Golden tiepin with emerald, 19th century

A tie pin (or tiepin, also known as a stick pin/stickpin) is a neckwear-controlling device, originally worn by wealthy English gentlemen to secure the folds of their cravats. They were first popularized at the beginning of the 19th century. Cravats were made of silk, satin, lace and lightly starched cambric, lawn and muslin, and stickpins were necessary accoutrements to keep these expensive fabrics in place and safe. Stickpins commonly used pearls and other precious gemstones set in gold or other precious metals and were designed specifically for their owners. By the 1860s, wearing cravats had been embraced by the English upper middle classes with a consequently lower quality of materials and designs used in both the neckwear and in the stickpins used to keep it in place. By the 1870s Americans had embraced stickpins and designs were mass produced and included animal heads, horse shoes, knife and fork motifs, crossed pipes, wishbones, bugs, flowers, shields and a host of other figural motifs. By the 1890s stickpins had crossed gender lines as women began wearing them with sporting outfits worn for bicycling, boating, riding, tennis and golf. The Ascot, Four in Hand, Sailor scarf, cravat bow tie and wrapped scarf all became popular for both men and women, and all could be set off with an ornamental stickpin. Between 1894 and 1930 many patents were issued covering such issues as prong setting, ornament attachment, stickpin blanks, safety clutches, guards and decorations. One patent was for a brooch which could convert the center medallion to a stickpin. Another concealed a small lead pencil point attached to the shaft of the pin. Still another included a small water reservoir behind the ornamental head of the stick pin in which a flower blossom could be placed. Patent 1,301,568 dated April 22, 1919 was for a stickpin with a star motif disk-like head which held a small drop of radioactive material.^[1]

Gold or silver safety pins were commonly used as tie and collar pins from the beginning of the 20th century (Woolworths used to stock cheaper bar type pins). A tie pin was used to fasten the tie to the shirt and was an integral part of a man / boy's uniform or clothing. In the 21st Century, other devices are now available to secure an unruly tie though a safety pin may be used as an unobtrusive 'underpin' to achieve the same degree of neatness.

References[link]

Look up tie in Wiktionary, the free dictionary.

Tie may refer to:

• Necktie, a long piece of cloth worn around the neck or shoulders
  • Cravat, the forerunner to the modern tie
• Tie (draw), a finish to a competition with identical results, particularly sports
• Tie (engineering), a strong component designed to keep two objects closely linked together
• Tie (information technology), a concept to bind a distributed object to a class
• Tie (music), a musical notation symbol joining two notes without a break
• Tie (typography), a punctuation and diacritical sign
• Railroad tie, a rectangular support for the rail
• Simpson Tie or Strong-Tie, a connector used in building
• Interpersonal ties in sociology and psychology.

TIE may refer to:

• TIE receptors, specific types of cell surface receptors
• Tensilica Instruction Extension, a verilog like language that is used to describe the instruction extensions to the Xtensa processor core
• Telx Internet Exchange
• Times Interest Earned, a financial ratio
• Transport Initiatives Edinburgh Ltd., an Edinburgh based public transport company
• Titanium Metals Corporation, based on its stock symbol on the New York Stock Exchange
• TIE fighter, a fictional spacecraft in the Star Wars universe

TiE may refer to

• TiE (The Indus Entrepreneurs)

See also[link]

• All pages beginning with "Tie"
• All pages with titles containing "Tie"
• Blood Ties (disambiguation)
• Ti (disambiguation)
• Tye (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

A collection of push-pins in a cork board

A pin is a device used for fastening objects or material together. It is usually made of steel, or on occasion copper or brass. It is formed by drawing out a thin wire, sharpening the tip, and adding a head. Nails are related, but are typically larger. In machines and engineering, pins are commonly used as pivots, hinges, shafts, jigs, and fixtures to locate or hold parts.

