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Table of Contents

Title Page
Introduction

The Betty Page Story
Remembering Betty
Starring Betty Page

The Film Shorts

Betty Page Magazine Appearances
Down Betty Page Memorabilia Lane

Acknowledgments
Copyright Page

Introduction

by Buck Henry

The first time I saw her was during the mid-fifties on a balmy fall afternoon in New York. I was standing outside the 14th Street building on whose side was pointed the giant sign for IRVING KLAW PINUP PHOTOS. A door opened and she came out into the street. Men and women turned to look at the long legs, the white, white skin and the black, black, black hair cut in bangs straight across her forehead. And, of course, the smile. It was the smile that could break your heart.

The oft-told Betty Page story is peculiar—a morality tale with no discernible moral, not much plot, and a leading character who is at best elusive. But that doesn't stop us from trying to glean some insight into her never-flagging popularity or from trying to construct some new theory about why she abandoned us.

The known facts of the story have been reexamined, rehashed, and recycled for three decades, mostly by die-hard fans (such as myself) who used the memory of her or the images of her or the memory of the images of her to fuel our fantasies. The story itself is banal: She came, she failed utterly to achieve her dream, she split.

And yet. And yet: She was known as the Queen of Curves, Miss Pinup of the World, the Queen of Hearts, the Dark Angel, the Queen of Bondage, etc.

An estimated half a million pictures were taken of her by almost every professional and amateur photographer in New York—including the renowned Weegee, who once climbed into a bathtub with her to get a shot, tried to cop a feel, and got smacked.

She left her cheesecake competition in the dust, appearing countless times on the covers and in the pages of every major and minor girlie magazine in the world.

... In 1948 she arrived in New York. She was twenty-five years old. She rented an apartment in a converted brownstone on West 46th Street and worked as a typist for a company on Wall Street. She worked out in a gym every day. She didn't smoke. She didn't drink. She carried a brick in her purse to bash any would-be molester.

She was determined to become an actress. Why not? Anything is possible in New York.

We came to New York by the thousands—starry-eyed kids drunk with ambition and movie-magazine success stories. We carried a suitcase in one hand and a piece of paper with a telephone number—someone's uncle, someone's friend, someone's agent—in the other.

We lived in rent-controlled apartments, waiting for that big break, working in restaurants, driving cabs, moving furniture, hawking Bibles door-to-door, playing chess for money in Washington Square, stealing. We made the rounds, surely the most demeaning, ego-busting, humiliating method of seeking employment ever invented. We lied about our credits, our ages, and our heights. We pretended we could tap-dance, speak with a Russian accent, juggle, fence, ride horses bareback. We sucked up to producers, agents, assistants, secretaries, anyone. We smiled at strangers.

On a summer day in 1952, a photographer saw Betty at Jones Beach, took some pictures of her, suggested she change her hairstyle to the bangs that became her trademark, and introduced her to Irving Klaw, the impresario of mail-order girlie pix.

Within two years Betty Page was a superstar in the strange, hermetic world of girlie pix. The customers of Klaw's Movie Star News and Cartoon and Model Parade demanded more pictures of Betty. The photographers loved her. She would pose all day (at ten dollars an hour), nude or seminude, in dusty studios and dark apartments and outside in lousy weather. She didn't complain. The only problem they had with her was that she had trouble being on time. She was always late; once, it is said, three days late. But they would wait—for that look, for that smile.

The second time I saw Betty was at Jim Atkins', a 24-hour restaurant on Sheridan Square in Greenwich Village. At four in the morning the place would be jammed with the determinable Beat and the desperately hip, crouched on stools at the curving counter, stoking their (usually) marijuana-induced feeding frenzies with jelly doughnuts and double orders of corned-beef hash. Confirmed junkies drank endless cups of coffee into which, for that added lift, they would stir the contents of Benzedrine inhalers.

She came in with some guy whom we all immediately hated, sat down, smiled, and ordered something. Oatmeal, I think. Even the severely stoned sat up straight, stopped giggling, and watched the spoon going in and out of her mouth.

By 1955 Betty was the queen of pinups, the undisputed superstar of bondage pix, the main event in the Battling Babes series. She was the biggest hit on the photography-club circuit, the members of which paid a set fee for an afternoon field trip to some deserted meadow, park, or farm in New Jersey or Connecticut.

Even some publisher named—let's see—Helkner or Hemler, something like that, selected her as his magazine's January 1955 centerfold. It's a picture shot by Bunny Yeager, the great cheesecake-and-glamour photographer. In the photo, Betty, dressed in an abbreviated Santa Claus outfit, is kneeling by a Christmas tree, winking at the camera, and holding ornaments.

An advertisement for a burlesque theater in Jersey City proclaimed that Betty Page would be on the bill for a week, performing a "naughty but nice" bathtub routine. Some friends and I sat through several performances, but she never showed up. Although I was severely disappointed, I could hardly blame her. It was a tacky joint, even by grind-house standards, populated in the front rows mostly by middle-aged men with coats, hats, or newspapers placed strategically on their laps.

In 1957, Betty packed it all in. She went to Florida, modeled for three or four years, and then disappeared. Utterly.

What became of her? Here is a selection of the rumors that I have heard over the years:

After gangsters threatened her life, she had plastic surgery and went to live in Europe.

She entered a convent.

She secretly married a minor film star, or the brother of a minor film star, or a friend of a minor film star's lawyer, and lives with him in Canada.

What happened, of course, is much less colorful. Probably, as most of those who were close to her believe, she went back to Tennessee, got married, had kids, and settled down to a decent stable Baptist life. By now, if she's still alive, she's pushing seventy.

There's a man in California who claims to be her brother. He's not talking. There are others, Bunny Yeager among them, who undoubtedly know where she is, but they are keeping her secret. A tidy sum of money was recently offered to her through intermediaries if she'd surface and tell her story. The response, if indeed it was an authentic one, seemed to have something to do with "the Lord's work."

The Betty Page that we know ceased to exist some time ago. She never got to play those glamorous, exciting parts on stage or in the movies that she dreamed about. But the part she did play, however inadvertently, was unique. That Betty Page will never grow old. She will never be hounded by crazed fans. Paparazzi will not track her down and humiliate her. The tabloids will not draw comparisons between what they say she has become and what we know she is.

One hopes she has cashed in on at least a fraction of the happiness she gave to others. Maybe she has a daughter or, by now, a granddaughter who has black hair and a slightly droopy eye.

The third and last time I saw her was on a camera-club shoot. We all met on a weekend afternoon at an abandoned farm someplace in the New Jersey countryside: Betty, Brandy, one other model, a dozen or so photographers, and I. The guys clicked away for four or five hours as the girls lounged against barn doors and leaned out of windows, hugged trees, draped themselves against boulders, and rolled around in the grass. Mostly, the men followed Betty from place to place, as did I. They asked her to turn this way and that way, bend over a little more, even more, look back, bock here, back here at the camera, at the lens, smile now, big smile, one more time, right at the lens, please...

She smiled for all of them. Even though I didn't have a camera, she smiled one time, I think, at me.

The Betty Page Story

She was the queen of fifties pinups, the princess of whips and chains. She became a living legend, disappeared into seclusion—only to emerge again as a nineties cult goddess and national obsession. She became the Betty Page of our dreams and the Betty Page of our memories.

She was an icon from another nostalgic time ago—a different kind of Marilyn Monroe image—that spawned a cult obsession that would transcend a forty-year generation. Betty Page would belong to the ages. She would belong to our national popular culture. Betty Page would live on forever in our fantasies.

It began on April 22, 1923—pre-Roaring Twenties, Warren Harding's scandal-ridden presidency. Like Davy Crockett, Betty Page was born on a mountaintop in Tennessee—Kingsport, just outside of Nashville. She was the daughter of Roy and Edna Page. Her mother was part Cherokee Indian. Her dad, part boozer and womanizer. When her father died during the deep depression of 1938, Betty and her brother and sister were sent to an orphanage.

A young and voluptuous teen, Betty Page attended Nashville's Hume-Fogg High School where she was active in thespian and debate club extracurriculars. She maintained an A average and generally disdained dating and social pursuits. Upon graduation, her academic achievements earned her a DAR scholarship to Peabody College for Teachers in Nashville. With her eventual B.A. degree and a teaching certificate in hand, Betty taught English at a local high school. But her career as a teacher was short-lived.

She married her high-school sweetheart, Billy Neal, in 1942, just prior to his World War II enlistment in the Navy. Betty soon relocated to San Francisco where her sister lived. But she was restless and ambitious, and her unusually sexual look soon beckoned her to Hollywood, U.S.A.

While her husband was off in the Pacific theater, Betty consumed Hollywood—taking acting classes and singing and dancing lessons. But she was not "discovered" until a man named Art Grayson, chief honcho of a tiny talent agency, took some spec pictures of her and submitted them to the august studios of 20th Century-Fox.

Overleaf: This was the world Betty Page tried to conquer. Pictured is Times Square in 1952, in its post-burlesque and pre-video arcade era. (UPI/Bettman)

Her Fox screen test in 1945 almost paralleled the birth of Marilyn—at the same time, some studio. But her Hollywood debut fizzled from its inception. "Not the look," "Too strong a Southern accent," was the word handed down.

When her husband, Billy, returned from the war in 1946, Betty Page said good-bye to Hollywood and the dream factory and moved back home to Nashville. But the convenient marriage of high school sweethearts soon evaporated. Betty departed to Miami, then to Haiti briefly.

She came to New York City in 1948—as a secretary on Wall Street—but in search of a career as a model and actress. Betty took acting lessons which cost money. To supplement her income she posed as a model. She also appeared in some summer stock theater in New York and Pennsylvania over the next few years, but her distinctive accent and sensuality limited her acting roles.

Circa 1952, as the legendary story goes, Betty Page was discovered—by an amateur photographer named Jerry Tibbs. He found her on the sand at Jones Beach, Long Island, and took some photo shots of her. He also suggested that she comb her black bangs down to just above her eyes.

Tibbs submitted his new-look photos of Betty to Robert Harrison's beauty magazines—Wink, Titter, and Eyeful. The covers of these sizzling magazines always featured a pinup and were filled with scantily clad beauties in burlesque-type poses. Harrison was duly impressed with the new standard of beauty that Betty set with her dark black shoulder-length hair, accompanying bangs, and exotic, voluptuous figure. It was Harrison who then introduced Betty to Irving Klaw, the self-promoting impresario of mail-order girlie pix. It was the early 1950s, a time of Ike and Willie Mays—and Betty Page was about to become a girlie pic superstar of Irving Klaw's famed Movie Star News and Movie Parade. She was about to become the queen of bondage pinups.

