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In the '80s, it was soap star Jack Wagner, Scott Baio, Rick Springfield, and Growing Pains actor Kirk Cameron, who was such an ideal of non-threatening sexuality that he became a cover fixture. If a star did consent to an interview, their conversation would likely be parsed over several months to make it last.
Negativity was a killer. When Karate Kid star Ralph Macchio got married in , editors told fans he "needs your support," rather than, say, trying to take down the woman who dared to take Macchio off the market. When a celebrity made a less-than-flattering impression—like the time the year-old Rich told his publicist to "shut up" during one Super Teen sit-down—it was never disclosed.
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When John Schneider walked off the set of The Dukes of Hazzard over a pay dispute, fans wrote in to express their disappointment. Financial strikes broke the fantasy, and Schneider-related pin-up sales slumped.
The adulation could be mortifying for actors trying to take their careers seriously, particularly when they were surrounded by the kind of Trapper Keeper collage and single-syllable vernacular favored by the publications. Pictures were "pix," facts were "fax. He never joined the ranks of Cameron and the rest. At its peak in the s, Tiger Beat and its sister publications reached roughly 2 million readers a month.
Others got by on as little as , paid copies sold. The internet and social media excised the middleman, allowing stars to control their exposure and deliver calculated glimpses into their lives without Teen Beat interfering. Many enduring titles folded. The tens of thousands of magazines once revered like pop culture gospel are now relegated to recycling bins, basements, or eBay, with one cover or interview largely indistinguishable from another.
All readers wanted was some gossip, some advice, and to find out whether or not Corey Haim liked pepperoni on his pizza. The legacy of NBC's Friends isn't one of ratings records or piles of awards—it's about the way the show managed to impact popular culture by showing life at its most mundane. This is a series that turned sipping coffee into an art form, still prompts philosophical debates over the morality of being "on a break," and made it impossible not to shout pivot!
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It may have been a bit too Hollywood-looking for a twenty-something working for tips, but it fit in the world of Friends , where spacious Manhattan apartments could easily be afforded by waitresses and struggling actors. Some women would come in with their copy of TV Guide in hand for reference; others would record an episode of the show and play it at the salon to ensure accuracy. For these stylists, a good hair day for Rachel on a Thursday night meant big business over the weekend. Pressley was giving around four "Rachels" per week to women ages 13 to 30, and she was touching up even more than that.
Another hairdresser estimated that, during that time, 40 percent of her business from female clients came from the "Rachel. That was a warning Aniston knew all too well. In recent years, she has expressed her frustration at not being able to do the style on her own; to get it just right, she needed McMillan on hand to go through painstaking styling before shoots.
Though Aniston had grown to loathe the look, it was soon the s' go-to style for other stars like Meg Ryan and Tyra Banks and later adopted by actresses and musicians like Kelly Clarkson and Jessica Alba. It was so full and poofy that it looked like a mushroom. The once-iconic look was officially ditched, the last remnants of which were washed away in a flowing sea of ever-growing locks doused in blonde, pin-straight highlights.
And in a lot of ways, the haircut's success mimicked the show's: it spawned plenty of imitators, but no one could outdo the original. This scene and others like it played out hundreds of times in television commercials throughout the late s and early s. Variations date as far back as the s, and some commercials—like Chevrolet's now-infamous spot that depicted amazed onlookers marveling at the car company's numerous J. Power and Associates Awards—still air with regularity. Instead of using actors, the spots purport to highlight the reaction of genuine consumers to products, often with the use of hidden cameras positioned outside the unsuspecting customers' field of vision.
Despite skepticism, the people in these ads are often members of the general public offering their unrehearsed response to beverages, laundry detergents, and automobiles. This approach was refined by Bob Schwartz, a former director of the prank series Candid Camera. In , Schwartz formed Eyeview Films and worked with ad agencies to capture spontaneous reactions to products. An early spot for the floor cleaner Spic and Span was a hit, and other companies and agencies followed the template.
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For a spot, Schwartz set up his crew in a supermarket and invited customers to try Oven Fry, a new frozen chicken product from General Mills. Before filming spots like the Folgers tasting, a team of market research employees typically recruited people by inviting them to take part in polls on the street.