In Popular Culture
- In one of his numerous fictional back-page biographical sketches, Harlan Ellison claimed to be "writing a biography of Bettie Page for young adults".
- Alternative country band BR5-49 recorded an ode to Page named "Bettie, Bettie" on their 1996 debut EP Live From Robert's. In interviews, Page stated that this was her favorite of the songs written about her.
- The Jazz Butcher included the song "Just Like Betty Page" on the 1984 album, A Scandal in Bohemia, using Page for a simile in the chorus "You have me/As far as I can see/roped and trussed just like dear Betty Page."
- The BD-3000 luxury droid in Star Wars Episode III: Revenge of the Sith was inspired by Bettie Page.
- Beyoncé Knowles pays homage to Bettie Page in her music video for "Video Phone".
- Swedish concept band DC-Pöbeln (a.k.a. Dagcenterpöbeln) from Örebro put Bettie Page on the cover of their only record Bettan/Dödgrävaren in 1985.
- In Quentin Tarantino's film Death Proof, Rosario Dawson pays homage to Page with her trademark haircut.
- In Seattle, Washington, a homeowner became the subject of a short-lived controversy when he had an artist friend paint a large mural of Page on the side of his home. The mural is visible from Interstate 5, just south of the 65th Street exit.
- In Suda51's video game "Lollipop Chainsaw," a pre-order downloadable outfit took inspiration from Bettie Page as a pinup girl outfit, and included her signature haircut with bangs.
- For its Polynesian-inspired Spring-Summer 2011 ready-to-wear collection, French fashion house Christian Dior styled the hair of its models with Betty Page as inspiration.
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Famous quotes containing the words popular and/or culture:
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“Both cultures encourage innovation and experimentation, but are likely to reject the innovator if his innovation is not accepted by audiences. High culture experiments that are rejected by audiences in the creator’s lifetime may, however, become classics in another era, whereas popular culture experiments are forgotten if not immediately successful. Even so, in both cultures innovation is rare, although in high culture it is celebrated and in popular culture it is taken for granted.”
—Herbert J. Gans (b. 1927)