Irving and his sister Paula Klaw were one of the first to sell movie star pictures. When their business grew, they realized that there was an overt demand for "naughty" pictures which featured light bondage and sprawling situations, something the Klows could not supply through Hollywood. It was then that they began using local New York models. Irving Klaw had sensationalized the world of girlie pix with sultry sirens in bondage poses—girls fighting with each other, women being tied up or "tortured" with whips and chains, women in peril or in simulated pain. Betty Page soon became his star performer. A photographer's dream, she began to appear in Klaw short films with enticing names like Teaserama and Striporama (which also costarred famed stripper Lili St. Cyr). She had that look, that curvaceous body, and the sensual aura that turned on the stag-party audience and libidos of men and boys. For several years she appeared in over fifty Irving Klaw film shorts. She had captivated mole fantasies everywhere. She was truly the "Queen of Bondage."

In the mid-fifties, Betty ambitiously sought to free herself from her bondage: aura. She took acting lessons from Herbert Berghof, tried to get into The Actors Studio, and regularly auditioned for Broadway and summer-stock roles. She made several appearances on the summer circuit at Long Island playhouses. She also played a small dramatic part on "The U.S. Steel Hour" and was included in a few television variety programs. It was rumored that Howard Hughes solicited Irving Klaw about the availability of Betty Page, but she turned him down.

Senator Estes Kefauver, a Democrat from Tennessee, pictures in one of his infamous coonskin caps. It was Kefauver who destroyed the many photographs and films of Irving and Paula Klaw, the majority of which starred Betty Page.

Although nothing starworthy or memorable materialized in her acting career, Betty found adulation and remuneration from her "camera club" shootings. Professional and amateur photographers would continuously snap her pictures for an hourly fee. During this period of "Betty exploitation," her personal life was remarkably quiet and nondescript, with no particularly known men or lovers as companions. She had fewer female friends.

It was during the summer of 1954 that Betty fortuitously met glamour model and photographer Bunny Yeager during a brief Florida respite. Bunny and Betty were an ideal connection. Bunny was totally oblivious to Betty's "scandalous" stint as the queen of Irving Klaw's gidie caravan. What she perceived was a stunning brunette with a curvy figure and a sensual, sexual face to match. Bunny created lingerie scenes for Betty, as well as outdoor shots in bikinis and swim apparel. A "new look"-Betty emerged from the sessions with Bunny Yeager—some of the most celebrated and much-collected photos of Betty Page ever taken. Bunny created a Betty Page aura of a clean-cut yet very sexual woman that led to Betty's instant success as one of America's top models of the mid-fifties.

The culmination of the Betty-Bunny photographic association led to the ultimate pinup accolade. Bunny's now-celebrated "Santa Claus" photo nude of Betty became the Playboy centerfold for January 1955. Betty Page had graduated from whips and chains and girlie cheesecake magazines to the centerfold of Playboy. She was one of the first playmates chosen by Hugh Hefner and his young publication. Soon she would capture the sexual fantasies of almost every man in America.

And that fleeting moment of instant fame turned out to be the pinnacle of Betty's career. The McCarthy era had begun to purge America. It led to witch-hunting and Congressional committees and a man with a coonskin cap named Senator Estes Kefauver, whose eponymous committee moved into the world of obscenity investigation. They descended upon New York City in 1955 looking for evil purveyors of smut and obscene materials.

They soon found their prototypical culprit. Irving Klaw and his bondage and girlie magazines and catalogs were subpoenaed, investigated, and virtually put out of business. His sister, Paula, tried to move the operation to New Jersey but to no avail. Klaw was subsequently indicted for United States mail fraud and for publishing obscene literature. Thousands of bondage negatives, including many of Betty Page, were destroyed in a shredder. Irving Klaw was a busted, broken man. There was nothing left, and he died just a few years later.

Betty was subpoenaed, and testified before the investigative committee counsel. She pleaded Irving Klaw's innocence, but Senator Kefauver reprimanded her with a lecture about the evils of sin and pornography. There is a (perhaps) apocryphal tale told about an encounter between the colorful senator and the coquettish Betty. When Kefauver asked her opinion of black mesh stockings and lacy lingerie, Betty remarked, "I think they're quite cute."

The Kefauver Committee went home to Washington but, in its wake, left a broken Irving Klaw, a shattered girlie sex industry, and a Betty Page at a career standstill. By 1957 Betty's pinup career was on the wane, and her acting aspirations had never materialized. It was time to leave New York for good, to leave behind a legendary collection of classic bondage and pinup photos and memories.

Betty migrated to Florida once again—first to Fort Lauderdale, then on to Key West where she married a man named Armand. She floated in and out of teaching and secretarial jobs but found no life fulfillment. In 1960, she left her new husband and returned again to Hollywood, California.

Instead of seeking the acting or modeling life, this time she sought religion. She attended Bible classes and was a disciple of the Billy Graham Crusade which took her to Chicago, then bock home to Nashville and then to Miami—where she married and divorced again—this time to a man named Harry Lear. By the late 1970s, Betty was living in a Los Angeles suburb, as reclusive and mysterious as ever.

But the Betty Page cult began to creep into nostalgia and then obsession. The original Irving Klaw bondage flicks were being sold in comic and pop art stores across America. The "collectors" postcards started to appear and proliferate. And then the catalyst arrived in the emergence of Betty Page as a fictionalized love interest in Dave Stevens's popular graphic comic, The Rocketeer.

In 1987-88, Greg Theakston created The Betty Pages—a magazine pastiche of the best and worst of Betty. It was the catalog of Bettymania and Betty collectibles. Betty had become an almost overnight cult icon—with national profiles on Robin Leach's "Lifestyles of the Rich and Famous" and "Entertainment Tonight," and features in Rolling Stone and Playboy magazines.

This ignited a national craze of Betty Page memorabilia: trading cards, dolls, mugs, posters, T-shirts, a play, Bunny Yeager photo collectibles, and every conceivable kind of merchandising likeness of the Betty Page pinup. Like Elvis, like James Dean—the Betty Page business had become a national obsession.

The real Betty Page is still alive—a recluse living somewhere in the midst of L.A.'s San Fernando Valley. The Betty Page cult phenomenon is also very much alive—a fifties icon who lives in our hearts, minds, and libidos and makes us lust for the good ol' days when Betty was the pinup of our youth.

A self-portrait of artist/photographer Bunny Yeager.

Remembering Betty

by Bunny Yeager

Betty Page was the best pinup/glamour model I have ever photographed. She had excellent facial features and she knew all the body positions to make her figure look like it was perfect, even though it was not. When a camera was pointed at her, she was always "on," full of energy and with numerous animated expressions. When she was posing for me she always seemed to look like she was having the best time of her life, and maybe that was it... maybe it was the best time of her life. Perhaps when she posed playfully in the ocean's surf, it took her back to a younger time in her life when she was more innocent and simple things like water and sand could make her feel good. We worked well together and we took photos that have become classics. She was like an orchestra and I was the conductor, and we created poetic picture symphonies together.

The question I'm asked most often is, "How was your first posing session together?"

The year was 1954. I had been enjoying a successful career as a print and fashion model and had earned the reputation of being Florida's most photographed model. I knew all about modeling. I didn't know much about photography. But I had just taken a photography course at Lindsey-Hopkins Vocational Education School in Miami. They taught me the essentials of photography, so I did know about lighting, developing film, and making prints in the darkroom. Creating photographs was something else; they can't teach you that. They can give you tips about how to make the creative process happen, but they can't make it for you. That gift comes from within. In school we used mostly cameras that took 4" x 5" film. When I started shooting girls, I bought a semiprofessional camera called a Rolleicord which took 120 size film and made negatives 2¼" × 2¼". The film advanced in the camera by turning a knob on the side. The professional version of this camera was a Rolleiflex, but I couldn't afford that model until the following year, after I started selling my work.

Somehow Betty got in touch with me when she came to Florida and we set up a shoot date at my friend's photo studio. I didn't know what Betty looked like, but the opportunity to shoot a real New York model was something I couldn't pass up. Until that time, all the girls I worked with were amateurs and wanna-bes. I was used to fixing their hair, doing their makeup, and making them over. I was really looking forward to shooting a professional model who did all this herself. Still, I was a little apprehensive because I knew Betty was older than me and I didn't know how she'd react to my directing her when I knew so little about photography at that time. I didn't know it then, but actually Betty had been posing mostly for amateur photographers every weekend in New York. There would be twenty or twenty-five men of all ages who would go on field trips with Betty and she would pose for them just as spirited as she did for people like Irving Klaw or Harrison Publications. So she really didn't care about my photographic qualifications, as long as she got paid for doing her job. But I know she really enjoyed posing for me because she told me so in an interview I had with her for Interview magazine this year (1993). She loved my pictures that I took of her in 1954.

Back to my friend's studio... . Betty got there before me and was in the little dressing room adjacent to the shooting area. I walked in and introduced myself and she continued to work on her makeup and brush her hair. She wore a leopard-print silk robe tied around the waist. I was somewhat shy in those days and not good at making small talk with strangers, so I busied myself in the shooting area setting up the lights and placing a hassock in the center for Betty to pose on. It seemed to take forever for Betty to come out of the dressing room. I wasn't used to waiting for a model because, as a model myself, I had always been told I should arrive on the job ready to shoot and not do any makeup or hair styling when I got there. Also, the models I used were beginners and I never had to wait for them because it was I who had to do their hair and makeup. But Betty was always worth waiting for, no matter how long it took.

She came tiptoeing into the shooting area completely nude and ready for instructions. She walked up on her toes because her legs looked better that way... and also longer. She didn't want anyone to see her walking like normal people with heel and toe both on the ground at the same time. She instinctively knew that walking around on her toes gave the impression of wearing very high heels even when she had no shoes on. You just couldn't catch Betty looking bad. I shot over 1,000 photos of Betty and I think that she only blinked and closed her eyes in one photo. She was always ready for the camera.

When I saw Betty in the nude for the first time, I know my mouth must have dropped open. Here was a live girl who looked like a perfect doll or mannequin. I wasn't used to seeing a girl with an allover tan. Although Betty was from New York, she started nude sunbathing shortly after she arrived and kept her glorious golden color by spending some time in the sun every day without her clothes. She was nude, but she never appeared to be naked. Her skin was flawless —no freckles or moles, and satiny smooth. She used baby oil rubbed sparingly over her body. Her makeup was just what I had wanted. No eye shadow but lots of mascara on her lashes to accent her beautiful blue eyes. She wore no cheek color, but her lips were a bright true red color. It was the shade of red I most preferred for my models because it photographed well both in color and black and white. I never let my models wear the darker reds or purple shades because it made the lips come out too harsh and cheap-looking in black and white. And we were shooting mostly black and white in those days.

That day we worked backwards. That is, we shot nudes first and then got into the costumes Betty had brought with her, like lacy black bras, panties and garter belts, net stockings and sheer black stockings, negligees and other lingerie, mostly black. And, of course, high heels.

