Rosie the Riveter tools. These tools for scribing rivets on plastic models are extremely easy to use and useful on all types of plastic model kits and craft projects in 1/72, 1/48, 1/32 and similar scales. There are six Single Wheel tools available with the following tooth (rivet) pitches: 1.00, 0.75, 0.65, 0.55, 0.50 and 0.40mm. A history of how Rosie the Riveter came to be, and why the famous poster continues to be so iconic. Rosie the Riveter was a fictional character featured in a propaganda campaign created by the U.S. Government to encourage white middle-class women to work outside the. Once a Propaganda Tool.

1. Rosie The Riveter Tools For Working Out
2. Rosie The Riveter History Channel
3. Rosie The Riveter Poster

Rosie the Riveter was a fictional character featured in a propaganda campaign created by the U.S. government to encourage white middle-class women to work outside the home during World War II.

Although frequently associated with the contemporary women's movement, Rosie the Riveter was not supposed to promote change or enhance the role of women in society and the workplace in the 1940s. Instead, she was meant to represent the ideal female worker and help fill the temporary industrial labor shortage caused by the combination of fewer male workers (due to the draft and/or enlistment) and increased production of military equipment and supplies.

Celebrated in Song

According to Emily Yellin, author of Our Mothers' War: American Women at Home and at the Front During World War II (Simon & Shuster 2004), Rosie the Riveter first appeared in 1943 in a song by a male singing group called The Four Vagabonds. Rosie the Riveter was described as putting other girls to shame because 'All day long whether rain or shine/She's part of the assembly line/She's making history working for victory' so that her boyfriend Charlie, fighting overseas, can someday come home and marry her.

Celebrated in Pictures

The song was soon followed by a rendering of Rosie by noted illustrator Norman Rockwell on the May 29, 1943 cover of The Saturday Evening Post. This brawny and unglamorous portrayal was later followed by a more glamorous and colorful depiction with Rosie wearing a red bandanna, decidedly feminine features and the phrase 'We Can Do It!' in a speech balloon above her trim figure. It is this version, commissioned by the U.S. War Production Coordinating Committee and created by artist J. Howard Miller, that has become the iconic image associated with the phrase 'Rosie the Riveter.'

Once a Propaganda Tool

According to the National Parks Service, the propaganda campaign focused on several themes in order to entice these specific women to work:

• Patriotic duty
• High earnings
• Glamour of work
• Similar to housework
• Spousal pride

Each theme had its own rationale as to why women should work during wartime.

Patriotic Duty
The patriotism angle offered up four arguments as to why women workers were essential to the war effort. Each one subtly heaped blame on a woman who was capable of working but for whatever reason chose not to:

1. The war would end sooner if more women worked.
2. More soldiers would die if women didn't work.
3. Able-bodied women who didn't work were seen as slackers.
4. Women who avoided work were equated with men who avoided the draft.

High Earnings
Although the government saw merit in luring unskilled women (with no work experience) with the promise of a fat paycheck, the approach was regarded as a double-edged sword. There was a real fear that once these women started earning a weekly paycheck, they would overspend and cause inflation. Florida life health and variable annuity study manual for drivers license.

Glamour of Work
To overcome the stigmas associated with physical labor, the campaign portrayed women workers as glamorous. Working was the fashionable thing to do, and the implication was that women need not worry about their appearance as they would still be seen as feminine underneath the sweat and grime.

Same as Housework
To address the fears of women who perceived factory work as dangerous and difficult, the government propaganda campaign compared housework to factory work, suggesting that most women already possessed the necessary skills to get hired. Although war work was described as easy enough for women, there was concern that if the work were seen as too easy, women might not take their jobs seriously.

Spousal Pride
Since it was widely believed that a woman would not consider working if her husband objected to the idea, the government propaganda campaign also addressed the concerns of men. It emphasized that a wife who worked did not reflect poorly on her husband and did not indicate he was unable to adequately provide for his family. Instead, men whose wives worked were told they should feel the same sense of pride as those whose sons enlisted.

Now a Cultural Icon

Oddly enough, Rosie the Riveter has emerged as a cultural icon, gaining greater significance over the years and evolving far beyond her original purpose as a recruitment aid to attract temporary female workers during wartime.

