise was simple - three beautiful women working as detectives for a millionaire recluse named Charles Townsend; and they got their assignments via speaker phone. The show 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. Cheryl Ladd (who replaced Farrah) and Shelley Hack (who replaced Kate) joined the series in seasons 2 and 4 respectively. By season 4, it was rumored that Jaclyn Smith, the last of the season 1 Angels, wanted out as well and many speculated on who would take her place if ever that happened. Priscilla Presley was on top of that list and many thought that she would be a great addition to the show. But as things turned out, Jaclyn Smith stayed on and it was Shelley who left. And she was replaced by Tanya Roberts in season 5. The series was a phenomenal hit around the world, and all six Angels garnered their own fan following and became superstars in their own right.

Shelley with fellow Charlie's Angels

Kate Jackson, Farrah Fawcett, Jaclyn Smith

and Cheryl Ladd in a writeup

for Modern Screen mag, 1980

Shelley with fellow Charlie's Angels

Kate Jackson, Farrah Fawcett, Jaclyn Smith

and Cheryl Ladd in a writeup

for Modern Screen mag, 1980

Shelley with fellow Charlie's Angels

Kate Jackson, Farrah Fawcett, Jaclyn Smith

and Cheryl Ladd in a writeup

for Modern Screen mag, 1980

Restore Self-Confidence

Shelley in a promo pic for Charlie perfume

and the Charlie Collection, 1977

Shelley was THE quintessential Charlie Girl. She was THE Charlie Girl from 1976 to 1982; and she catapulted the brand (as well as herself) to iconic status. Shelley's gorgeous, sexy and young (not to mention confident and independent) image was an inspiration to many women worldwide. She appeared in countless ads and promotional items for the brand. The popularity of her ads was worldwide and her Charlie perfume ads were translated into different languages. In 1980, she appeared in an Indonesian ad for Charlie's Perfumed Deodorant Sticks and Charlie's Eau De Cologne Tissues - in the ad dubbed "Mengembalikan Rasa Percaya Diri" which translates to "Restore Self-Confidence." And Shelley was and will always be THE ever-so-confident and glamorous Charlie Girl.

Shelley in an Indonesian ad

for Charlie perfumed toiletries, 1980

Star-Studded L.A. Premiere

a pic of Shelley

at the L.A. movie premiere

of Tempest, 1982

In the 1980s, Shelley was often spotted and captured by the paparazzi at events around Hollywood. In August of 1982, she was photographed at Mann's Chinese Theater in Hollywood, California, at the Los Angeles premiere of the movie Tempest starring John Cassavetes, Gena Rowlands, Susan Sarandon, Vittorio Gassman, Raul Julia and Molly Ringwald. She was seen at the event hanging around with Candian producer Pierre David. Aside from the cast, other attendees included Dudley Moore, Kristy McNichol, Erin Gray, Debra Winger, Elliott Gould, Lynn Redgrave, Jon Voight and Shelley's fellow Charlie's Angel Cheryl Ladd. It was a star-studded premiere.

pics of Shelley

at the L.A. movie premiere

of Tempest, 1982

Super Simple Summer 2

a closeup of Shelley

from the package cover

of Simplicity Pattern 9939, 1972

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. In 1972, she appeared on the cover of Simplicity Pattern package 9939. It was for an easy-to-make, super simple top and shorts ensemble. The top was a simple cropped halter top and the shorts were simple short shorts with an elasticized waist. Matching or complementing fabrics could be used and appliques could be added for a personal touch. And Shelley looked summer-ready and ready to play those fun summer games.

Shelley on the package cover

of Simplicity Pattern 9939, 1972

Happy Mother's Day from Charlie

pics of Shelley for Charlie perfume, 1979

To all mothers around the world,

Happy Mother's Day!!!

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 1980, Shelley appeared in a Charlie ad dubbed "To Mother With Love" which promoted Charlie's special gift for Mother's Day. The Charlie En Route cosmetics case was just $8.50 with any $5.00 purchase from the Charlie Collection. The special gift set/cosmetics case contained a Charlie dusting powder and a Charlie perfume spray. And Charlie Girl Shelley appeared in the ad and was Charlie-Girl gorgeous, as always.

Shelley in a Mother's Day ad

for Charlie perfume and cosmetics, 1980

Up-And-Coming Actress 1978

a closeup of Shelley

from a promo pic, 1978

Shelley was one of the hottest new actresses on the scene in 1978. By that time, she was already a highly-paid Supermodel and was recognized by everyone as The Charlie Girl. She was currently transitioning from modeling to acting. The year before, she had done a cameo in the Academy Award winning film Annie Hall where she appeared in a scene with no other than director/star Woody Allen himself (For more, check out: Film Debut 1977).  By then, she was also being considered by long-time James Bond films producer Cubby Broccoli to play Bond girl in the latest Bond installment Moonraker (For more, check out: Shelley Hack - Bond Girl). And she was currently, a first time leading-lady in the film If Ever I See You Again (For more, check out: Handpicked). 

