No Longer Beautiful And Silent

a pic of Shelley from 1979

Shelley became Charlie's Angel no.5 in 1979. She was already a Supermodel when she joined the cast, one of the highest paid models in the entire world. She was known as THE Charlie Girl and was the image model and spokesperson for the no. 1 Revlon brand. It was Shelley's first time to be cast as a regular in a TV series; and she knew that when she joined Angels she would be doing a lot of press and promotional stuff for the series; and she felt she was ready for it (She had done a lot press as THE Charlie Girl). But what what happened was beyond her expectation. Upon the announcement of her casting, she was hounded by the press. "I was totally unprepared for the press 'bonanza' that followed," she said on Jane Pauley's show Time and Again in 2000. "I had press people crawling in my windows," she told E! in 2002.

a writeup about Shelley

from the French-language mag Cine Revue,

August, 1979

Shelley's Angels casting made news all over the world; and everybody wanted to know more about Charlie's newest cherub. By that time she was already a Supermodel; and she felt she was ready to face the spotlight of Hollywood superstardom. Writeups about her casting appeared in many magazines around the world (It was even mentioned in the evening news. "I couldn't believe it. What was I doing in the evening news," Shelley exclaimed at the time.) In August of 1979, a short writeup about her appeared oon the pages of the French mag Cine Revue (Cinema Review). It translates as follows:

The New "Charlie's Angel"!

Here's a new "Charlie's Angel"! After Cheryl Ladd, who replaced Farrah Fawcett-Majors, Shelley Hack makes her entrance into the famous trio of skirt-wearing detectives who, from now on, like the three in The Musketeers... will be four! Indeed, Shelley isn't replacing anyone: she'll be a new character, that of the daughter of a police chief, a friend of the famous boss Charlie. Shelley Hack is making her debut in front of the cameras because, until now, she's only been a model and cover girl. She's shot a few TV commercials for perfumes but had no lines to say.

the pic caption translates as follows:

From now on, Shelley will no longer be just beautiful and silent...

a pic of Shelley from 1979

Make A Fashion Smash

a closeup of Shelley

from a leaflet for Malina yarns, 1972

In the 1970s, after finishing her schooling, Shelley signed on full-time at her modeling agency, Ford Models Inc. She eventually became one of the highest-paid Supermodels of the era. She modeled clothes, cosmetics, bath products, furs – almost everything. She reached the very top of her profession. When asked how she did it, Shelley deduced, "I was a success because I was hard-working, professional, bright. I looked at the business and identified the markets. I knew the key was that they always wanted someone new. I decided to hit one market one year, then cut my hair and hit another. Then let it grow and hit television. I thought it through. The game plan can apply to any business, but especially to one where you're the product. You just have to become objective about yourself."

Shelley appeared on a leaflet

for Malina yarns, 1972

In 1972, Shelley appeared on a leaflet for Malina yarns. Malina Company Inc. was a company that produced quality yarn for knitting. Aside from the yarn, Malina came up with leaflets that showcased what could be created with their product. In 1972, Shelley appeared on the cover of Malina leaflet 300 which stated, "MAKE A FASHION SMASH ... with new designs created exclusively in a new Malina blend of polyester and acrylic hand knitting yarn." On the cover, she wore the "3-piece fashion wow" - made up of a "skort" (a skirt and shorts combo) and a scarf - over dark-colored body stockings. And as always, Shelley looked Supermodel fabulous. (For more, check out: Knit Your Own)

pics of Shelley

wearing the "skort" and scarf combo

made with Malina yarns, 1972

Please Stream Cutter to Houston

a closeup of Shelley from a promo pic

for Cutter to Houston, 1983

Shelley's second foray into series TV was Cutter to Houston. It was a short-lived TV series that began airing in the fall of 1983. It starred Shelley Hack, Jim Metzler, and Alec Baldwin as young doctors recruited to run a small hospital in the fictional rural town of Cutter, Texas. Although it received mixed reviews, it had great promise; plus, the cast had an easy rapport and had enough talent to carry an hour-long drama. Prior to the series, former Charlie's Angel Shelley Hack had already proven that she had acting chops, having received great reviews for her work on stage as well as on the big and small screens. Jim Metzler had a Golden Globe Award nomination under his belt for his supporting role in the 1982 feature film Tex. Alec Baldwin had come from his 1980-1982 stint in the NBC daytime soap opera The Doctors.

a writeup mentioning

Cutter to Houston, 1983

Cutter to Houston, which was aired Saturday nights, had a difficult time finding an audience. Aside from a bad time slot, it seemed to have lost network confidence early on... "sleeper hits" were still unheard of at the time. It was first aired on October 1, 1983; and after 4 original episodes, it was announced cancelled by October 29, 1983. Replays and three more original episodes were aired until December 31, 1983. There were two more completed episodes; but they weren't aired during the show's initial 1983 run. Its sudden cancelation was a disappointment to many fans. Let's hope the entire series is finally streamed somewhere.