It seems a little strange to me now as I look over the past, but many of the shots of Betty that I took that first day are some of the very best. You can identify them by the studio background that was used. My friend has several yards of a printed cloth with gold highlights sewn together and hung as a backdrop. I didn't pay too much attention to the studio background at that time because I had no choice. I had to use what was there. But it's interesting that those shots have been so very popular even though it was a type of background I wouldn't have chosen myself and have never used since. One of these was used for the cover of Drawing the female Figure Using Photographs (A. S. Barnes), a book that I co-authored.

I photographed Betty as much as I could while she was in Miami, but she left too soon to go to Key West and I didn't hear from her again. At that time I suggested doing her biography, but she turned me down. She wanted to forget the past.

In 1992 I saw a retrospective-type program on Betty that used some of my photographs. As a result of that, I was able to make contact with her again. It had been a long time. I did a two-hour telephone interview with Betty and her lawyer that was published in 1993 in Interview magazine.

Betty and I have not seen each other for a long time, she doesn't want to be photographed today, she wants to be remembered as she was back in the 1950s.

Starring Betty Page

The Film Shorts

Betty Page in Chains: Betty is very subordinate and her mistress, portrayed by Roz Greenwood, chains Betty to a chair, and Betty promises to be good and obey. Roz commands her to comb her hair, then Betty pulls Roz's hair. Then Roz spanks Betty. Betty is attired in a leopard-skin bikini.

Betty, Page in High Heels: Clad in long kid gloves, black bra and panties, long rolled stockings, and six-inch high heel patent-leather shoes, Betty struts her stuff and performs a sensuous dance.

Betty's Clown Dance (Parts 1 & 2): A playful Betty kisses her stuffed clown, rocks him like a baby, and whispers sweet nothings. In black stockings and tiny bikini underwear, she then dances, toying with her stockings, doing some kicks to show off her high heels. The high point in Part 2 is when Betty hugs the clown as she dances, then cuddles him in her lap as every viewer imagines himself in its place.

Betty's Dance in Black Lace Panties: A delightful change of pace, as Betty emerges from behind the curtains like a stripper, first extending her stockinged leg, then undulating in frilly black bra and panties as she smiles. There are some high kicks in the ever-present high heels, and some playful yet convincing bumps and grinds.

Betty's Exotic Dance in High Heels: In white bra, panties, black stockings, and six-inch high heels, Betty lies on the sofa, rises to touch her toes, undulates energetically, and blows a kiss to the audience. There are frequent close-ups of fetishists' beloved stockings and high heels.

Betty's Hat Dance: Clad in black bra and panties and stockings, Betty shimmies sexily with a floppy black hat, placing it over her rear as she shakes, waving it, and using it to cool herself. She fetchingly wears the hat for awhile, does some high kicks, and seems very pleased with herself as she performs a split on the floor. After doing some stretching exercises, she blows a kiss.

Betty's Lingerie Tease Dance: (Parts 1 & 2): In a two-piece bathing suit, Betty swirls about, teasingly pretends to start removing her bra, and with a happy smile holds up a succession of naughty underthings, playfully seeing how they'd look on her. That heart-melting smile is very much on display as she wiggles, caresses her body, leans back to show off her limber form, and blows some more kisses.

Captured Jungle Girl: Our heroine, dressed in leopard-skin bra and bikini panties, is captured by model Sima Cairo. Sima then prepares an elaborate network of ropes and pulley gadgets to which Betty is bound securely and gagged and then raised completely off the floor while spread-eagled hands and feet. This two-part movie, 100 feet each, provided the basis for the best-selling bondage stills ever taken of Betty.

Chemise Dance: Betty dances with abandon and happiness in black chemise, dark stockings, and black patent-leather shoes with six-inch heels. She plays with her stockings, wiggles, and caresses her body.

Dance of Passion: In long black stockings and scanties, Betty dances especially as if the camera were her boyfriend. Her dancing is particularly sensuous here, including some vigorous hip-wiggling with her back to the camera. As always, she appears to delight in giving her viewers pleasure, with blown kisses and her patented pouting expression.

Delightful Betty Dresses Up: We see Betty walking around in those ever-popular six-inch high heel black patent-leather shoes, putting on stockings and a black satin skirt, and strutting around before going out on a heavy date.

Domineering Roz Strikes Back: Oh no! Roz Greenwood returns as Betty's domineering mistress, cracking her whip while waiting for maid Betty to dress her. Betty dresses Roz up in sweater and short satin skirt, "and when Roz asks how she looks, Betty's gestures make Roz mad enough to pull Betty over her knees and spank her soundly" at the end.

Dream Dance by Betty: An intriguing departure, as Betty holds up 8 x 10-inch glossies of a couple of fellows—one of them apparently Irving Klaw—kisses the pictures, and dances in black scanties.

Flirtations Dance by Betty: Clad in white bikini, Betty gyrates with particular energy, with close-ups of her wiggling fanny, and does some kicks.

French Garter Fight (1955): Betty and Jackie Lens are in a nightclub, each has only one garter, and they do battle to get the other's.

G-String Dance: Betty performs an exotic dance in net bra and G-string. This is one of her most energetic performances, as she rises from the sofa and tosses her lovely torso with gusto, appearing to enjoy every minute—at her most lovely and enticing.

Habbled in Kid Leather Harness: Treacherous times once again for Betty. She is forced by model Patricia Midblane to don a specially made kid leather harness, and when Betty is slow, she is spanked. Both girls wear bra and panties with (of course) black stockings.

Joyful Dance by Betty: Well-titled, as this sensuous performance includes more lingering close-ups of her beaming face than usual, and numerous kisses blown to the camera as she plays to the audience.

Peggy Graceful Dance: She dances in dark stockings and fancy garters, using a hat as a prop, and at the end thrusting her fanny playfully at the camera.

Pinup Beauties Fight: Betty and model June King, both attired in bra and panties with dark stockings, do battle, with energetic wrestling and hair-pulling.

Spanish Shawl Dance by Betty : This time she begins fully attired in a long black dress before removing the wraparound shawl, which she then waves about like a bullfighter as she shimmies sensuously.

Tambourine Dance: Betty, in semitransparent black bra and panties, shakes and shimmies with maracas, then with a tambourine. After some kicks and loving close-ups of her black stockings and high heels, she swivels her hips with abandon.

Tantalizing Betty Dances Again: Betty brushes her long hair, shows off her stockings and high heels, and uses first a black cape, then a black fur, as a prop while she dances. For all the mildly suggestive bumps and grinds, it's that incandescent smile that really does it.

Undressing for Comfort: The dark angel returns home and, finding her room hot and uncomfortable, gets down to bare essentials. After getting down to her stockings, she suddenly discovers she forgot to pull down the window shades!

Waltzing in Satin Scanties: Not exactly a waltz, to be sure. She opens a white robe to reveal a black net bra with sequined pasties and her satin panties. After dancing she hugs herself girlishly, and laughs happily at the end as she beckons us closer.

Striporama (released October 1953): Betty appears in a bathtub scene clad in white bikini, billed as "The Most Daring Bath Scene Ever Filmed." Lili St. Cyr is the headliner, with Georgia Sothern, Rosita Royce, and burlesque comics also appearing.

Varietease (released fall 1954): Betty serves as the opening act in Irving Klaw's first full-length film feature. The burlesque revue's host, Bobby Shields, introduces her as "the sultry siren of the Southland." Clad in a slinky sequined harem outfit with bare midriff, Betty performs a veil dance lasting about seven or eight minutes. Beaming and winking to the audience, she sashays about the stage to pseudo-Arabian music. When the music switches to a stripperlike theme, she performs a modified hoochie-coochie dance and strikes seductive poses, using her veils as props.

Teaserama (early 1955): Tempest Storm and Betty (second-billed as "Nation's Number One Pin-Up Queen") are the headliners of Klaw's second feature, as both perform sizzling strip routines although nothing is really exposed. Once again, Betty opens the revue in a skimpy red showgirl outfit with black stockings. She does a little soft shoe, shimmies and shakes a bit, performs some medium kicks, and at the end turns her back to the audience and wiggles her fanny.

After a baggy-pants comic routine featuring Joe E. Ross, Tempest Storm is featured in a sketch depicting the start of the glamour queen's day as she rises from bed. After a moment or two, she daps her hands to summon Betty in a cute little maid's black skirt with white apron. Betty helps Tempest put on her corset, adjusts her mistress's stockings and smooths them along her legs, and then combs Tempest's long red hair. After Betty helps Tempest pull on long black gloves and zip up her evening gown, she mimics Tempest's regal strut thinking mistakenly that she isn't being watched. An annoyed Tempest pulls Betty's hair in retaliation to conclude the ten-minute sequence.

Happily, in this film Betty is a constant presence, coming on stage in a succession of sexy little outfits to silently introduce each act (including stripper Cherrie Knight, blonde Klaw model Trudy Wayne, and assorted comics and dancers) with a name card. Near the end she brings her own name card out, looks at it with an adorably startled "Who, me?" look, and then performs a six- to seven-minute routine. First in a black showgirl skirt and then in black bra with sequined gold panties, Betty treats us to her favorite poses, hip-wiggling, caresses of her stockinged legs, and endearing facial expressions. Like Klaw's first feature, this ran slightly over an hour and was in color.

Striporama Vol. 2: For her part in this latter-day video compilation, Betty performs a "Fireplace Dance." She sits in bikini and stockings by a fireside, looking like an exuberant, teasing vixen, rolling her legs around, then lying down, kicking her legs up. Demonstrating how limber she is, Betty holds her upper body in the air, almost pulling her bottom up over her head. Short and sweet.

Betty Page: America's Pinup: A 1980s film compilation with many of Betty's routines from fifties features and film loops: her "hat dance" shimmying in bra, panties, and black stockings, using a hot as a sensuous prop; a teasing, sexy variation on the dance of the seven veils; an energetic, straightforward bump-and-grind dance; shaking her maracas to the music; an imaginative and suggestive "down dance"; one topless sequence; and bad-girl Betty being spanked by another beauty.

Back to Back Bettie: A splendid (if grainy) compilation by Movie Star News of more than fifteen film loops by Betty, excluding any bondage performances.