History[link]

Curved pins have been used for over four thousand years. Originally, they were fashioned out of iron and bone by the Sumerians and were used to hold clothes together. Later, these pins were also used to hold pages together by threading the needle through their top corner.^[1]

Many late pins were made of brass, a hard metal. Steel was used later, as it was much stronger, but there was no easy process to keep steel from rusting, so higher quality pins were plated with nickel, but the metal would start to break down and flake off in high humidity, allowing rust to form. Steel pins were not that inconvenient for homemaking uses as they were usually only used temporarily while sewing garments.^[2]

Other types[link]

The push pin, with a large plastic head, was invented in 1903 by Edwin Moore and quickly became a success. These pins are also called "thumbtacks". There is also a new push pin called a "paper cricket".

Walter Hunt invented the safety pin by forming an eight-inch brass pin into a bent pin with a spring and guard. He sold the rights to his invention to pay a debt to a friend,^[3] not knowing that he could have made millions of dollars.

In engineering and machine design, a pin is a machine element that secures the position of two or more parts of a machine relative to each other. A large variety of types has been known for a long time, the most commonly used are solid cylindrical pins, solid tapered pins, groove pins, slotted spring pins and spirally coiled spring pins.

See also[link]

• Bobby pin
• Clevis pin
• Collar pin
• Cotter pin
• Hairpin
• Lapel pin
• Push pin
• Safety pin
• Spring pin
• Microperforation
• Hot needle perforation
• Paper cricket
• Split pin

Notes[link]

References[link]

• Henry Petroski, The Evolution of Useful Things, Chapter 4. ISBN 0-679-74039-2.
• Robert Parmley, Standard handbook of fastening and joining. 1st edition. Chapter 2. McGraw-Hill (New York). 1977. ISBN 0-07-048511-9
• http://www.mcmaster.com/#pins/

v t e Sewing Techniques Basting Cut Darning Embellishment Fabric tube turning Facing Floating canvas Gather Godet Gore Gusset Hem Heirloom sewing Lining Pleat Ruffle Shirring Style line Stitches Backstitch Bar tack Blanket Buttonhole Chain stitch Cross-stitch Embroidery stitch Hemstitch List of sewing stitches Lockstitch Overlock Pad stitch Running Sashiko Tack Topstitch Zigzag Seams Armscye Seam allowance Notions and trims Bias tape Elastomer (Elastic) Eyelet Grommet Interfacing Notions Passementerie Piping Rickrack Self-fabric Soutache Trim Twill tape Wrights Closures Buckle Button Buttonhole Fly Frog Hook-and-eye Placket Shank Snap Velcro Zipper Materials Bias Yarn / Thread Selvage Textiles / Fabrics Tools Bobbin Dress form Needle threader Pin Pincushion Pinking shears Scissors Seam ripper Sewing needle Stitching awl Tailor's ham Tape measure Thimble Tracing paper Tracing wheel Trades and suppliers Cloth merchant Draper Dressmaker Haberdasher Mercer / Mercery Sewing occupations Tailor Sewing machine manufacturers Barthélemy Thimonnier Bernina Brother Industries Elias Howe Janome Jones Sewing Machine Company Merrow New Home Pfaff Sewmor Singer Tapemaster Viking / Husqvarna White Patterns Butterick Clothkits McCall's Simplicity Glossary of sewing terms

A real-life "Rosie" working on the A-31 Vengeance bomber in Nashville, Tennessee (1943)

Rosie the Riveter is a cultural icon of the United States, representing the American women who worked in factories during World War II,^[1][2] many of whom produced munitions and war supplies. These women sometimes took entirely new jobs replacing the male workers who were in the military. Rosie the Riveter is commonly used as a symbol of feminism and women's economic power.^[3]

History[link]

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 became a national hit.^[4] The song portrays "Rosie" as a tireless assembly line worker, doing her part to help the American war effort.^[5]

All the day long,
Whether rain or shine
She’s part of the assembly line.
She’s making history,
Working for victory
Rosie the Riveter

A real-life "Rosie" at work operating a turret lathe (1942)

Man and woman riveting team working on the cockpit shell of a C-47 aircraft at the plant of North American Aviation (1942)

Although 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, perhaps because already employed women would move to the higher-paid "essential" jobs on their own,^[6] 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]:160 Propaganda was also directed at their husbands, many of whom were unwilling to support such jobs.^[9] Most women opted to do this. Later, many women returned to traditional work such as clerical or administration positions, despite their reluctance to re-enter the lower-paying fields.^[10] However, some of these women continued working in the factories.