Shelley in a promo pic from 1978

Make A Match

a closeup of Shelley

from a spread on the JCPenney

Spring and Summer 1974 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 JCPenney Spring and Summer 1974 catalog. 

Shelley in a spread for the JCPenney

Spring and Summer 1974 catalog

In the spread called "Make A Match," Shelley wore classic fashion pieces that featured the latest looks in textures and patterns, particularly pin-striped corded partners with a western flair. Shelley wore the Scoop-Neck Sweater Goes Sporty slipover rib-knit top (which had short sleeves) over the Front-Pleated Skirt (which had a button-trimmed waistband, button-and-tab closures, a back zipper and stitched-down pleats). She topped it off with The Classic Blazer (which had wide notched lapels, button-front closure and mock side-slashed pockets). She finished her look with the Bandana-Print Shoes (which had rope-wedge heels, sling-back straps and buckle trims). She accessorized her look with the Bandana-Print bucket hat. And Shelley looked stylish, fab and perfectly matched in her outfit.

closeups of Shelley

from a spread on the JCPenney

Spring and Summer 1974 catalog

The New Kid on the Block

closeups of Shelley Hack and Farrah Fawcett

from the cover of Gossip, June 1980

For more, check out: Angels On One Cover

Supermodel and Charlie Girl Shelley Hack joined the cast of Charlie's Angels in 1979, as Kate Jackson's replacement, during its 4th season; and her casting brought renewed interest in the series. The series had slipped significantly in the Nielsen ratings the year before - from #4 in 1977 to #12 in 1978 (a huge eight-point drop) - and it needed a publicity boost to bring it back into TV's top ten shows. "We're bringing back the glamour," proclaimed executive producer Aaron Spelling of Charlie's latest detective trio. And Shelley's debut episode "Love Boat Angels" topped the Nielsen ratings the week it was aired. When asked whether she liked being a TV star, Shelley said, "Yes. I've got two parking spaces with my name on them. It's wonderful." And Shelley was featured on countless magazines all over the world.

a writeup about Shelley and Farrah

from Gossip magazine, June 1980

But early on (except on the first two episodes of the 4th season) Shelley wasn't given much to say or do. Furthermore, the "solo" episodes of Jaclyn and Cheryl were aired early in the season (Due to the request of the cast for more time off, "solo" episodes, episodes focusing on one Angel, were produced.) Shelley's first "solo" episode, "Angels on Campus," was the 10th original episode of the season and was aired on the 12th week. After all that hype upon the announcement of her Angel-dom, Shelley Hack was sadly reduced to mere decoration early in the season. This prompted the writers to play up Shelley's role, but it was too late (Surprisingly, she did very well in these later episodes; but, unfortunately, many viewers had lost interest in the show). Farrah Fawcett was on the second and final year of her contractual return to the TV series; but her her presence did little to help pull up the ratings as well. The Result: Shelley was let go at the end of the season. "They can say I didn't work out, but it isn't true. What happened was a network war. A business decision was made. Change the time slot or bring in some publicity. How to get publicity? A new Angel hunt. Who is the obvious person to replace? I am — the new kid on the block," Shelley told People magazine in 1980. (FYI: In spite of everything, the 4th season of Charlie's Angels still finished within TV's top 20 shows of 1979.)

a writeup about Shelley and Farrah

from Gossip magazine, June 1980

Poster Print and Linen Weave 2

a closeup of Shelley from a pic

on Family Circle magazine, October 1974

Shelley appeared on many issues of what was known as the Seven Sisters group of magazines. The Seven Sisters magazines were Woman's Day, Redbook, McCall's, Ladies' Home Journal, Good Housekeeping, Family Circle and Better Homes and Gardens. They all catered to married women with children rather than single working women. The magazines featured homemaking and crafts, food and nutrition, health and fitness, beauty and fashion advice and articles. Shelley appeared on the pages of Family Circle magazine's October 1974 issue. She was part of a spread that featured Reversible Skirts that were designed by Gene Morin. She modeled a couple of the now classic skirts that could be worn either side out. She modeled the pumpkin-colored linen weave (on one side) and silk-like poster print (on the other side) version  that was mid-calf in length. It had a little gathering at the waist for a fuller, softer look. The skirt could go from the workplace to a casual evening out. The excess fabric could be made into a reversible scarf and/or even into a matching printed blouse. And Shelley was simply stylish in it. (For more, check out: Poster Print and Linen Weave 1 and Reversible Skirt 2)

a pic of Shelley from a feature

on Family Circle magazine, October 1974