Betty Page Magazine Appearances

Year | Month | Magazine
---|---|---
1950 | October | Art Photography, 1 page
1951 | May | Art Photography, 1 page
| August | Eyeful, 3 pages
|  | Flirt, 2 pages
| September | Beauty Parade, 1 page
|  | Whisper
| October | Eyeful
|  | Flirt
|  | Wink, 1 page
| December | Eyeful, 2 pages—still "bangless" at this point
|  | Títter (centerfold)
|  | Wink, 1 page
1952 | Jan.–Feb. , | Cartoon & Model Parade, #53. The cover of Irving Klaw's semianual catalog featured Betty and marked the beginning of their historic association.
| January | Whisper
| February | Flirt, 2 pages
|  | Wink, 1 page
| March | Beauty Parade, 2 pages, 7 pictures in gag strip
| April | Eyeful, 2 pages
| May | Whisper, 2 pages
| June | Art Photography, excellent nude study
|  | Eyeful
|  | Flirt
|  | Wink, 1 page
|  | Títter, 1 page, plus 2-page humorous strip, "They're in the Navy Now"
| August | Eyeful, 2 pages
|  | Wink, 2 pages
| September | Gala, 2 pages
| October | Eyeful, 2 pages
|  | Flirt
1952 | October | Titter
|  | Vue
|  | Wink, 1 page
1953   |  | Irving Klaw Bulletin, #53, #63, #66, #74, #75, #77
|  | Cartoon & Model Parade, #72. Irving Klow catalog which includes an extensive account of Betty's many film shorts, along with her still photos
| January | Beauty Parade, 2 pages
| February | Flirt
|  | Wink, 1 page
| May | Beauty Parade
| June | Titter, 3 pages
| July | Beauty Parade, 2 pages
|  | Gala, 2 pages
|  | Whisper, 2 pages
| August | Dare, back cover, 4 pages
|  | Eyeful, cover
|  | Frolic
| September | Ellery Queen's Mystery Magazine, cover
| October 21 | People Today, 4 pages of Betty demonstrating "how much a girl can discard—and still stay legal at various burlesque houses across the country"
| December | Titter, 2 pages
1954 |  | Irving Klaw Bullefin, #86, #87, #88, #90, #93, #95
|  | Folies de Paris, #150, 2 pages
| January | Beauty Parade, 2 pages
| February | Eyeful, centerfold
| March | Art & Camera, 2 pages nude, uncredited
| April | Wink, comic 2-page lingerie sequence: "They Ain't No Gentlemen!"
| July | Gala, 2 pages
| Fall | Peep Show, 7 pages
| October | Bare, inside back cover
|  | Brief, "Miss Irresistible," an absolutely terrific 7-page Bunny Yeager layout of a bikinied Betty on a Miami beach; Betty has seldom looked so gorgeous and sunny.
|  | Eye, 7 pages, 10 lovely pictures
|  | Frolic, 3 pages
|  | Modern Sunbathing
| November | Bore, sexy cover
|  | Brief, 6 pages, more Betty on the beach
|  | Celebrity, 2 pages
|  | Jest, cover
|  | Modern Man, 1 page by Bunny Yeager, a lovely nude crouched on a chair
|  | Photo, 8 pages, 11 terrific bikini pictures
1954 | December | Man's Magazine, cover
|  | Show, cover in bikini
| Late 1954 | Cartoon & Model Parade, #91, splendid lingerie cover of Betty following release of Varietease
1955 | January | Irving Klaw Bulletin, #103, #106, #107, #108, #109, #110
|  | Photo, "Sultry Savage," a much-reproduced 7-page layout by Bunny Yeager of Betty in jungle-girl attire frolicking in Florida's "Africa, U.S.A."
|  | Playboy, Bunny's classic centerfold of Betty as Playmate of the Month, clad only in a festive Santa hat, kneeling by a small Christmas tree and hanging an ornament on the branch while winking at the camera
| February | Bold, centerfold
|  | Breezy, back cover
|  | Frolic, 2 pages
|  | Modern Man, inside cover in Bunny Yeager bikini shot
|  | Modern Sunbathing, cover
|  | Stare, cover, 5 pages
| March | Beauty Parade, centerfold and 4 pages
|  | Bold, cover
|  | Cabaret, No. 1, cover
|  | Jest, inside cover, 1 page
|  | TV Girls & Gags, cover, 1 page
| April | Art Photography, delightful inside cover frolicking in the surf, nude centerfold, and 4 pages of 6 total pictures by Bunny Yeager. One memorable full-pager finds Betty nude underneath a fully transparent nightie, kneeling and holding a candle aloft.
|  | Eye, 9 pages, 16 pictures
|  | Eyeful, centerfold
|  | Flirt, centerfold
|  | Foto-Rama, cover, 1 page
|  | Frolic, 4 pictures of Betty alone and two of Betty and Tempest Storm together from Teaserama
|  | Store, 7 pages
| May | Art Photography, cover, 2 pages
|  | Cabaret, inside cover
|  | Cartoon Comedy, cover
|  | Comedy, 6 pages
|  | For Men Only, 4 pages
|  | He, back cover
|  | Playboy
| June | Beauty Parade, 5 pages, 11 pictures
|  | Male Life, cover
|  | Modern Man, 1 page outdoor nude by Bunny
|  | Modern Sunbathing
|  | People Today, (June 29), 3 pages
|  | Stare, cover, 9 pages

  | August | Art Photography, 1 page
|  | Breezy, cover
|  | Chicks & Chuckles, back cover
| Fall | Sir Annual, cover
| October | Beauty Parade, 4 pages of delightful lingerie shots, "What the French Maid Saw!"
|  | Chicks & Chuckles, cover
|  | Tab, 6 pages
| November | Follies No. 1
|  | Cabaret, inside back cover, 1 page
|  | Snappy, 2 pages, including thoroughly spectacular bikini pinup
| December | Beauty Parade, centerfold and 4 pages
|  | Bold, centerfold
1955-56 |  | Figure Studies Annual, #10, 4 pages
1956 |  | Figure Quarterly, Vol. 12, splendid 1-page nude from Bunny's "Africa U.S.A." shooting
|  | Figure Quarterly, Vol. 13, cover, 1 page
|  | Pin-Up Photography, No. 1, cover, 1 page
| February | Art Photography, 1 page, terrific nude by Jan Caldwell
|  | Beauty Parade, centerfold, 2 pages
|  | Gaze, 3 pages
| March | Escapade, 3 pages
|  | Foto-Rama, 4 pages
|  | Male Point of View, back cover
|  | Sunbathing for Health, cover
|  | TV Girls & Gags, centerfold
| April | Bold, Betty Page Pin-Up Portfolio, cover and 6 pages
|  | Male Life, inside cover, 6 pages
|  | Vue, cover
| May | Jest, cover
|  | Show, centerfold, inside cover, 6 pages
| July | Gee-Whiz, back cover, 1 page
| August | Glamour Parade, No. 1, 2 pages
|  | Rogue, centerfold and 3 pages by Bunny Yeager
|  | Sunbathing for Health
| September | Gent, No. 1, 2 pages, including a splendid topless study on the beach
| October | Gaze, cover, 1 page
| November | Brave, centerfold, back cover, 4 pages
|  | Snappy, bock cover
1956-57 |  | La Femme Moderne, No. 1, centerfold
1957 |  | Adam Annual, 4 pages, 8 pictures
|  | After Hours, No. 1, excellent nude centerfold
1957 |  | Man's Cavalcade, No. 1, 4 pages
|  | Modern Man Yearbook of Oueens, 4 pages of great Bunny Yeager pictures
|  | Exotique, #18, back cover
|  | After Hours, #4, 4 pages by Bunny
|  | Yeager
| January | Caper, "Blithe Savage," 4-page layout from the same "Africa, U.S.A." session first seen in the January 1955 photo
|  | Jest, inside back cover
| February | Gaze, back cover, 3 pages
| March | Foto-Ruma, 6 pages, "Why Betty Loves It!" "Men love to look at a well-built girl and I love to be looked at."
| April | Chicks & Chuckles, centerfold
|  | Rugged, cover, 1 page
|  | Risk, 5 pages
|  | Satan, #2, cover, centerfold, and 2 pages as "Satan's Angel"
| May | Bold, back cover
| June | Stare, inside cover
| July | Comedy, back cover
|  | Gee-Whiz, inside front and back covers, 1 page
|  | Swagger, centerfold, bock cover
| August | After Hours, 4 pages and 7 gorgeous outdoor pictures
| December | Breezy, back cover
|  | Joker, back cover
1958 |  | Hum, No. 1, cover
|  | New Girl Pictorial, #1-11, 3 pages
| April | She, cover
| July | Comedy, back cover
|  | Gala, 4 pages
| August | Gaze, cover, 7 pages
| November | Caper, 4 pages
1959 |  | Betty Page, America's foremost Figure Model, #26
|  | Perilous Bondage, #1
|  | U.S. Glamour Presents Betty Page
| February | Gaze, 4 pages
| June | Stare, cover, 3 pages
| July | Modern Man, 1-page nude study by Tom Kallard
| August | Modern Man, another nude by Kallard—this one a full-frontal shot with either shaved or airbrushed-out pubic hair
1960 |  | Betty Page and...
|  | Black Nylons & High Heels, Vol. 2, cover, back cover
|  | Bunny Yeager's Photo Studies
| February | Gaze, cover
| May | Snappy, 4 pages
| June | Gaze, 4 pages
1960-61 |  | Betty Page in Bondage, seven issues produced in 1960-61. (Vol. 3 in 1960—with 64 pages and 32 Betty poses—declares: "This book tells how a model feels while bound and gagged when tied. Pictured are some of the most perilous devices to which Betty was bound. Despite all the handicaps, gags, and unusual tied-up poses she had to endure, Betty still maintained her sunny disposition when the day's work was over.")
1961 |  | Figure Quarterly, Vol. 32, fine 1-page nude by Jan Caldwell
|  | Rhapsody, No. 1, 9 pages
|  | Presenting Betty Page at Home, #5, digest magazine with 32 pages of indoor nudes, only one of which is a bondage picture
|  | Presenting Betty Page Outdoors, 34 pages of outdoor nudes, Betty at her most delightful
| March | Comedy, cover
| December | Modern Man, 1-page outdoor nude portrait by Jan Caldwell
1962 |  | All New Betty Page
|  | Betty Page Queen of Bondage
|  | Meet the Girls, #2, onequarter of the magazine devoted to Betty
1963 |  | Focus on Betty Page
| June | Stare, 3 pages
1964 |  | Devil in Skirts, back cover
|  | Bunny Yeager's ABCs of Figure Photography
| February | Laugh Digest, back cover
1965 |  | Bunny Yeager Photographs of Famous Models
1976 |  | A Nostalgic Look at Betty Page, exceptional 58-page, all-Betty magazine, with nearly all pictures either nude or seminude. Her bondage and highheel fetish pictures are given prominent attention.
1978 |  | The Bound Beauties of Irving Klaw, #5, one-third of issue devoted to Betty
1978—80 |  | Betty Page: Private Peeks, four all-Betty issues produced in 1978-80
1983 |  | Catfights Galore, No. 1, 2 pages, 11 pictures