Although later adopted by women's groups and proudly embraced as a symbol of strong independent women, the Rosie the Riveter image was never intended to empower women. Her creators never meant for her to be anything other than a temporarily displaced homemaker whose only purpose was to support the war effort. It was largely understood that Rosie worked solely to 'bring the boys home' and would eventually be replaced when they returned from overseas, and it was a given that she'd resume her domestic role as housewife and mother without complaint or regret. And that's exactly what happened for the vast majority of women who worked to fill a wartime need and then, once the war was over, were no longer needed or even wanted in the workplace.

A Woman Before Her Time

It would take another generation or two for Rosie's 'We Can Do It!' sense of determination to emerge and empower women workers of all ages, backgrounds, and economic levels. Yet for the brief time she captured the imaginations of white middle-class women who yearned to follow in the footsteps of this heroic, patriotic, and glamorous female figure doing a man's job, she paved the way for gender equity and greater gains for women throughout our society in the decades ahead.

Rosie the Riveter is a cultural icon of World War II, representing the women who worked in factories and shipyards during World War II, many of whom produced munitions and war supplies.^[1][2] These women sometimes took entirely new jobs replacing the male workers who joined the military. Rosie the Riveter is used as a symbol of American feminism and women's economic advantage.^[3] Similar images of women war workers appeared in other countries such as Britain and Australia. The idea of Rosie the Riveter originated in a song written in 1942 by Redd Evans and John Jacob Loeb. Images of women workers were widespread in the media as government posters, and commercial advertising was heavily used by the government to encourage women to volunteer for wartime service in factories.^[4]Rosie the Riveter became the subject and title of a Hollywood movie in 1944.

• 1History
• 2Impact
• 5Images
• 7References

History[edit]

Women in the wartime workforce[edit]

Because the world wars were total wars, which required governments to utilize their entire populations for the purpose of defeating their enemies, millions of women were encouraged to work in the industry and take over jobs previously done by men. During World War I women across the United States were employed in jobs previously done by men. World War II was similar to World War I in that massive conscription of men led to a shortage of available workers and therefore a demand for labor which could be fully filled only by employing women.Nearly 19 million women held jobs during World War II. Many of these women were already working in a lower paying job or were returning to the work force after being laid off during the depression. Only three million new female workers entered the workforce during the time of the war.^[5] Although most women took on male dominated trades during World War II, they were expected to return to their everyday housework once men returned from the war. Government campaigns targeting women were addressed solely at housewives, likely because already-employed women would move to the higher-paid 'essential' jobs on their own,^[6] or perhaps because it was assumed that most would be housewives.^[7] One government advertisement asked women: 'Can you use an electric mixer? If so, you can learn to operate a drill.'^[8]:160Propaganda was also directed at their husbands, many of whom were unwilling to support such jobs.^[9]

Many of the women who took jobs during World War II were mothers. Those women with children at home pooled together in their efforts to raise their families. They assembled into groups and shared such chores as cooking, cleaning and washing clothes. Many who did have young children shared apartments and houses so they could save time, money, utilities and food. If they both worked, they worked different shifts so they could take turns babysitting. Taking on a job during World War II made people unsure if they should urge the women to keep acting as full-time mothers, or support them getting jobs to support the country in this time of need. Being able to support the soldiers by making all different products made the women feel very accomplished and proud of their work. Over 6 million women got war jobs; African American, Hispanic, White, and Asian women worked side by side.^[10] In the book A Mouthful of Rivets Vi Kirstine Vrooman shares about the time when she decided to take action and become a riveter. She got a job building B-17s on an assembly line, she shares just how exciting it was saying, 'The biggest thrill — I can't tell you — was when the B-17s rolled off the assembly line. You can't believe the feeling we had. We did it!'^[11] Once women accepted the challenge of the workforce they continued to make strong advances towards equal rights.

