Have you ever found yourself wondering what the tiny pocket-within-a-pocket is for on your jeans? You know the one I’m talking about; that small, seemingly useless space that doesn’t appear large enough to hold anything.
If you’ve ever tried to see what fits in there, you’ll know it’s far too small for a cellphone, while it’s awkward to jam cash – be it coins or notes – in there. The same goes for a ring of keys; there just isn’t room.
So what are those little pockets for? Well, fortunately for our curious readers, we have something of an answer… and it might not be at all what you were expecting.
Be they male or female models, chances are if you look at a pair of jeans, you’ll find two pockets on the front and two pockets on the back. What you might also find, however, is a strange little pocket inside one of the front pockets.
Go ahead and have a look. Almost all jeans have them, though their presence is enough to leave most of us scratching our heads.
As mentioned above, these pockets are far too small to hold anything of real significance (even getting two fingers into them is a challenge). So what purpose do they actually serve?
Interestingly, to find the origin we have to go back almost two hundred years. That little thumbnail-sized pocket isn’t a modern addition to jeans; instead, it was a practical solution for something that’s no longer a real problem today.
Behind the invention is none other than legendary jean manufacturer Levi’s.
According to UK newspaper The Independent, the first ‘extra’ pocket came into use in the 1800s. The reason? To assist the most common wearers of jeans at that point in time… cowboys.
Cowboys usually carried their pocket watches on chains or inside their waistcoats, but both of these methods put the watch at great risk of being broken during their owner’s day-to-day duties.
In order to combat this, Levi’s introduced a small pocket designed to carry a watch safely. By keeping their watches in these tiny pockets, cowboys could ride without fear of them being smashed on a ride.
How’s that for innovation?
If I’m honest, I had no idea. If you ask me, it’s incredible that the design has stuck with jeans all the way through to modern day. Cowboys might no longer be around, but their watch pockets certainly are!
Child star Mara Wilson, 37, left Hollywood after ‘Matilda’ as she was ‘not cute anymore’
The world first fell in love with the endearing Mara Wilson in the early 1990s. She was a child actor best remembered for her roles as the bright young girl in beloved family films like Miracle on 34th Street and Mrs. Doubtfire.
The rising actress, who turned 37 on July 24, looked like she was ready for big things, but as she got older, she lost her “cute” factor and vanished from the big screen.
She continues, “If you’re not cute anymore, if you’re not beautiful, then you are worthless. Hollywood was burned out on me.”
To find out what happened to Wilson, continue reading!
When five-year-old Mara Wilson played Robin Williams’ youngest kid in Mrs. Doubtfire in 1993, she won over millions of fans’ hearts.
When the California native was invited to feature in one of the highest-grossing comedies in Hollywood history, she had already made appearances in advertisements.
“My parents grounded me even though they were proud of me.” My mother would always tell me that I’m just an actor if I ever stated something like, “I’m the greatest!” Wilson, who is now 37, remarked, “You’re just a kid.”
Following her big screen premiere, she was cast in 1994’s Miracle on 34th Street as Susan Walker, the same character Natalie Wood had performed in 1947.
Wilson describes her audition as follows: “I read my lines for the production team and told them I didn’t believe in Santa Claus” in an essay for the Guardian. “But I did believe in the tooth fairy and had named mine after Sally Field,” she writes, referring to the Oscar-winning performer who portrayed her mother in Mrs. Doubtfire.
“Very unhappy”
Next, Wilson starred with Danny DeVito and his real-life wife Rhea Perlman in the 1996 film Matilda as the magical girl.
Additionally, Suzie, her mother, lost her fight against breast cancer in that same year.
“I wasn’t really sure of my identity.I was two different people before and after that. Regarding her profound grief following her mother’s passing, Wilson explains, “She was like this omnipresent thing in my life.””I found it kind of overwhelming,” she continues. I mostly just wanted to be a typical child, especially in the wake of my mother’s passing.
The young girl claims that she was “the most unhappy” and that she was fatigued when she became “very famous.”
She reluctantly took on her final significant role in the 2000 fantasy adventure movie Thomas and the Magic Railroad at the age of 11. “The characters had too little age. I reacted viscerally to [the] writing at 11 years old.I thought, ugh. I love it, she says to the Guardian.
“Destroyed”
Her decision to leave Hollywood wasn’t the only one, though.
Wilson was going through puberty and growing out of the “cute” position as a young teenager, so the roles weren’t coming in for him.
“Just another weird, nerdy, loud girl with bad hair and teeth, whose bra strap was always showing,” was how she was described.
“When I was thirteen, no one had complimented me on my appearance or called me cute—at least not in a flattering way.”
Wilson had to cope with the demands of celebrity and the difficulties of becoming an adult in the public glare. It had a great influence on her, her shifting image.
“I had this Hollywood notion that you are worthless if you are not attractive or cute anymore. Because I connected that directly to my career’s downfall. Rejection still hurts, even if I was kind of burned out on it and Hollywood was burned out on me.
Mara in the role of author
Wilson wrote her first book, “Where Am I Now?,” before becoming a writer. “Ancidental Fame and True Tales of Childhood,” published in 2016.
The book explores “her journey from accidental fame to relative (but happy) obscurity, covering everything from what she learned about sex on the set of Melrose Place, to discovering in adolescence that she was no longer ‘cute’ enough for Hollywood.”
In addition, she penned the memoir “Good Girls Don’t,” which explores her experiences living up to expectations as a young performer.
In her Guardian column, she states, “Being cute just made me miserable.” It was always my expectation that I would give up acting, not the other way around.
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