1987 |  | The Betty Pages, No. 1, the debut issue is jam-packed with no fewer than 41 pages of Betty photographs reprinted from numerous 1953-57 magazine layouts, plus cartoon strips inspired by Betty.
1988 |  | The Betty Pages, No. 2, Greg Theakston instigates "The Case of the Missing Pin-Up Queen" and offers features on Teaserama and Irving Klaw. The Betty Pages, No. 3, gorgeous Bunny Yeager bikini cover of Betty, with color topless center fold and 24 pages of BP photos. Includes the second installment of the "Search."
1989 |  | The Betty Pages, No. 4, Part 3 of "The Case of the Missing Pin-Up Queen," three pages of Betty in color, and 15 additional pages of BP pictures
|  | The Blamorous Betty Page: Cult Model 1950s, an Italian large-format illustrated biography with over 100 pages of Betty, including 14 pages in color; focuses very heavily on her work with Klaw plus Camera Club poses.
| September | Genesis, 3 pages, 5 pictures, and article by Greg Theakston
1989—90 |  | The Betty Pages, No. 5, fine "jungle girl" cover and inside cover, 9 pages of Bunny's "Africa, U.S.A." layout on Betty, and 2 pages of revealing Camera Club pictures
1990 |  | Movie Star News, Volume One, Betty Page, the Queen of Curves, Greg Theakston relates the tale of Irving Klaw's emergence as the "Pin-Up King" and his association with the Nashville Angel; more than 70 pages of Betty, with hundreds of miniature reproductions of her poses for Klaw

1991 |  | The Betty Pages Annual, Theakston's masterpiece on the Queen of Curves. A glorious 150 pages on Betty, with text covering her entire career and featuring interviews with several of Betty's lovers and friends. And of course, hundreds of photos. An absolute "must" for any Page fan. The Betty Pages, No. 6, all-photo issue—a staggering 50 pages of Betty photographs, including 3 pages of very-nude Camera Club shots and 4 pages of Walter Sigg's color 3-D slides (with some nudes) shot in 1954
1992 |  | Fond Memories, Bob Schultz's monthly 'zine began publication in 1992, with each issue devoted to a letter of the alphabet ("B," for example, delves into Betty's appearances in magazines such as Beauty Parade and Bold).
|  | Betty Page in Jungleland, Bunny Yeager's own contribution to the BP library, is a thoroughly entertaining 33 pages of her Betty photos set up in gag-strip storyboard fashion, mostly from their famous "Africa, U.S.A." session; a delight for any fan.
| Decembre | Playboy, "The Betty Boom," a fond recollection by Buck Henry, with a lavish 8 pages of photos and illustrations
1993 |  | Betty Page—Queen of Pin-Up, 79-page German volume focusing primarily on Klow bondage and lingerie poses, along with a fine assortment of Bunny Yeager shots like the "Africa, U.S.A." cover.
| July | Interview, Bunny Yeager's 2-page interview with Betty, plus 2 pages of their photos, and also a photo layout with a Betty lookalike.

Down Betty Page Memorabilia Lane

The real Betty Page had her brief "15 minutes" of fame in the mid-1950s as a girlie pinup model and a celebrated Playboy centerfold. And then thirty years later disappeared into memory and nostalgia, and Betty was never heard from again.

Until she was rediscovered all over again—by the editor of Rocketeer comic books and graphic novels, Dave Stevens, who brought her back to life as a cult goddess fictional "girlfriend." The rest became nostalgia history. Betty Page represented a time of growing up when pinups adorned our walls and life presented us with a fifties "cheesecake innocence." We could look and fantasize... and didn't have to touch.

The Betty Page obsession and fantasy craze began, and it hasn't stopped yet. The Betty Boom was on, and her nostalgia cult transcended generations. Soon The Betty Pages was launched in print by Greg Theakston. It was a magazine of fun and memorabilia devoted only to Betty. This led to The Betty Pages Annual—featuring her life story, magazine shots, postcards, personal interviews, and exclusive photos of The Queen of Curves.

The official Betty Page Fan Club—The Bettie Scouts of America—debuted in the early 1990s. An official fan newsletter is published every other month and is available via Steve Brewster at 2641 S. 53rd St., Kansas City, Kansas 66106.

Rocketeer, The Betty Pages, and the fan club all unleashed an endless torrent of Bettymania merchandise and collectibles. There were the collector's items of Betty Page Tease Tapes, the Movie Star News film tapes of Betty produced by Irving Klaw—particulary Teaserama and Striporama. Also available, but rarely found, were The Bound Beauties of Irving Klaw, featuring the Queen of Bondage, Betty Page; Back to Back Betty; The Exotic Dances of Betty Page on tape; Betty Being Bad; Betty Page Fetish Comix; and Betty Page 3D comics.

Highly sought after were the Betty Page Collector Cards from Mother Productions, Betty Page postcards, paintings, posters and cards, and calendars of Betty in Bondage outfits... plus any Betty Page photographs taken by the celebrated Bunny Yeager, particularly the Betty "Jungleland" photos.

Then came the Betty Page Lookalike Contest sponsored by the Atlanta Comics Expo. And not surprisingly, her likeness is now one of the most popular tattoo parlor selections in the United States. Betty has become well-inscribed.

Her debut in Rocketeer Graphic novels has extended to a Rocketeer merchandise bonanza— Rocketeer poster and pin, Rocketeer postcards and T-shirts. And for everyone's stocking stuffer, there are Betty Page Christmas cards, featuring Betty in her celebrated Santa outfit that first graced the centerfold of Playboy back in 1955. For the superreal Betty fanatic, there is a ring and a figurine doll, and the Zanart portfolio of Bunny Yeager's Betty Page nudes. And a three-act play premiered at Chicago's Prop Theater a few years back on the life and cult of Betty Page. Several screenplays have materialized on the life and mythical times of Betty.

"Bud Plant's Incredible Catalog" features every item of Bettymania available to man—and to women and children too. It includes...

all of The Betty Pages
Movie Star News
Betty Page 3D Comics
Betty Page metal sign
Betty Page signed stills
Betty Page Trading Cards
Betty Page Stand-Up die-cut
limited edition portfolio
signed & numbered prints
Sweet Betty-Volumes 1 & 2

"Bud Plant's Incredible Catalog" is available by writing to P.O. Box 1689FMi, Grass Valley, CA 95945.

Also out in the Betty nostalgia marketplace are...

The 1994 Betty Page Pin-up Calendar
Betty Page in 3D stills on Viewmaster reels
The Betty Page Ring and Bettie-Mania tattoos
(both available from Netherworld in Mt. Vernon, New York)
The Betty "Wow" Figurine
Betty Button Set
Betty Beach Blanket Print
Rage for Page postcard set
Sorority Girls 3D postcards (Betty in Bondage reproductions)

Bettymania is alive and very well. No one claims to have known her, no one has found her in forty years, but the Betty Page legend and myth lives on in buttons, cards, calendars, tattoos... and in our hearts. There is only one Betty Page. She come into our dreams and memories a while back and will remain there now and forever. Long live BETTY PAGE.

Acknowledgments

Special thanks to Phillip Sigal who provided the inspiration and the beginnings; to Jim Fitzgerald and Evie Greenbaum at St. Martin's who gave the book its creative edge; to Greg Theakston, Bob Chapman, Bud Plant, and Paula Klaw who keep the Betty Cult going.

BETTY PAGE CONFIDENTIAL.

Text copyright © 1994 Stan Corwin Productions Ltd. Photographs copyright © 1994 Bunny Yeager. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For information, address St. Martin's Press, 175 Fifth Avenue, New York, N.Y. 10010.

Introduction by Buck Henry—Excerpted from "The Betty Boom," Playboy magazine (December 1992), © 1992 by Playboy. Used with permission. All rights reserved.

Design by Richard Oriolo

eISBN 9780312109400

First eBook Edition : October 2011

All photographs by Bunny Yeager except where otherwise noted.

Archival quality black-and-white prints made from original 2¼" x 2¼" negatives, as well as selected posters, are available through: Bunny Yeager's Photography Studio, 9301 N.E. 6th Avenue, Miami, Florida 33138. Telephone: (305) 757-8978. All inquiries answered by Bunny herself.

Film stills courtesy Movie Star News/Paula Klaw.

Cards appearing on page 121 are courtesy of Mother Productions.

Library of Congress Cataloging-in-Publication Data

Yeager, Bunny.

Betty Page confidential / text by Stan Corwin Productions ; photos by Bunny Yeager.

p. cm.

1. Glamour photography. 2. Page, Betty. 3. Photography of women. 4. Photography of the nude. I. Stan Corwin Productions. II. Title.

TR678.Y43 1994

779'.24'092—dc20

94-6060
CIP

redpajama_set_name: RedPajamaBook


text:
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redpajama_set_name: RedPajamaGithub


text:
Pizza cutter handmade exotic tropical wood frame carved in form of a Bellanca Type A airfoil designed by G. Bellanca; Koa wood stand. 1916.
Lot 1003 Circa 1912-1916
Lot 1003 is offered by a private collector and is purported to be from the family estate of Giuseppe Mario Bellanca, the Italian-American aviation pioneer, aircraft designer and builder. Born in Sicily in March of 1886, He emigrated to Brooklyn, NY in 1911, where he founded and operated the Bellanca Flying School from 1912 through 1916.
Bellanca was certainly familiar with sfincione the Sicilian style pizza he ate as a child, but he developed a passion for the derivative "Brooklyn" style pizza which has an extremely thin, crispy crust with toppings extended all the way to the edge.
Being an inventive and innovative engineer, Bellanca designed and created this pizza slicer specifically to cut through the delicate crust without displacing the toppings. It is speculated that the form of this special slicer was influenced by the outline of the ribs used in the "lifting struts" in his patented wide-chord Bellanca A airfoil.
Aviation lore has it that he may have used this slicer to cut the pizza served at a business lunch attended by the Wright Brothers when Bellanca worked for a brief time at Wright Aeronautical.
© 2022 by D. C. Henley All Rights Reserved

redpajama_set_name: RedPajamaCommonCrawl


text:
Chris Carosa
Where to Buy Them
The Decade the Music Died
By Chris Carosa on January 29, 2019
We're a few days away from February 3rd. It's a day that forever lives in Rock and Roll infamy.
It was on a cold winter's night precisely sixty years ago – February 3, 1959 – that Buddy Holly, Ritchie Valens, and J.P. "The Big Bopper" Richardson boarded a Beechcraft Bonanza and found Rock and Roll heaven in a barren cornfield outside of Clear Lake, Iowa.
Much has been written about this, including two film biopics (The Buddy Holly Story in 1978 starring Gary Busey and La Bamba in 1987 starring Lou Diamond Phillips). Perhaps the seminal tribute, though, remains Don McLean's 1971 hit "American Pie." It was his song that first used the phrase "the day the music died" to describe the plane crash that took the lives of those young rock stars.
I'm not going to add to the litany of previously published thoughts on "the day the music died." Rather, I'm going to share with you a conversation I had with a reporter. We sat at a high table in The Menches Brothers Restaurant in Green, Ohio (between Akron and Canton, for those using a GPS). I sipped my Diet Pepsi as the reporter asked me questions about what inspired me to write Hamburger Dreams (my latest book that looks at the evidence refuting and supporting the various hamburger origin stories).
At one point, he asked if I had written any other "food" books. I mentioned A Pizza The Action (albeit it's more about business than food). Then I added that I had penned a short article on my grandfather's pizzeria, mapping its beginning to the emergence of Rock and Roll.
That's when the fun started. Little did I know this reporter, though nearly my age, still Continue Reading "The Decade the Music Died"
Posted in Business Tips, Gray Matter Musings, The Compleat Carosa Commentaries Tagged 8-track, A Pizza The Action, Akron, album, American Pie, Apple Music, ASCAP/BMI, baseball cards, Bing Crosby, Boy Bands, Buddy Holly, Canton, cassette tape, CD, coins, comic books, Disco, Don McLean, Elvis, Frank Sinatra, Gary Busey, Grunge, Hamburger Dreams, Hard Rock, Heavy Metal, Hip Hop, iTunes, J.P. Richardson, Lou Diamond Phillips, Madison Avenue, New Wave, Pandora, pizzeria, Pop Rock, Ritchie Valens, Rock and Roll, Salvator's Pizzeria, Soft Rock, Spotify, stamps, The Beatles, The Big Bopper, The Menches Brothers, vinyl
Welcome to ChrisCarosa.com
Did you ever have a dream you kept putting off? A place you always wanted to visit? A story you always wanted to tell?
So did I. (Notice the past tense.)
This site might give you a clue about how I accomplished this. Who knows? It may even reveal to you how you can realize your own greatest goals.
Interested in learning more? Find me on Twitter and LinkedIn. You can also subscribe to the RSS feed.
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Copyright © 2020 Chris Carosa.


