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Wikimedia Commons

Meet the Real Rosie the Riveter

Wikimedia Commons
Wikimedia Commons

In true, iconic fashion, the persona of Rosie the Riveter preceded the person. There was no single Rosie, actually, but several—and two in particular who shaped the legendary image we now associate with all the American women who worked factory jobs during World War II, and bolstered both the war effort and their own economic and social power in the process. Unlikely as it may seem, the story begins with a song. 

The character was first mentioned by name in a 1942 tune  called “Rosie the Riveter” by Redd Evans and John Jacob Loeb. The song quickly gained popularity and was played by many big bands of the day, most notably one led by Kay Kyser. It tells the story of a woman working in a factory during wartime.

All the day long whether rain or shine
She’s a part of the assembly line
She’s making history,
working for victory
Rosie the Riveter
Keeps a sharp lookout for sabotage
Sitting up there on the fuselage
That little frail can do more than a
male will do
Rosie the Riveter

After the tune became a hit, Rosie came to represent the millions of women who had joined the industrial labor force. The U.S. government used Rosie as a propaganda tool, a symbol of civic duty, and a vehicle to glamorize enlisting in the effort.

WE CAN DO IT!

The Rosie we most readily call to mind today is the work of J. Howard Miller, a Pittsburgh artist who was hired by the Westinghouse War Production Coordinating Committee to make a series of upbeat posters for its buildings in 1942.

Miller found his inspiration for the “We Can Do It!” poster from Geraldine Hoff Doyle, a 17-year-old metal-stamp presser at American Broach and Machine Co. in Ann Arbor, Michigan, who was snapped by a wire service photographer while working in a (now iconic) polka dot bandana. Doyle left that job two weeks later to work at a soda fountain and went four decades without knowing she was the basis for the powerful, bicep-flexing Rosie in Miller’s poster. Miller’s image was only on display in the Westinghouse factory for two weeks in 1942, and the powerful woman was never specifically called “Rosie” (how the poster became known as Rosie is a bit of a mystery).

As the Rosie character’s propaganda role grew, real life Rosies entered the narrative: In 1944, actor Walter Pidgeon discovered Rose Will Monroe, a riveter at the Willow Run Bomber Plant in Ypsilanti, Mich., and recruited her to star in a film promoting the sale of war bonds. Rose Bonavita was a riveter at he General Motors Eastern Aircraft Division in North Tarrytown, N.Y. She set a record by driving 3345 rivets in an Avenger torpedo bomber during a single overnight shift and received a commendation letter from President Franklin D. Roosevelt.

Through it all, Doyle remained oblivious to how she had inspired Miller’s poster. When the Rosie image resurfaced as part of the feminist movement in the 1980s, Doyle finally learned about the role she had passively played in winning World War II.

It’s somewhat unclear how this particular piece of artwork rose to prominence; according to some reports, Miller’s image was rediscovered in the U.S. National Archives in 1982. It appeared that same year in a Washington Post article and on the cover of Smithsonian magazine in 1994.

From there, Doyle’s likeness became synonymous with powerful women, and while she did have a chance to see the meteoric second rise of the “Rosie” image before passing away in 2010, she told the Lansing State Journal in 2002, "It's just sad I didn't know it was me sooner."

The Other Rosie 

Doyle wasn’t the only artistic Rosie who inspired American women to keep up the industrial fight. During World War II there was another famous depiction of Rosie, this one based on Mary Doyle Keefe, a 19-year-old telephone operator and neighbor of painter Norman Rockwell. He painted Keefe as Rosie the Riveter in 1943, one year after Miller’s Rosie posters went into circulation. Rockwell’s Rosie ran on the cover of the Saturday Evening Post, complete with quite a bit of artistic license—Rockwell transformed the petite Keefe into a strapping, musclebound Rosie holding a rivet gun on her lap and using a copy of Mein Kampf as a foot rest. While Miller’s “We Can Do It!” poster was largely unseen at this point, by the time Rockwell depicted his riveter with a lunch pail emblazoned with “Rosie,” the character was well on its way to becoming entrenched in the American psyche.

"Other than the red hair and my face, Norman Rockwell embellished Rosie's body," Keefe said in a 2012 Hartford Courant interview. "I was much smaller than that and did not know how he was going to make me look like that until I saw the finished painting."