In 1944, when victory seemed assured for the United States, government-sponsored propaganda changed by urging women back to working in the home. Later, many women returned to traditional work such as clerical or administration positions, despite their reluctance to re-enter the lower-paying fields.^[12] However, some of these women continued working in the factories. The overall percentage of women working fell from 36% to 28% in 1947.^[13]

The song[edit]

The term 'Rosie the Riveter' was first used in 1942 in a song of the same name written by Redd Evans and John Jacob Loeb. The song was recorded by numerous artists, including the popular big band leader Kay Kyser, and it became a national hit.^[14] The song portrays 'Rosie' as a tireless assembly line worker, who earned a 'Production E' doing her part to help the American war effort.^[15] The name is said to be a nickname for Rosie Bonavita who was working for Convair in San Diego, California.^[16][17][18] The idea of Rosie resembled Veronica Foster, a real person who in 1941 was Canada's poster girl for women in the war effort in 'Ronnie, the Bren Gun Girl.'^[19]

All the day long, whether rain or shineShe's a part of the assembly lineShe's making history, working for victory--Rosie, brrrrrr, the riveter.

Keeps a sharp lookout for sabotageSitting up there on the fuselage.That little frail can do more than a male can do--Rosie, brrrrrr, the riveter.

Rosie's got a boyfriend, Charlie.

Charlie, he's a Marine.

Rosie is protecting Charlie, workin' overtime on the riveting machine.

When they gave her a production 'E,'she was as proud as a girl could be!

There's something true about--red, white, and blue about--Rosie, brrrr, the riveter.^[20]

The individual who was the inspiration for the song was Rosalind P. Walter, who 'came from old money and worked on the night shift building the F4U Corsair fighter.' Later in life Walter was a philanthropist, a board member of the WNET public television station in New York and an early and long-time supporter of the Charlie Rose interview show.^[21]

Rosie the Riveter became most closely associated with another real woman, Rose Will Monroe, who was born in Pulaski County, Kentucky^[22][23][24] in 1920 and moved to Michigan during World War II. She worked as a riveter at the Willow Run Aircraft Factory in Ypsilanti, Michigan, building B-24 bombers for the U.S. Army Air Forces. Monroe was asked to star in a promotional film about the war effort at home. The song 'Rosie the Riveter' was popular at the time,^[2] and Monroe happened to best fit the description of the worker depicted in the song.^[25] 'Rosie' went on to become perhaps the most widely recognized icon of that era. The films and posters she appeared in were used to encourage women to go to work in support of the war effort. At the age of 50, Monroe realized her dream of flying when she obtained a pilot's license. In 1978, she crashed in her small propeller plane when the engine failed during takeoff. The accident resulted in the loss of one kidney and the sight in her left eye, and ended her flying career. She died from kidney failure on May 31, 1997, in Clarksville, Indiana where she was a resident, at the age of 77.^[14]

A drama film, Rosie the Riveter, was released in 1944, borrowing from the Rosie theme.

Impact[edit]

During the Second World War[edit]

According to the Encyclopedia of American Economic History, 'Rosie the Riveter' inspired a social movement that increased the number of working American women from 12 million to 20 million by 1944, a 57% increase from 1940.^{[citation needed]} By 1944 only 1.7 million unmarried men between the ages of 20 and 34 worked in the defense industry, while 4.1 million unmarried women between those ages did so.^[26] Although the image of 'Rosie the Riveter' reflected the industrial work of welders and riveters during World War II, the majority of working women filled non-factory positions in every sector of the economy. What unified the experiences of these women was that they proved to themselves (and the country) that they could do a 'man's job' and could do it well.^[27] In 1942, just between the months of January and July, the estimates of the proportion of jobs that would be 'acceptable' for women was raised by employers from 29 to 85%.^{[citation needed]} African American women were some of those most affected by the need for women workers.^{[citation needed]} It has been said that it was the process of whites working alongside blacks during the time that encouraged a breaking down of social barriers and a healthy recognition of diversity.^[27]

Postwar[edit]

Women quickly responded to Rosie the Riveter, who convinced them that they had a patriotic duty to enter the workforce. Some claim that she forever opened the work force for women, but others dispute that point, noting that many women were discharged after the war and their jobs were given to returning servicemen.^[28] These critics claim that when peace returned, few women returned to their wartime positions and instead resumed domestic vocations or transferred into sex-typed occupations such as clerical and service work.^[29] For some, World War II represented a major turning point for women as they eagerly supported the war effort, but other historians emphasize that the changes were temporary and that immediately after the war was over, women were expected to return to traditional roles of wives and mothers. A third group has emphasized how the long-range significance of the changes brought about by the war provided the foundation for the contemporary woman's movement.^[30]Leila J. Rupp in her study of World War II wrote 'For the first time, the working woman dominated the public image. Women were riveting housewives in slacks, not mother, domestic beings, or civilizers.'^[31]