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.^[11]

Rosie the Riveter became most closely associated with another real woman, Rose Will Monroe, who was born in Pulaski County, Kentucky^[12][13][14] 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-29 and B-24 bombers for the U.S. Army Air Forces. Monroe achieved her dream of piloting a plane when she was in her 50's and her love of flying resulted in an accident that contributed to her death 19 years later.^[4] 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.^[15] 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.

Welding at the Gary Tubular Steel Plant

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.^[16] 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.^[17] 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. It has been said that it was the process of whites working along blacks during the time that encouraged a breaking down of social barriers and a healthy recognition of diversity.^[17] African-Americans were able to lay the groundwork for the postwar civil rights revolution by equating segregation with Nazi white supremacist ideology.^[17]

Conditions were sometimes harsh and pay was not always equal—the average man working in a wartime plant was paid $54.65 per week, while women were paid about $31.50.^[18] Nonetheless, 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.^{[citation needed]} 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.^[19] For some, World War II represented a major turning point for women as they eagerly supported the war effort, while 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, and finally, 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.^[20] 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."^[21]

After the war, 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.^{[citation needed]}

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).^[22] Over 200 former Rosies attended the ceremony.^[23][24][2]

The documentary film The Life and Times of Rosie the Riveter addresses the history of Rosie.

Images[link]

Westinghouse poster[link]

"We Can Do It!" by J. Howard Miller

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", though it was never given this title during the war. Miller based his "We Can Do It!" poster on a United Press International wire service photograph taken of Ann Arbor, Michigan, factory worker Geraldine Hoff (later Doyle), who was 17 and briefly working as a metal-stamping machine operator. The intent of the poster was to keep production up by boosting morale, not to recruit more women workers. It was shown 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 it was not about women's empowerment. 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".^{[25][26][27][28]}

[edit] Saturday Evening Post

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 Hitler's manifesto, Mein Kampf. Her lunch pail reads "Rosie"; viewers quickly recognized this to be "Rosie the Riveter" from the familiar song.^[29] Rockwell, America's best-known popular illustrator of the day, posed his model to match the Sistine Chapel ceiling image of the prophet Isaiah, painted by Michelangelo in 1509. 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.^[30] 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.^[31]

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.^[31] 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.^[32]

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. 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.^[33]

Homages[link]

A "Wendy the Welder" at the Richmond Shipyards

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 also "Julie the Janitor," a worker at Eastern Illinois University.^[34]

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 and thus owes much to exemplary women's efforts in the traditional male workplace.^[35]

More recent cultural references include a character called "Rosie" in the video game BioShock, armed with a rivet gun. There is a DC Comics character called Rosie The Riveter,^[36] who wields a rivet gun as a weapon (and first appeared 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.

John Crowley's 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.

See also[link]

	Feminism portal
	United States portal
	World War II portal

• Australian Women's Land Army
• Canary girl—British women working in munitions
• Greatest Generation
• Ronnie the Bren Gun Girl—the Canadian equivalent
• United States home front during World War II
• Women in the workforce
• Woman's Land Army of America ("farmettes")
• Women's Land Army—British farm workers ("land girls")
• Women's roles in the World Wars
• Work ethic

References[link]

Sources[link]

External links[link]

Wikimedia Commons has media related to: Rosie the riveter

• Library of Congress Webcast
• Rosie the Riveter World War II / Home Front National Historical Park
• Rosie the Riveter at History Channel's website.
• Regional Oral History Office / Rosie the Riveter / WWII American Homefront Project
• American Rosie the Riveter Association
• A Real-Life "Rosie the Riveter"
• Another Real-Life "Rosie" from the Library of Congress' image set
• The Life and Times of Rosie the Riveter movie
• 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