While she did experience a bit of teasing after the issue hit newsstands, Keefe said she didn’t mind much. “It didn't bother me. I was slim and trim,” she told the Courant in 2001. “Just the idea of being able to sit for Norman Rockwell was a nice thing to do.” Rockwell had told her ahead of time that she probably wasn’t going to like the painting, which he styled after Michelangelo's depiction of the prophet Isaiah in the Sistine Chapel.

Keefe received $10 for her two mornings of modeling work. Twenty-four years later, she received a second bit of compensation: A letter from Rockwell apologizing for the burly depiction.

“The kidding you took was all my fault,” he wrote, “because I really thought you were the most beautiful woman I had ever seen.”

The painting would later be used by the U.S. Treasury Department to help sell war bonds. Keefe died last week at age 92. 

Given Rockwell’s status as a titan of Americana painting, how did Miller’s poster become the definitive depiction of Rosie? Thank copyright law. Rockwell’s image was copyrighted, while Miller’s poster was not, clearing the way for it to become a phenomenon.

It’s fitting that the true story of Rosie isn’t actually about one woman, given how it’s taken on a new life to represent something universal. Keefe and Doyle remain intertwined through a name, and a legacy. Although neither woman actually worked as a riveter, both represented their generation and—perhaps to everyone’s surprise—many generations since. 

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Photo illustration by Lucy Quintanilla, Mental Floss. Saint Nicholas: HULTON ARCHIVE, GETTY IMAGES. Skulls, backgrounds: iStock
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Tomb Raider: The Story of Saint Nicholas's Stolen Bones
Photo illustration by Lucy Quintanilla, Mental Floss. Saint Nicholas: HULTON ARCHIVE, GETTY IMAGES. Skulls, backgrounds: iStock
Photo illustration by Lucy Quintanilla, Mental Floss. Saint Nicholas: HULTON ARCHIVE, GETTY IMAGES. Skulls, backgrounds: iStock

Throughout history, corpses have been bought and sold, studied, collected, stolen, and dissected. In Rest in Pieces: The Curious Fates of Famous Corpses, Mental Floss editor Bess Lovejoy looked into the afterlife of numerous famous corpses, including Saint Nicholas, one of the many canonized bodies whose parts were highly prized by churches, thieves, and the faithful.

Don't tell the kids, but Santa Claus has been dead for more than sixteen hundred years. No, his body is not at the North Pole, and he's not buried with Mrs. Claus. In fact, his remains are thousands of miles away, on Italy's sunny Adriatic coast. And while Santa might be enjoying his Mediterranean vacation, he's probably not too happy about what happened to his remains. They were stolen in the eleventh century, and people have been fighting over them ever since.

Of course, the Santa Claus of folklore doesn't have a skeleton. But his inspiration, Saint Nicholas, does. That's about all we can say for sure about Nicholas: he was a bishop who lived and died in what is now Turkey in the first half of the fourth century. Legend tells us that he was born into a rich family and delighted in giving gifts. Once, he threw three bags of gold into the window of a poor family's house, saving the three daughters who lived there from a life of prostitution. Another time, he raised three children from the dead after a butcher carved them up and stored them in a vat of brine. He also protected sailors, who were said to cry out his name in rough seas, then watch the waves mysteriously smooth.

The sailors spread Nicholas's cult around the world. Within a century of his death, the bishop was worshipped as a saint, lending his name to hundreds of ports, islands, and inlets, and thousands of baby boys. He became one of the best-loved saints in all of Christendom, adopted by both the Eastern and Western traditions. Christmas probably owes something to his December 6 feast day, while Santa Claus’s red outfit may come from his red bishop’s robes. "Santa Claus" is derived from "Sinterklaas," which was how Dutch immigrants to New Amsterdam pronounced his name.

As one of the most popular saints in the Christian world, Nicholas had a particularly powerful corpse. The bodies of saints and martyrs had been important to Christianity since its beginning: the earliest churches were built on the tombs of saints. It was thought that the bodily bits of saints functioned like spiritual walkie-talkies: you could communicate with higher powers through them, and they, in turn, could manifest holy forces on Earth. They could heal you, protect you, and even perform miracles.

Sometimes, the miracles concerned the saints' own bodies. Their corpses would refuse to decay, exude an inexplicable ooze, or start to drip blood that mysteriously solidified and then reliquefied. So it was with Nicholas: at some point after his death, his bones began to secrete a liquid called manna or myrrh, which was said to smell like roses and possess potent healing powers.