After the war, as the nation shifted to a time of peace, women were quickly laid off from their factory jobs.^[32] The 'Rosies' and the generations that followed them knew that working in the factories was in fact a possibility for women, even though they did not reenter the job market in such large proportions again until the 1970s. By that time factory employment was in decline all over the country.^[33]

Elinor Otto, known as 'Last Rosie the Riveter' built airplanes for 50 years, retiring at age 95.^[34]

Homages[edit]

According to Penny Colman's Rosie the Riveter, there was also, very briefly, a 'Wendy the Welder' based on Janet Doyle, a worker at the Kaiser Richmond Liberty Shipyards in California, and 'Julie the Janitor' based on Julie Wixon, a worker at Eastern Illinois University.^[35]

In the 1960s, Hollywood actress Jane Withers gained fame as 'Josephine the Plumber', a character in a long-running and popular series of television commercials for 'Comet' cleansing powder that lasted into the 1970s. This character was based on the original 'Rosie' character.^[36]

One of Carnival Cruise Line's ships, the Carnival Valor, has a restaurant located on the lido deck named Rosie's Restaurant. The restaurant is mostly a tribute to Rosie, but also contains artwork depicting other war-related manufacturing and labor.

In 2010, singer Pink paid tribute to Rosie by dressing as her for a portion of the music video for the song 'Raise Your Glass'.

The 2013 picture book Rosie Revere, Engineer by Andrea Beaty, features Rosie as 'Great Great Aunt Rose' who 'Worked building aeroplanes a long time ago'. She inspires Rosie Revere, the young subject of the book, to continue striving to be a great engineer despite early failures. Rose is shown wielding a walking stick made from riveted aircraft aluminum.^[37]

Singer Beyoncé Knowles paid tribute to Rosie in July 2014, dressing as the icon and posing in front of a 'We Can Do It!' sign identical to the original one often mistaken as part of the Rosie campaign. It garnered over 1.15 million likes, but sparked minor controversy when newspaper The Guardian criticized it.^[38]

Other recent cultural references include a 'Big Daddy' enemy type called 'Rosie' in the video game BioShock,^[39] armed with a rivet gun. There is a DC Comics character called Rosie The Riveter, who wields a rivet gun as a weapon (first appearing in Green Lantern vol. 2 No. 176 (May 1984)). In the video game Fallout 3 there are billboards featuring 'Rosies' assembling atom bombs while drinking Nuka-Cola. Of the female hairstyles available for player characters in the sequel, one is titled 'Wendy the Welder' as a pastiche.

In November 2016 the cartoon Rusty Rivets co-starred Ruby Ramirez, who wears a red sash with white dots around her head resembling Rosie's.

In 2018, MGA Entertainment released a L.O.L. Surprise doll called Can Do Baby who resembles Rosie the Riveter and is inspired by the We Can Do It poster.

Recognition[edit]

The Life and Times of Rosie the Riveter by Connie Field is a 65-minute documentary from 1980 that tells the story of women's entrance into 'men's work' during WWII. Rosies of the North is a 1999 National Film Board of Canada documentary film about Canadian 'Rosies,' who built fighter and bomber aircraft at the Canadian Car and Foundry,^[40] where Elsie MacGill was also the Chief Aeronautical Engineer.

John Crowley's 2009 historical novel Four Freedoms covers the wartime industries, and studies the real working conditions of many female industrial workers. 'Rosie the Riveter' is frequently referenced.

On October 14, 2000, the Rosie the Riveter/World War II Home Front National Historical Park was opened in Richmond, California, site of four Kaiser shipyards, where thousands of 'Rosies' from around the country worked (although ships at the Kaiser yards were not riveted, but rather welded).^[41] Over 200 former Rosies attended the ceremony.^[42][43][2]

Also in 2014 a nationwide program, run by the organization Thanks! Plain and Simple, was founded to encourage cities to pick a project that 'Rosies' can do with younger generations, in order to educate young people about women's roles in World War II, and to involve the 'Rosies', many of whom have become isolated as they have gotten older, in community projects.^[44]

The name and logo of the Metropolitan Riveters, one of the founding members of the National Women's Hockey League, are inspired by the character of Rosie The Riveter.