Jim Metzler, Shelley Hack and Alec Baldwin

in a promo pic for Cutter to Houston, 1983

Gorgeous in Nightwear

a closeup of Shelley

from a spread on the JCPenney

Spring and Summer 1976 catalog

Shelley appeared in many catalogs throughout her modeling career. One of them was JCPenney. She appeared in a spread on the JCPenney Spring and Summer 1976 catalog. In the spread called "Formfit Rogers: Nightwear Blossoms in Lilac and Buttercup," she wore a nightgown in a soft nylon tricot and with nylon lace trim. She wore the Long Gown, a nightgown with short and elasticized puffed sleeves, a high waist, button and bow trim, and a ruffled hem. It was good for traveling as it packed easily. It came in two colors... buttercup and lilac (Shelley wore the buttercup version). And Shelley was absolutely gorgeous n the spread.

Shelley was featured

in a spread on the JCPenney

Spring and Summer 1976 catalog

Please Stream Jack and Mike

Shelley with Tom Mason in a promo pic

for their TV series Jack and Mike, 1986

Shelley's third foray into series TV was Jack and Mike in 1986. Executive producer David Gerber believed so much in Shelley that he wanted to give her her own TV series. It was initially called Jackie O'Shea, with Shelley in the title role; and Tom Mason was offered the role of Jackie's husband. After lots of talks with Gerber, Mason finally accepted; and it was retitled Our Kind of Town. When it aired, it was again retitled Jack and Mike... alluding to the names of the main characters Jackie Shea and her husband Mike Brennan. The pilot episode was originally aired in September 16, 1986 right after the hit TV series Moonlighting; and debuted to decent ratings. It also received decent reviews, with a few scathing writeups here and there. The series looked like it was in for a long run when it was suddenly canceled to the disappointment of fans. Let's hope the entire series is finally streamed somewhere.

Shelley with Tom Mason in a promo pic

for their TV series Jack and Mike, 1986

The New Denim Look 4

a closeup of Shelley from a pic featured

on the cover of Malina's New Denim Look

Instruction Leaflet no. 111, 1972

Shelley appeared on many leaflets, booklets and brochures for various fashion companies during her tenure as Supermodel in the 1970s. One of them was for the Malina's New Denim Look leaflets. The leaflets promoted the Malina Denim Look yarn line (which was an acrylic and polyester blend) in dark, worn and faded blends to go with denim... by recommending 5 coordinates to crochet (instruction leaflet no. 111) and 5 accessories to crochet (instruction leaflet no. 112). Shelley appeared on the cover of both leaflets. On instruction leaflet no. 111, she wore the tie-dyed poncho and hat coordinating set. It was a denim-colored knitted poncho with fringed edges and a string-gathered neckline (that had knitted pompom balls at the ends of the sting). She wore it over a red turtleneck top and light-wash denim jeans outfit. The hat (a skull cap) was likewise denim-colored and knitted. And Shelley looked ruggedly chic and stylish. (For more, check out: Another Denim Look)

a pic of Shelley featured

on the cover of Malina's New Denim Look

Instruction Leaflet no. 111, 1972

Stunning And Beautiful

closeups of Shelley

from a couple of print ads

for Tel-A-Bride, 1973

Shelley appeared in many ads during her modeling days. One of them was for Tel-A-Bride, LTD. Tel-A-Bride was bridal salon chain that catered to the needs of every bride... from gowns to accessories to thoughtful and kind advice. Their shops were located in various parts of the US. Their advertisements as well as brochure-type advertisements appeared in many of the most popular bridal magazines like Modern Bride. In the 1973 February/March issue of Modern Bride, Shelley was featured in a brochure-type ad for Tel-A-Bride. She modeled two looks. One of which was a wedding gown, headpiece and veil by George Maurer for Maurer Originals. George Maurer was a wedding dress designer known for creating beautiful, well-fitted, and layered gowns that, at the same time, were practical and comfortable. Maurer Originals was a bridal wear company well known for their Chantilly lace, satin and net  gowns of this style. Another was a wedding gown by Fink Original. Fink Original was a bridal line that included gowns and wedding accessories. It was a line that specialized in  intricate details, luxurious fabrics, and timeless designs... combining classic elegance with modern aesthetics. In both looks, Shelley was stunning and beautiful.

Shelley in an ad for Tel-A-Bride, 1973

Shelley in an ad for Tel-A-Bride, 1973