'Originally from London now living in Auckland, Miles Harty has taken constant inspiration from these surroundings.
The landscapes caused a theme in his work to have a reference to 'home' as an idea or an object to be portrayed. The imagery of his own 'utopian' worlds are a way to escape and you can see are a direct expression from himself. The skewed perspectives of medieval tapestries and the idea of a parallel world, influence the beauty of imperfections and give the images he creates something measured and exact, but also a new freedom and looseness.
Village 1 and 2 (2 piece original works).


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De kapitaalstromen zijn de internationale verplaatsingen van geld en kapitaal. Onderzoek van wereldwijde kapitaalstromen levert waardevolle aanwijzingen over de internationale kapitaalmarkten.

Bij een volkomen vrij verkeer van kapitaal bewegen grote hoeveelheden geld zonder vertraging en zonder transactiekosten over de grenzen. Ze kunnen in elke beleggingsmogelijkheid omgevormd worden om de hoogste winst en de laagste kredietkosten te realiseren. De kapitaalstromen bestaan zo lang tot de rentevoeten in het binnenland en in het buitenland overeenstemmen. Bij een onvolkomen kapitaalmobiliteit is het mogelijk, dat er verschillende interestvoeten bestaan in verschillende landen.

Economische terminologie
Kapitaal
Mondialisering

redpajama_set_name: RedPajamaWikipedia


This Glenrothes (26/10/1995-6/9/2010) offers a beautiful malty theme that is in line with the Glenrothes character – very well done.
Nose: Malty, the aroma of luscious malt mingles with ripe peaches and dried apricot layered with herbaceous manuka honey and sugary sap with notes of bark spices such as soft cinnamon and mace.
Taste: The palate is graceful and elegant with a surge of that malty goodness that is brightened by golden honey and crisper spices (vanilla bean, cinnamon) that ignite for a short period only to be interrupted by a sudden gust of bitter oak. The blunt spices identified on the nose morph into less earthy but sharper bakery spices on the palate; the mace develops into nutmeg and cinnamon flashes more brightly. In line with this theme the herbaceous manuka honey on the nose loses its herbal and earthy qualities to take on a more sugary organic golden honey which sparkles with the waxy sweetness of natural honeycomb of the highest order.


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DGAP-News: USU Software AG records jump in profits – News Nation USA
DGAP-News: USU Software AG
/ Key word(s): Quarter Results/9 Month figures
USU Software AG records jump in profits
Sales growth of 8.4% in Q3 2021
Adjusted earnings double
9-month figures underline positive development
Liquidity and equity ratio expanded
Orders on hand remain high
Sales and earnings planning confirmed
In the third quarter of 2021, USU Software AG together with its subsidiaries (hereinafter also referred to as the "USU Group" or "USU") again benefited from growth in recurring revenue and strong license business. USU thus increased its consolidated sales (IFRS) by 8.4% year-on-year to EUR 27.9 million in the third quarter of 2021 (Q3 2020: EUR 25.8 million). License revenue saw above-average growth of 20.5% to EUR 3.0 million (Q3 2020: EUR 2.5 million). At the same time, USU also increased its SaaS sales by an above-average 13.5% to EUR 2.8 million (Q3 2020: EUR 2.4 million). Accordingly, recurring revenue (maintenance sales including SaaS revenue) rose by 10.0% year-on-year to EUR 8.8 million in the third quarter of 2021 (Q3 2020: EUR 8.0 million). USU also increased its consulting income by 5.2% to EUR 15.8 million (Q3 2020: EUR 15.0 million).
Meanwhile, the cost base of the USU Group rose by just 4.8% to EUR 25.8 million (Q3 2020: EUR 24.6 million). This meant that earnings improved significantly. USU increased its earnings before interest, taxes, depreciation and amortization (EBITDA) by 69.8% year-on-year to EUR 3.7 million (Q3 2020: EUR 2.2 million). Earnings before interest and taxes (EBIT) amounted to EUR 2.5 million (Q3 2020: EUR 1.1 million), corresponding to an increase of 121.8%.
Net profit for the period after interest and taxes rose by 170.5% to EUR 2.3 million (Q3 2020: EUR 0.9 million). This corresponds to earnings per share of EUR 0.22 (Q3 2020: EUR 0.08).
USU's earnings before interest and taxes adjusted for extraordinary effects due to acquisitions (adjusted EBIT) also doubled, from EUR 1.3 million in the same period of the previous year to EUR 2.7 million. Accordingly, USU's earnings margin on adjusted EBIT increased from 5.0% in the third quarter of 2020 to 9.5%.
The USU Group also enjoyed positive operating performance in the first nine months of the year. USU's consolidated sales increased by 5.1% year-on-year to EUR 81.9 million in the first three quarters (Q1-Q3 2020: EUR 77.9 million). This was largely due to new domestic digitalization projects. Accordingly, USU increased its sales in Germany by 10.2% to EUR 62.7 million (Q1-Q3 2020: EUR 56.9 million), while the impact of the coronavirus meant its international sales declined by 8.7% compared with the extremely positive prior-year period, amounting to EUR 19.1 million (Q1-Q3 2020: EUR 21.0 million).
Broken down by sales type, USU recorded a particularly high year-on-year increase in consulting income of 7.2% to EUR 47.8 million thanks to the new orders acquired and the existing orders on hand (Q1-Q3 2020: EUR 44.6 million). At the same time, it benefited from the sustained growth in cloud and maintenance business. Maintenance sales including sales from SaaS business increased by 6.5% year-on-year to EUR 25.4 million (Q1-Q3 2020: EUR 23.8 million), of which EUR 7.9 million (Q1-Q3 2020: EUR 7.0 million) was attributable to SaaS sales alone. This represents a 12.8% rise as against the previous year. Due to the comparatively high share of new contracts attributable to SaaS business, license sales in the first nine months of 2021 were down 6.3% on the previous year at EUR 7.8 million (Q1-Q3 2020: EUR 8.3 million).
As a result of the significant expansion in high-margin recurring revenue and the below-average increase in Group expenses of 3.2% to EUR 76.1 million (Q1-Q3 2020: EUR 73.7 million), the reporting period saw USU substantially improve its profitability compared with the previous year. EBITDA rose by 25.6% to EUR 10.4 million (Q1-Q3 2020: EUR 8.3 million), while EBIT increased by 48.7% to EUR 6.9 million (Q1-Q3 2020: EUR 4.6 million).
USU's consolidated earnings also improved significantly by 55.2% year-on-year to EUR 6.1 million in the first nine months of 2021 (Q1-Q3 2020: EUR 4.0 million). This corresponds to earnings per share of EUR 0.58 (Q1-Q3 2020: EUR 0.38).
Furthermore, USU increased its adjusted EBIT by 39.3% year-on-year to EUR 7.2 million in the first nine months of 2021 (Q1-Q3 2020: EUR 5.2 million). Consequently, the earnings margin based on adjusted EBIT improved from 6.7% in the previous year to 8.8% in the reporting period. At the same time, adjusted consolidated earnings climbed by 44.0% to EUR 6.5 million (Q1-Q3 2020: EUR 4.5 million). Adjusted earnings per share rose accordingly from EUR 0.43 in the previous year to EUR 0.61.
With an equity ratio of 55.0% (December 31, 2020: 53.5%), extensive Group liquidity that increased by 6.4% to EUR 19.7 million (December 31, 2020: EUR 18.5 million) and no liabilities to banks, the USU Group still has extremely sound and secure financing.
For 2021 as a whole, the Management Board expects the USU Group to record slight growth in sales and an improvement in adjusted EBITDA to at least EUR 9-10 million. The main contributing factor will be strong SaaS business. One key indicator supporting this forecast is the level of Group-wide orders on hand, which rose by 6.9% to EUR 64.6 million in the reporting period (September 30, 2020: EUR 60.4 million). In addition, the Management Board anticipates positive effects and increased efficiency in connection with the implementation of the "One USU" strategy. The Management Board is also confirming the current medium-term planning, which includes average organic sales growth of 10% in the next few years and an increase in the operating margin on adjusted EBIT to between 13% and 15% by 2024.
This press release is available at www.usu.com.
USU Software AG
As a leading provider of software and services for IT and customer service management, USU enables companies to master the demands of today's digital world. Global organizations use our solutions to cut costs, become more agile and reduce risks – with smarter services, simpler workflows and better collaboration. With more than 40 years of experience and locations worldwide, the USU team brings customers into the future.
In addition to USU GmbH, which was founded in 1977, the subsidiaries USU Technologies GmbH, USU Solutions GmbH, USU Solutions Inc. and USU SAS also belong to USU Software AG (ISIN DE 000A0BVU28), which is listed in the Prime Standard of the German Stock Exchange.
Further information: www.usu.com.
Dr. Thomas Gerick
Tel.: +49 (0) 71 41 – 48 67 440
Fax: +49 (0) 71 41 – 48 67 909
Falk Sorge
Spitalhof
D-71696 Möglingen
18.11.2021 Dissemination of a Corporate News, transmitted by DGAP – a service of EQS Group AG.
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Starbucks gives away free red cups, McDonald's has 63-cent Egg McMuffins Thursday and more deals – USA TODAY →
Transfer time: New rule brings college football free agency – Miami Herald
As Olympics loom, USA Luge's Chris Mazdzer breaks his foot – Federal News Network
Ivey directs agencies to resist COVID vaccination mandate – Miami Herald