The Rose City Riveters is the fan club for the Portland Thorns Football Club, a National Women's Soccer League team in Portland, Oregon, a.k.a. The Rose City. They have taken their inspiration (and their name) from the 30,000 women who worked in the Portland shipyards in Portland during World War II.^[45]

Images[edit]

Westinghouse poster[edit]

Rosie The Riveter Tools For Working Out

In 1942, Pittsburgh artist J. Howard Miller was hired by the Westinghouse Company's War Production Coordinating Committee to create a series of posters for the war effort. One of these posters became the famous 'We Can Do It!' image, an image that in later years would also be called 'Rosie the Riveter' although it had never been given that title during the war. Miller is thought to have based his 'We Can Do It!' poster on a United Press International wire service photograph taken of a young female war worker, widely but erroneously reported as being a photo of Michigan war worker Geraldine Hoff (later Doyle).^[46] More recent evidence indicates that the formerly-misidentified photo is actually of war worker Naomi Parker (later Fraley) taken at Alameda Naval Air Station in California.^{[47][48][49][50]} The 'We Can Do It!' poster was displayed only to Westinghouse employees in the Midwest during a two-week period in February 1943, then it disappeared for nearly four decades. During the war, the name 'Rosie' was not associated with the image, and the purpose of the poster was not to recruit women workers but to be motivational propaganda aimed at workers of both sexes already employed at Westinghouse. It was only later, in the early 1980s, that the Miller poster was rediscovered and became famous, associated with feminism, and often mistakenly called 'Rosie the Riveter'.^{[51][52][53][54]}

Saturday Evening Post[edit]

Norman Rockwell's image of 'Rosie the Riveter' received mass distribution on the cover of the Saturday Evening Post on Memorial Day, May 29, 1943. Rockwell's illustration features a brawny woman taking her lunch break with a rivet gun on her lap and beneath her penny loafer a copy of Adolf Hitler's manifesto, Mein Kampf. Her lunch box reads 'Rosie'; viewers quickly recognized that to be 'Rosie the Riveter' from the familiar song.^[56] Rockwell, America's best-known popular illustrator of the day, based the pose of his 'Rosie' on that of Michelangelo's 1509 painting Prophet Isaiah from the Sistine Chapel ceiling. Rosie is holding a ham sandwich in her left hand, and her blue overalls are adorned with badges and buttons: a Red Cross blood donor button, a white 'V for Victory' button, a Blue Star Mothers pin, an Army-Navy E Service production award pin, two bronze civilian service awards, and her personal identity badge.^[57] Rockwell's model was a Vermont resident, 19-year-old Mary Doyle, who was a telephone operator near where Rockwell lived, not a riveter. Rockwell painted his 'Rosie' as a larger woman than his model, and he later phoned to apologize.^[57] In a post interview, Mary explained that she was actually holding a sandwich while posing for the poster and that the rivet-gun she was holding was fake, she never saw Hitler's copy of Mein Kampf, and she did have a white handkerchief in her pocket like the picture depicts.^[58] The Post's cover image proved hugely popular, and the magazine loaned it to the U.S. Treasury Department for the duration of the war, for use in war bond drives.^[59]

After the war, the Rockwell 'Rosie' was seen less and less because of a general policy of vigorous copyright protection by the Rockwell estate. In 2002, the original painting sold at Sotheby's for nearly $5 million.^[59] In June 2009 the Crystal Bridges Museum of American Art in Bentonville, Arkansas acquired Norman Rockwell's iconic Rosie the Riveter painting for its permanent collection from a private collector.^[60]

In late 1942, Doyle posed twice for Rockwell's photographer, Gene Pelham, as Rockwell preferred to work from still images rather than live models. The first photo was not suitable because she wore a blouse rather than a blue work shirt. In total, she was paid $10 for her modeling work (equivalent to $145 in 2018). In 1949 she married Robert J. Keefe to become Mary Doyle Keefe. The Keefes were invited and present in 2002 when the Rockwell painting was sold at Sotheby's.^[61]