The appearance of the manna was taken as a sign that Nicholas’s corpse was especially holy, and pilgrims began flocking by the thousands to his tomb in the port city of Myra (now called Demre). By the eleventh century, other cities started getting jealous. At the time, cities and churches often competed for relics, which brought power and prestige to their hometowns the way a successful sports team might today. Originally, the relics trade had been nourished by the catacombs in Rome, but when demand outstripped supply, merchants—and even monks—weren't above sneaking down into the crypts of churches to steal some holy bones. Such thefts weren't seen as a sin; the sanctity of the remains trumped any ethical concerns. The relics were also thought to have their own personalities—if they didn't want to be stolen, they wouldn't allow it. Like King Arthur's sword in the stone, they could only be removed by the right person.

That was how Myra lost Saint Nicholas. The culprits were a group of merchants and sailors from the town of Bari, located on the heel of Italy's boot. Like other relic thefts, this one came at a time of crisis for the town where the thieves lived, which in this case had recently been invaded by a horde of rapacious Normans. The conquerors wanted to compete with the Venetians, their trading rivals to the north, who were known for stealing the bones of Saint Mark (disguised in a basket of pork) from Alexandria in 827. And when the Normans heard that Myra had recently fallen to the Turks, leaving Nicholas’s tomb vulnerable, they decided to try stealing a saint for themselves.

According to an account written shortly after the theft by a Barian clerk, three ships sailed from Bari into Myra's harbor in the spring of 1087. Forty-seven well armed Barians disembarked and strode into the church of Saint Nicholas, where they asked to see the saint’s tomb. The monks, who weren't idiots, got suspicious and asked why they wanted to know. The Barians then dropped any pretense of politeness, tied the monks up, and smashed their way into Nicholas's sarcophagus. They found his skeleton submerged in its manna and smelled a heavenly perfume wafting up from the bones, which "licked at the venerable priests as if in insatiable embrace."

And so Nicholas of Myra became Nicholas of Bari. The relics made the town, and the men who stole them. The thieves became famous in the area, and for centuries their descendants received a percentage of the offerings given on the saint’s feast day. The townspeople built a new basilica to hold the remains, which drew thousands of pilgrims throughout the Middle Ages. Even today, Bari remains a major pilgrimage site in southern Italy, visited by both Roman Catholics and Orthodox Christians. Every May an elaborate festival, the Feast of the Translation, celebrates the arrival of Nicholas’s relics. As one of the highlights, the rector of the basilica bends over Nicholas’s sarcophagus and draws off some of the manna in a crystal vial. The fluid is mixed with holy water and poured into decorated bottles sold in Bari's shops; it is thought to be a curative drink.

But Bari is not the only place that boasts of the bones of Saint Nicholas. If you ask the Venetians, they will say their own sailors visited Myra during the First Crusade and stole Nicholas’s remains, which have been in Venice ever since. For centuries, both Bari and Venice have claimed the saint's skeleton.

In the twentieth century, scientists waded into the dispute. During renovations to the basilica of Bari in 1953, church officials allowed University of Bari anatomy professor Luigi Martino to examine the remains— the first time the tomb had been opened in more than eight hundred years. Martino found the bones wet, fragile, and fragmented, with many of them missing. He concluded that they had belonged to a man who died in his seventies, although because Martino was given only a short time with the bones, he could say little more.

Four decades later, Martino and other scientists also studied the Venetian bones. They concluded that those relics and the ones in Bari had come from the same skeleton, and theorized that the Venetian sailors had stolen what was left in Myra after the Barians had done all their smashing.

As for Demre, all they have is an empty tomb. And they want their bones back. In 2009, the Turkish government said it was considering a formal request to Rome for the return of Nicholas's remains. Though the bones have little religious significance in a nation that’s 99 percent Muslim, there’s still a sense in Turkey that the centuries-old theft was a cultural violation. Its restitution would certainly be an economic benefit: according to local officials, tourists in Demre frequently complain about the barren tomb, and they weren't satisfied by the giant plastic sculpture of Santa Claus that once stood outside Nicholas’s church. Even though Santa has become an international cultural icon, his myth is still rooted in a set of bones far from home.

From REST IN PIECES: The Curious Fates of Famous Corpses by Bess Lovejoy. Copyright © 2013 by Bess Lovejoy. Reprinted by permission of Simon & Schuster, Inc.

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