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Co-op News July 30, 2019
Home/News/Co-op News July 30, 2019
Desjardin announces life-long identify protection for privacy members
Desjardin announced free and automatic data theft protection for all of their clients. This comes after the major data breach affecting some 2.7 members. The protection plan includes up to $50,000 in financial compensation for expenses related to data theft, and identity theft insurance.
https://www.thenews.coop/140971/sector/banking-and-insurance/desjardins-announces-identity-theft-protection-members/
https://www.newswire.ca/news-releases/privacy-breach-desjardins-announces-identity-theft-protection-for-all-caisse-members-888333022.html
https://www.cbc.ca/news/canada/montreal/desjardins-data-breach-protection-1.5212030
Gay Lea Foods Co-op Receives $16.9 Million in Government Support
The Canadian government is funding the expansion of Gay Lea Foods co-operative. Ministers say the project aligns with their recently announced Rural Economic Development Strategy with the dairy sector playing an important role in Canada's economy.
With the funds recieved, Gay Lea Foods will support the acquisition and installation of advanced processing equipment and systems. This innovative processes and equipment will minimise by-product waste and reduce environmental footprint. The technology will enable Gay Lea to advance its scientific and technical capability to produce new, high value milk products, particularly for the health food and nutraceutical markets.
https://www.thenews.coop/141165/sector/agriculture/gay-lea-foods-co-op-receives-ca-16-9m-canadian-government/
https://www.newswire.ca/news-releases/government-of-canada-invests-in-dairy-co-operative-to-modernize-equipment-and-help-grow-markets-842093803.html
https://www.realagriculture.com/2019/07/gay-lea-foods-receives-16-9-million-for-upgrades-and-expansion/
United Farmers of Alberta Co-operative is investing in community
The United Farmers of Alberta Co-operative will be giving $500,000 over the next five years to non-profits and community groups in rural Alberta.
Harvey Hagman, chair of the foundation's board, said, "This money is intended for our rural communities and now that we have a process in place, this will assist with the sustainability of our rural communities for many years to come."
Applications are being accepted until Aug. 31. All projects must align with one of the three funding categories: recreational, education events and activities or cultural facilities and programs. For more information, go to the Rural Communities Foundation website.
https://www.albertafarmexpress.ca/2019/07/24/united-farmers-of-alberta-community-grants-now-available/
Platform Co-op for British Sign Language Services
A new platform co-op for British sign language interpreters and translators was created in the United Kingdom. The co-op is named SignCo, and it's a response downward pressure on fees. Members will include service users as well and interprisets.
https://www.thenews.coop/141130/sector/health/platform-co-op-set-bsl-interpreters-service-users/
Barack Obama is coming to Halifax mark the 70th anniversary of the Nova Scotia Co-operative Council
Former United States president Barack Obama will speak, Nov 13th, in Halifax. He is there to help celebrate the 70th anniversary of the Nova Scotia Co-operative Council, a group that supports co-ops and credit unions in the region.
Mike Leonard, senior vice-president of the Atlantic Central credit union said of the event, "President Obama was renowned for his ability to galvanize communities and bring communities together. And when you think of who we want to be, I can't think of a better person to spend time with us."
https://www.cbc.ca/news/canada/nova-scotia/barack-obama-president-united-states-halifax-nova-scotia-co-operative-council-1.5178370
By Sandy Goldman|2019-07-31T15:59:22-07:00July 31st, 2019|News|0 Comments


Alipore is India's oldest formally stated zoological park and a big tourist attraction in Kolkata, West Bengal. It has been open as a zoo since 1876. The zoo is located next to river Ganges and very near to race course and police training school and opposite to the famous hotel Taj. One of the most popular tourist attractions in Kolkata, it draws huge crowds during the winter season, especially during December and January. The highest attendance till date was on December 25, 2016 with 81,000 visitors.
The zoo is well connected by bus with Howrah and Sealdah train stations. Bus routes from Howrah: Sakherbazar & Thakurpukur mini bus Bus routes from Sealdah: 235 Bus routes from Esplanade: 77a, SD9, SD9/1, Sakherbazar & Thakurpukur mini bus.
Opening time & Closing time :- 24 November to 23 December10am3.30pm Sun 24 December10am3pm Christmas Day & Boxing Day Closed Closed Wed 27 December - Sun 31 December10am3.30pm.
Santiniketan is a small town near Bolpur in the Birbhum district of West Bengal.
It was established by Maharshi Devendranath Tagore, and later expanded by his son Rabindranath Tagore whose vision became what is now a university town, Visva-Bharati University.
Shantiniketan has become a major tourist spot because of its association with Rabindranath Tagore, one of India's and Bengal's greatest figures.
Rabindranath Tagore started Patha Bhavan the school of his ideals.
After he received the Noble Prize (1913), the school was expanded into a university. Many world famous teachers have become associated with it, and Indira Gandhi was one of its more illustrious students.
Darjeeling is a town in Indian state of West Bengal. It is located in the Lesser Himalayas at an elevation of 6,700 ft. It is noted for its tea industry, its spectacular views of the Kangchenjunga, the world's third-highest mountain, and the Darjeeling Himalayan Railway. It is also a popular tourist destination in India.


The Eat Drink SF is an event that will help to expose the great restaurants in San Francisco. Young talented chefs in San Francisco are featured in this event, giving us delicious and some very luxurious samples, foie gras from Hudson Valley Foie Gras, and the pricey caviar from Tsar Nicoulai. Some Wineries, breweries, and distilleries were also participants in this event. Also in the event were two very prominent chefs doing cooking demonstrations – Chef Dominque Crenn from Atelier Crenn and Chef Roland Passot from La Folie and Left Bank Restaurant. Chef Dominque Crenn focused on new cooking techniques in the event, from making tomato water, fermenting melon to vinegar and even the use of liquid nitrogen. While Chef Roland Passot prepared the classic seafood dish from Marseille, France- Bouillabaise. Both chefs gave advice on cooking techniques and also promoted and advocated to use seasonal local products. The master of ceremony was KTVU Channel 2 Sal Castaneda.


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[Nintendo Everything Podcast] – episode #63 – Nintendo "lied": Smash Bros. Direct, Byleth backlash
[Interview] Engine Software talks ports, working with Switch, challenges, more
[Let's Talk] What you want to see from Nintendo in 2020
Switch porting dev thinks the system will still thrive after PS5 and Xbox Series X launches
Super Smash Bros. Ultimate – Mr. Sakurai Presents "???" live stream
[Nintendo Everything Podcast] – episode #62 – The Pokemon Direct DLC Toxicity Spectacular!
Furukawa talks Nintendo's future, employees, Google Stadia, new technology, making the impossible possible, much more
[Let's Talk] Pokemon Direct – January 2020 reactions
The greatest bad games ever: Monster Hunter Tri
Posted on May 31, 2010 by Austin(@NE_Austin) in Features
Most frustratingest game ever?
I really don't understand Monster Hunter Tri at all. Everything that makes logical sense about the game says that it should not be good: The controls are archaic, 80% of it is grinding, the single player has a lackluster story, it's unbearably frustrating, and it sucks up hours upon hours of your time to make any sort of significant progress in the game. Regardless, I have fallen so far in love with the game that I have spent all of my spare time playing it. I didn't have a feature up yesterday. Any idea why? Yes, it was Monster Hunter's fault. When I'm that addicted to a game, usually I can track the reasons why I love it. Zelda games, for instance, have fantastic gameplay, great atmosphere, and awesome level design. But Monster Hunter doesn't have very much going for it, yet, for some reason I can tell it is going to be a game I clock well over 100 hours into. It really is the greatest bad game I have ever played.
The first thing that stands out about Monster Hunter Tri is how difficult it is to control. Many of the issues with the camera in previous games were remedied with the release of the (wonderful) classic controller pro, but overall it's hard to argue that it is an easy to control title. I'm fairly certain that this difficulty in control was deliberate, because it makes the game incredibly difficult which is a stand-out feature of the title, but going by the standard idea of "good control", Monster Hunter is not what you'd put on the positive end of the spectrum. When you first get a hold on the game, you'll swing a great sword and miss about half the time because of how slow and lumbering it is, and each time you miss you become incredibly open to attack. This makes the game take a very precise, very mistake-free amount of skill to be good at, because once you miss once you could very well be hit by one attack which leaves you open for another attack and eventually death.
When someone asks me why I'm not a huge fan of RPG titles (yes, I don't really like them too much), I give them three reasons: The obnoxious random battles, all of the stat tracking, and the ridiculous amount of grinding there is. The latter of these reasons is, oddly enough, the biggest aspect of the Monster Hunter series and probably the thing you do most often in the game. Most of the time, you go around grinding against monsters simply because you want to get that next piece of armor, intending to use it against the big upcoming battle against some huge dragon or underwater beast. It's one of the most satisfying things to do in a game I've ever played, even though I hate it in darn near every other game I've had to do it in.
This is what I do to developers that make me grind. Usually.
Another thing that I general despise in video games is stat tracking, and having to deal with all of the nitty gritty details and numbers of armor and weapons. This is another thing that is entirely what Monster Hunter Tri is about. I have no idea what it is about the game, but it really should be a game that I completely hate, yet love more than most games I've played in recent months. I'm enthralled by the depth of the weapon and armor forging system, and I've barely unlocked any of the possible armor combinations and weapon upgrades. It's so much to pay attention to, yet none of it strikes me as boring by any means, which is a ridiculous rarity for me, as I tend to get bored very often with numbers and stat tracking.
Monster Hunter Tri is a rare, rare game for me. It's one that is completely opposite of the sort of things I enjoy in games, yet I spent 6 hours straight playing it online last night, and I've clocked 50 hours into the game with ease. Time simply flies when you play it, and more than anything I spend my time laughing and just plain having fun while I play it which I suppose is the real reason anyone plays games at all! It does call into question to effectiveness of the modern review system, though. If we go by all of the measurable aspects of a game, Monster Hunter should rate pretty low, but it really is a game that's much, much, much more than the sum of its parts, so how do we use the review system to rate such games? I'm not sure, but that's an issue best left to another feature on another week.
Arcade Archives XX Mission coming to Switch this week