In an interview in 2014, Keefe said that she had no idea what impact the painting would have. 'I didn't expect anything like this, but as the years went on, I realized that the painting was famous,' she said. Keefe died on April 21, 2015, in Connecticut at the age of 92.^[62]

See also[edit]

• Canary girl—British women working in munitions
• Ronnie the Bren Gun Girl—the earlier^[63] Canadian equivalent
• Ruby Loftus Screwing a Breech Ring, a 1943 painting showing a female British war worker
• Woman's Land Army of America ('farmettes')
• Women's Land Army—British farm workers ('land girls')

References[edit]

1. ^Rosie's proud of her band of sistersArchived December 27, 2011, at the Wayback Machine by Kevin Cullen, Seattle Times, May 30, 2004
2. ^ ^abcSheridan Harvey (August 1, 2006). ''Rosie the Riveter: Real Women Workers in World War II' (Transcript of video presentation)'. Library of Congress. Archived from the original on March 11, 2011. Retrieved August 14, 2007.Cite uses deprecated parameter deadurl= (help)
3. ^Switky, W. Raymond Duncan, Barbara Jancar-Webster, Bob (2008). World Politics in the Twenty-first Century Brief (Student choice ed.). Boston: Houghton Mifflin College Div. p. 268. ISBN978-0-547-05634-0.
4. ^Tawnya J. Adkins Covert, Manipulating Images: World War II Mobilization of Women through Magazine Advertising (2011)
5. ^Keene, Jennifer; Cornell, Saul; O'Donnell, Edward (2013). Visions of America, A History of the United States (2 ed.). Pearson Education Inc. pp. 697–698. ISBN9780205092666.
6. ^Leila J. Rupp, Mobilizing Women for War, p 142, ISBN0-691-04649-2
7. ^Maureen Honey, Creating Rosie the Riveter: Class, Gender and Propaganda during World War II, p 24, ISBN0-87023-453-6
8. ^Kennett, Lee (1985). For the duration.. : the United States goes to war, Pearl Harbor-1942. New York: Scribner. ISBN0-684-18239-4.
9. ^Emily Yellin, Our Mothers' War, p 45 ISBN0-7432-4514-8
10. ^'We Can Do It!'. connection.ebscohost.com. Archived from the original on November 30, 2016. Retrieved November 29, 2016.Cite uses deprecated parameter deadurl= (help)
11. ^Wise (1994). A Mouthful of Rivets: Women at Work in World War II. San Francisco: Jossey- Bass. ISBN9781555427030. 'The biggest thrill- I can't tell you- was when the B-17s rolled off the assembly line. You can't believe the feeling we had. We did it!'
12. ^Maureen Honey, Creating Rosie the Riveter: Class, Gender and Propaganda during World War II, p 23, ISBN0-87023-453-6
13. ^Keene, Jennifer; Cornell, Saul; O'Donnell, Edward (2013). Visions of America, A History of the United States (2 ed.). Pearson Education Inc. p. 698. ISBN9780205092666.
14. ^ ^abMarcano, Tony (June 2, 1997). 'Famed Riveter In War Effort, Rose Monroe Dies at 77'. The New York Times. Archived from the original on May 1, 2018.Cite uses deprecated parameter deadurl= (help)
15. ^'Rosie the Riveter: Real Women Workers in World War II'. Journeys and Crossings. Library of Congress. Archived from the original on October 9, 2009. Retrieved October 8, 2009.Cite uses deprecated parameter deadurl= (help)
16. ^Sickels, Robert (2004). The 1940s. Greenwood Publishing Group. p. 48. ISBN9780313312991. Retrieved 5 February 2013.
17. ^Young, William H.; Young, Nancy K. (2010). World War II and the Postwar Years in America: A Historical and Cultural Encyclopedia, Volume 1. ABC-CLIO. p. 606. ISBN9780313356520. Retrieved 5 February 2013.
18. ^Ambrose, Stephen E. (2001). The Good Fight: How World War II Was Won. Simon and Schuster. p. 42. ISBN9780689843617. Retrieved 5 February 2013.
19. ^'Ronnie the Bren Gun Girl'. Toronto Star. March 15, 2010. Archived from the original on March 9, 2014. Retrieved April 8, 2013.Cite uses deprecated parameter deadurl= (help)
20. ^https://www.youtube.com/watch?v=AE2z_N1fM5E Licensed to YouTube by AdRev for Rights Holder; BMG Rights Management, ASCAP, and 3 Music Rights Societies
21. ^Kaplan, David A., 'Why business loves Charlie Rose'Archived July 14, 2014, at the Wayback MachineFortune magazine, last updated September 28, 2009 10:04 pm ET. Retrieved September 2, 2010.
22. ^'Kentucky Department for Libraries and Archives – County of the Month: Pulaski County, Kentucky'. Kdla.ky.gov. Archived from the original on November 13, 2010. Retrieved April 9, 2011.Cite uses deprecated parameter deadurl= (help)
