Jeana Tomasino Bio
Jeana Tomasino is an American glamour model, actress, television personality, and realtor. Born Jeana Ellen Myers on September 18, 1955, in Milwaukee, Wisconsin, she has also been credited as Jeana Ellen Keough, Jeana Keough, and Jeana Tomasina. Playboy named her its November 1980 Playmate at 25. Her appearance came during Playboy's polished, high-production 1980s period.
Tomasino has enhanced breasts, green eyes and brown hair. Her measurements are 34-23-33.
Tomasino reached a wider audience not through a single magazine spread but by appearing in motion. Her casting as one of the three principal muses in ZZ Top’s early‑80s videos — notably “Legs,” “Sharp Dressed Man” and “Gimme All Your Lovin’” — placed her squarely in the era’s rapid visual shorthand: a brief, repeatable image that television and MTV could loop into memory. Those clips, lean on narrative and heavy on style, turned several models into recurring faces of the decade; for Tomasino it was a form of visibility that outlived any single issue.
Those music‑video turns were complemented by work in video formats tied to the magazine world itself. In 1983 she appeared in Playboy Video Magazine, Vol. 4, a project that preserved the magazine’s aesthetic for an audience that was migrating from glossy pages to television sets and videotapes. Over the years she has returned to the brand in promotional settings, keeping a professional connection to the publication’s promotional orbit without letting it define every next step.
Television offered a more extended stage. Tomasino later joined the cast of The Real Housewives of Orange County, where repeated appearances turned moments of personal life and social choreography into a longer, episodic presence. Reality television extended the public conversation around her beyond fashion and music videos, placing her in a different kind of household rotation.
Across music video, branded video work and reality TV, Tomasino’s career reads as a series of portable images adapted to new screens. She moved between formats at moments when each medium offered a particular kind of exposure, and the record that remains is less a single headline credit than a string of recognizable moments audiences could spot and replay.