August 19, 2011 // Franchising.com // MÉXICO, D.F. - IHG (InterContinental® Hotels Group) [LON: IHG, NYSE:IHG (ADRs)] and the Real Estate Group RICSHER, S.A. de C.V. have opened the doors to the new Crowne Plaza Tuxpan, Mexico.
"We're very excited to open this Crowne Plaza in Tuxpan, which is a growing market with a very strong tourism projection, since it will be the closest beach destination to Mexico City when the new Autopista Mexico-Tuxpan highway is completed," said Gerardo Murray, regional vice president, Sales and Marketing, Mexico, IHG. "With some of the largest meeting space in the market combined with our comprehensive meetings program, the hotel is ideal for meetings and conferences."
The Crowne Plaza Tuxpan is in a prime location situated on Carretera a La Barra Rd Km 6.5 in La Calzada neighborhood. The hotel is at the edge of the spectacular Tuxpan River, distinguished by the tranquility of its warm waters, and just five minutes from the beach. It also offers convenient access to the commercial and industrial area and is 40 minutes from the El Tajin airport.
The Crowne Plaza Tuxpan's contemporary style is a product of the young Veracruz architect José Luis Vázquez Cuellar. The hotel has 136 guestrooms, a grand luxurious Presidential Suite and one Imperial Suite, both equipped with a Jacuzzi for rest and relaxation. In addition, guestrooms are equipped with high-speed Internet access, voicemail, a work desk, ergonomic chair, LCD TV with satellite, direct dial telephone, safe, coffeemakers, hair dryer and vanity mirror.
The hotel has a club floor that offers a complimentary deluxe continental breakfast, wine and cheese during the evenings and a lounge with a large, comfortable social area. Other features include a gym, outdoor pool and children's pool. The hotel has three restaurants: Tambuco Restaurant, which is a parrilla offering cuisine cooked over a wood fire grill and the capacity for 167 guests; the exclusive Tanhuijo Bar with live music and seating for 120; and the original pool bar "Tochtli" on the river's edge.
For meeting planners and social events, the hotel offers the Tochpan Convention Center with seven meeting rooms that have the largest capacity in the region -- holding up to 1,700 people; and three boardrooms -- Tampamachoco, Tenechaco and Tabuco -- with a 10 to 49 person capacity. Crowne Plaza is The Place to MeetTM with the signature comprehensive meetings program that ensures a seamless planning process and exceptional meeting experience consisting of three key components: a Two-Hour Response Guarantee, a Crowne Meetings Director and a Daily Meetings Debrief.
Consistent with the Crowne Plaza brand, the hotel features the Crowne Plaza Sleep Advantage®, available at all Crowne Plaza hotels in the Americas. The dedicated Sleep Advantage program encompasses the entire sleep experience, from training staff on how to create and maintain a restful environment to providing innovative products and services. Program components include signature bedding, guaranteed wake-up calls, designated quiet zones, nightlights, drape clips and amenities such as eye masks, earplugs and lavender spray.
As the forth largest upscale hotel brand in the world, Crowne Plaza was recently recognized by Lodging Hospitality magazine as one of the industry's top-growing brands. Additionally, for the second consecutive year Business Travel News magazine announced Crowne Plaza as the No. 1 upscale brand as voted by travel buyers in its annual U.S. Hotel Chain Survey. As part of the IHG global portfolio, Crowne Plaza Hotels & Resorts has nearly 400 hotels in located in major urban centers, gateway cities and resort destinations across more than 56 countries.
For reservations at Crowne Plaza properties, visit http://www.crowneplaza.com/ or call 1-800-2CROWNE. Twitter www.twitter.com/crowne plaza or Facebook www.Facebook.com/crowneplaza.
Crowne Plaza participates in IHG's guest loyalty program, Priority Club® Rewards. The industry's first and largest guest loyalty program has nearly 60 million members globally. Priority Club Rewards membership is free and guests can enroll by logging on at http://www.priorityclub.com/, by calling 1-888-211-9874 or by inquiring at the front desk of this hotel or any of IHG's more than 4,400 hotels worldwide.
IHG has more than 1,100 hotels in its development pipeline and expects to recruit around 160,000 people worldwide over the next few years.


> Boxes are your friend. Try and put as many things in boxes as possible. This will make loading, unloading, and transportation much easier.
> Wrap all breakable items in non colored paper or wrapping. Newspaper and other print may bleed on to your belongings.
> Make a list of the contents of each box that you pack and attach them to the box. This will save you vast amounts of time in the long run.
> Use smaller boxes rather than a few larger boxes. It is much easier to make a second trip than try and maneuver an overly heavy box.
> Secure your boxes with strong tape. The last thing you want to happen is a box breaking during a move.
> Use garment bags. You can move an entire closet with a few garment bags and not have to worry about wrinkles or unwanted spots. Folding them in a box or taking them loose can be a big hassle.
> Know exactly where each of your items is going to be placed, especially furniture, before you move them. Changing your mind after you get there will just give you extra work.
> Leave the difficult to move items to professionals. Why over exert yourself with the possibility that you might not be able to finish the task or damage your items.
> Make sure you use a hand truck whenever possible, this will save lots of time and energy.
> Only trust reputable moving professionals. Saving a few dollars to have your neighbor's kids move your belongings might cost you a lot more in the long run. Have it done right the first time.


Michigan beef cattle producers have traditionally grazed cows through the summer months and then fed hay rations in confinement settings through the non-grazing days. It is a logical system that usually allows farmers to deal best with regions of heavy snowfall, access to barn shelter, automatic waterers and can be relatively time efficient. Another concept of feeding cows through the winter is to feed out in either hay or pasture fields. This concept is not necessarily new but is gaining popularity.
Feeding hay on fields during the winter months has many advantages and more farmers are using this method. Each farmer can weigh the benefits and drawbacks from feeding methods and manage accordingly. For more information regarding the impact of feeding hay on pasture and hay fields, contact Frank Wardynski, MSU Extension Educator at 906-884-4386 or wardynsk@anr.msu.edu.


This is Wren Ballard and Anderson Black's story.
Oh my! This story grabs you from the start. Wren and Anderson are both dealing with really difficult personal and emotional issues in their life. You can feel their emotions.
A great story that covers so many emotions. Be prepared to laugh and at times cry. I fell in love with Wren and Anderson. They are so perfect for each other. The chemistry and connection between them is really intense. They have been through so much and deserve a chance at love. Will they be able to work through their personal issues to take a chance on love?
A great book that's entertaining, sensual, and heartwarming! You just need to read it to experience all the emotions of the story.


At the time I lost my husband in 1989, I thought I wanted to die. I could not understand why people kept on about "…that's life…" when I was trying to come to terms with not having my soul-mate next to me in bed or sitting in the car. He was no longer sitting at the table telling me about the food we'd eaten, or that I was proposing to cook. One of our favourite bedtime routines was all about what we proposed having to eat the next day. For years we'd gone to bed with a favourite cookbook on my bedside table while Paul sipped his tipple – cognac poured from a decanter I'd had specially engraved with 'Paul's favourite tipple' on one face – as I trawled through dishes old or new while waiting for 'Mmmm that sounds good…or Mmmm interesting…or Mmmm that sounds worth a try. As a result of this unexpected cataclysm my weight plummeted as my appetite dwindled to nothing and even a glass of water often had dire consequences.
But the will to survive is stronger than we imagine. Somehow we do survive and life does assume some sort of normality. It does take time. I think I was in limbo for about two and a half years. I only know that I kept my daily journal and recorded all my thoughts, (even the murderous ones about those who had caused my husband's death) and my feelings. Now, twenty-six years later, I am ready to publish the book that records all the angst and humour of that cataclysmic year in Cyprus from August 1988 to August 1989.
We went to Cyprus on 10th August 1988, ostensibly to retire and take life a little easier, but we embarked upon a nightmare journey we were ill-prepared to take. A year later, on 2nd August 1989 Paul died as a result of near criminal negligence and greed on the part of Cypriot doctors while we were attempting to wrestle with being aliens in a foreign land at the mercy of developers and their agents whom we had foolishly believed we could trust.
And the ultimate finale? Well, that has played out in several ways. I completed the house we'd started. I even lived there for nine and a half years. Our grandchildren learned to swim in the pool designed for their grandfather, but in which he never swam and I did what everyone advised – '…stayed put…gave it a chance…tested the water…' But it didn't work. I was angry. I was evil-angry. I could see no good in Cyprus or its people. I had to return to my own country. So, I ended up in Wales, and here I have come to terms with all that happened. I have found a strength I never would have believed I possessed. Gradually the weight lifted and I learned that through helping others, I helped myself.
Among my therapies was refurbishing a house that needed lots of TLC and a garden to create out of a field. Perhaps the best thing was becoming a student of the Open University and climbing that steep learning curve that I thought I'd left behind fifty and more years ago as a student of London University. It has been tough and exhilarating. I wouldn't have missed it for the world. Next year Deo volente, I will celebrate my eightieth birthday and my OU degree, and who knows, perhaps the publishing of that book that has been so long in gestation.
This entry was posted in Postings and tagged blogging, blogs, broken promises, comment, Cyprus, life around us, thoughts, views.
Yes! Go for it! If I did it, so can you!
Bless you, and thank you for reading and commenting.
Wow. Thanks for sharing this. It is truly inspiring.
Thank you so much for taking the time and trouble to read and comment.


If you bought or sold an Austin Texas home last year you know that it was a big year for Real Estate in Austin but we didn't really know how big it was until recently when the Austin Board of Realtors (ABoR) published a new report with statistics which showed that the local Real Estate market hit all time high numbers for home sales during 2015, especially in the month of December.
Where does the local Real Estate market go from here?
There's no denying that the fast growing Austin Real Estate market is a good thing for homeowners since they are seeing excellent home price appreciation but the reality is that Austin is definitely seeing some challenges in the Real Estate market right now including low housing inventory and rising home prices which are making it difficult for buyers to find homes for sale in Austin.
The solution to the problem is that we obviously need more homes come to market and new home construction to increase housing inventory but until that happens home buyers will have some challenges ahead of them when it comes to finding the home that they really want and having their offers accepted since it's a sellers-market right now.
Consider waiving your home inspection contingency.
Offer to rent the home back to the seller until they are able to buy another home.
Don't ask the seller to include a lot of concessions in the sale of their home.
To learn more about some of the things you should do to make your offer stand out when buying an Austin home, or to view homes for sale in Austin, contact the Kent Redding Group today by calling us at (512) 306-1001 or click here to connect with us online.


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United Way still looking for winter clothing as part of Koats for Kids campaign
The United Way has already given out thousands of winter clothing items as part of its Koats for Kids program, but more donations are still needed.
Melissa Burgess, the senior manager of engagement initiatives with the United Way, said so far they have given away more than 4,000 winter coats, 2,000 pairs of boots and countless ski pants, mitts, hats and scarfs.
Despite high numbers of donated items already, Burgess said more is needed.
"At this time, we are in desperate need of boots," said Burgess. "So we are looking for boots for kids and adults of all sizes, so ranging from toddlers all the way to adults."
Ski pants are also needed for all ages and Burgess said they are looking for good waterproof mitts and gloves so kids can play in the snow without getting their hands wet.
She said it is so important for people to donate what they can.
"We all know Winnipeg has long and cold winters. In order for kids to get to school safely, to play outside and have fun, we need to make sure that they have the gear."
If people are looking to donate items, they can be dropped at any Winnipeg Fire Paramedic stations, AMJ Campbell, Perth's, Access Story and Toys R' Us locations.
BREAKING | Canada loaning $120M to Ukraine in face of Russian aggression
Canada will loan the Ukraine government up to $120 million in the face of Russia's ongoing attempts to destabilize Ukraine, Prime Minister Justin Trudeau announced Friday.
A 13-year-old boy has been charged with second-degree murder in connection with the fatal shooting of a fellow teen in East York earlier this week.
Quebec COVID-19 hospitalizations drop for second day in a row with 60 fewer