23. ^'Pulaski's Past Historical Preservation Society – The Original 'Rosie the Riveter' Rose Will (Leigh) Monroe'. Pulaskispast.com. Archived from the original on May 30, 2010. Retrieved January 15, 2012.Cite uses deprecated parameter dead-url= (help)
24. ^'Raia Honors 'Rosie The Riveters' For Their Efforts During WW II New York State Assembly'. Assembly.state.ny.us. December 7, 1941. Retrieved April 9, 2011.^{[permanent dead link]}
25. ^''Rosie the Riveter' star dead at 77'. Associated Press. June 2, 1997. Archived from the original on November 16, 2007. Retrieved August 14, 2007.
26. ^Starr, Kevin (2003). Embattled Dreams: California in War and Peace, 1940–1950. Oxford University Press. p. 129. ISBN0-19-516897-6.
27. ^ ^abWare, Susan. Modern American Women: A Documentary History. 2nd edition. Boston: McGraw-Hill, 2002.
28. ^Lapsansky-Werner, Emma J. United States History: Modern America. Boston, MA: Pearson Learning Solutions, 2011. Print. Pg 361 - 362
29. ^Maureen Honey, Creating Rosie the Riveter: Class, Gender, and Propaganda during World War II. Amherst. University of Massachusetts Press. 1984
30. ^Liftoff, Judy. Rosie the Riveter. Americans at War Ed. John Resch. Vol. 3. Detroit: Macmillan Reference USA, 2005. 171–174. 4 vols. Gale Virtual Reference Library. Gale Pepperdine University SCLEC April 13, 2010
31. ^Rupp, Leila J. (1978). Mobilizing Women for War: German and American Propaganda, 1939–1945. Princeton: Princeton U.P. ISBN0-691-04649-2.
32. ^Litoff, Judy Barrett (2005). Resch, John P. (ed.). 'Rosie the Riveter'. Americans at War. 3: 171–174.
33. ^Bureau of Labor Statistics (DOL) (1972). Occupational Employment Statistics, 1960-70(PDF) (Report). p. 1. Retrieved March 21, 2019.
34. ^Nittle, Nadra (October 25, 2014). ''Last Rosie the Riveter,' Elinor Otto of Long Beach, to be honored'. presstelegram.com. Press-Telegram: Veteran Affairs. Archived from the original on April 5, 2015. Retrieved March 31, 2015.Cite uses deprecated parameter deadurl= (help)
35. ^Colman, Penny (1995). Rosie the Riveter: Women Workers on the Home Front in World War II. Crown Publishers, Inc. New York. ISBN0-517-88567-0. Archived from the original on July 6, 2008.Cite uses deprecated parameter deadurl= (help)
36. ^Enderland, Ron (July 30, 2007). 'Josephine the Plumber'. I Remember JFK. Archived from the original on August 24, 2012. Retrieved November 3, 2012.Cite uses deprecated parameter deadurl= (help)
37. ^Beaty, Andrea. 'Rosie Revere, Engineer'. Archived from the original on May 6, 2015. Retrieved May 7, 2015.Cite uses deprecated parameter deadurl= (help)
38. ^Winson, Rebecca (July 23, 2014). 'Sorry Beyoncé, Rosie the Riveter is no feminist icon. Here's why'. The Guardian. Archived from the original on January 26, 2017. Retrieved April 6, 2015.Cite uses deprecated parameter deadurl= (help)
39. ^2K Staff. 'BEYOND THE SEA: The Beginnings Of BioShock's Big Daddy'. 2K Games. Archived from the original on August 17, 2016. Retrieved July 29, 2016.Cite uses deprecated parameter deadurl= (help)
40. ^'Rosies of the North'. Documentary film. National Film Board of Canada. 1999. Archived from the original on October 6, 2014. Retrieved October 3, 2014.Cite uses deprecated parameter deadurl= (help)
41. ^'Richmond Shipyards'. GlobalSecurity.org. Archived from the original on August 16, 2007. Retrieved August 14, 2007.Cite uses deprecated parameter deadurl= (help)
42. ^Brown, Patricia Leigh (October 22, 2000). 'Rosie the Riveter Honored in California Memorial'. The New York Times. Archived from the original on June 30, 2007. Retrieved August 14, 2007.Cite uses deprecated parameter deadurl= (help)
43. ^'About the Rosie the Riveter Memorial Design'. Rosie the Riveter Trust. Archived from the original on August 10, 2007. Retrieved August 14, 2007.Cite uses deprecated parameter deadurl= (help)
44. ^'Real-life 'Rosie the Riveter' women share their stories and philosophy'. Washington Post. Archived from the original on July 12, 2017.Cite uses deprecated parameter deadurl= (help)
45. ^'Women in the Shipyards'. oregonhistoryproject.org. Archived from the original on January 29, 2016. Retrieved May 6, 2018.Cite uses deprecated parameter deadurl= (help)
46. ^'Tale of two Rosie the Riveters untangled'. Lansing State Journal. Retrieved 2016-03-01.
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Sources[edit]

• Bourke-White, Margaret. 'Women In Steel: They are Handling Tough Jobs In Heavy Industry'. Life. August 9, 1943.
• Bowman, Constance. Slacks and Calluses – Our Summer in a Bomber Factory. Smithsonian Institution. Washington D.C. 1999. ISBN1560983876
• Bornstein, Anna 'Dolly' Gillan. Woman Welder/ Shipbuilder in World War II. Winnie the Welder History Project. Schlesinger Library, Radcliffe College. February 16, 2005.
• Campbell, D'Ann. Women at War with America: Private Lives in a Patriotic Era (Harvard University Press: 1984) ISBN0674954750
• Herman, Arthur. Freedom's Forge: How American Business Produced Victory in World War II, Random House, New York, 2012. ISBN978-1-4000-6964-4.
• Knaff, Donna B. Beyond Rosie the Riveter: Women of World War II in American Popular Graphic Art (University Press of Kansas; 2012) 214 pages; excerpt and text searchISBN9780700619665OCLC892062945
• Parker, Dana T. Building Victory: Aircraft Manufacturing in the Los Angeles Area in World War II, Cypress, CA, 2013. ISBN978-0-9897906-0-4.
• Regis, Margaret. When Our Mothers Went to War: An Illustrated History of Women in World War II. Seattle: NavPublishing, 2008. ISBN978-1-879932-05-0.
• 'Rosie the Riveter' Redd Evans and John Jacob Loeb. Paramount Music Corporation, 1942.
• Rosie the Riveter Collection, Rose State College, Eastern Oklahoma Country Regional History. Center. [Rosie the Riveter Collection, Rose State College] March 16, 2003.
• Ware, Susan. Modern American Women A Documentary History. McGraw-Hill:2002.184.
• Wise, Nancy Baker and Christy Wise. A Mouthful of Rivets: Women at Work in World War II. San Francisco: Jossey-Bass Publishers, 1994.
• Regional Oral History Office / Rosie the Riveter / WWII American Homefront Project The Regional Oral History Office at the Bancroft Library of the University of California, Berkeley features a collection of over 200 individual oral history interviews with men and women who worked on the home front during World War II.

External links[edit]

Rosie The Riveter History Channel

• Rosie the Riveter at History Channel's website.
• Thanks Plain and Simple, an online group of 'Rosies'
• The Life and Times of Rosie the Riveter movie^{[permanent dead link]}
• Oral history interview with Audrey Lyons, a 'real life' Rosie, who worked in the Brooklyn shipyard during WWII from the Veterans History Project at Central Connecticut State University
• Oral history interview with Mary Doyle Keefe, who modeled for Norman Rockwell's 'Rosie the Riveter' painting from the Veterans History Project at Central Connecticut State University

Rosie The Riveter Poster