Her trouble had started with an aching tooth: Her dentist pulled it, but then the next tooth started hurting and also had to be extracted. In 1922, one of Grace’s colleagues, Mollie Maggia, had to quit the studio because she was sick. They ignored all the danger signs when asked, managers told the girls the substance would put roses in their cheeks. Newspapers reported its use would "add years to our lives!"īut that belief was founded upon research conducted by the very same radium firms who had built their lucrative industry around it. That was because, at that time, a small amount of radium - such as the girls were handling - was believed to be beneficial to health: People drank radium water as a tonic, and one could buy cosmetics, butter, milk, and toothpaste laced with the wonder element. Yet the dial painters were not afforded such protection, or even warned it might be necessary. That was why the men at the radium companies wore lead aprons in their laboratories and handled the radium with ivory-tipped tongs. People had died of radium poisoning before the first dial painter ever picked up her brush. Ever since the glowing element had been discovered, it had been known to cause harm Marie Curie herself had suffered radiation burns from handling it. Savoy said that it wasn’t dangerous, that we didn’t need to be afraid."īut that wasn’t true. "Naturally you don’t want to put anything in your mouth that is going to hurt you. "The first thing we asked ‘Does this stuff hurt you?’" Mae Cubberley, who instructed Grace in the technique, later remembered. Every time the girls raised the brushes to their mouths, they swallowed a little of the glowing green paint. The girls were instructed to slip their paintbrushes between their lips to make a fine point - a practice called lip-pointing, or a "lip, dip, paint routine," as playwright Melanie Marnich later described it. Grace and her colleagues obediently followed the technique they’d been taught for the painstaking handiwork of painting the tiny dials, some of which were only 3.5 centimeters wide. They made the most of the perk, wearing their good dresses to the plant so they’d shine in the dance halls at night, and even painting radium onto their teeth for a smile that would knock their suitors dead. Radium’s luminosity was part of its allure, and the dial painters soon became known as the "ghost girls" - because by the time they finished their shifts, they themselves would glow in the dark. Many of them were teenagers, with small hands perfect for the artistic work, and they spread the message of their new job’s appeal through their friend and family networks often, whole sets of siblings worked alongside each other in the studio. Dial painting was "the elite job for the poor working girls" it paid more than three times the average factory job, and those lucky enough to land a position ranked in the top 5% of female workers nationally, giving the women financial freedom in a time of burgeoning female empowerment. With war declared, hundreds of working-class women flocked to the studio where they were employed to paint watches and military dials with the new element radium, which had been discovered by Marie Curie a little less than 20 years before. She had no idea that her new job would change her life - and workers’ rights - forever. It was four days after the US had joined World War I with two soldier brothers, Grace wanted to do all she could to help the war effort. On April 10, 1917, an 18-year-old woman named Grace Fryer started work as a dial painter at the United States Radium Corporation (USRC) in Orange, New Jersey.
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Other authors claim that the reason for this was an aesthetic one. Also, in other scripts, the angular quotation marks are distinguishable from other punctuation characters: the Greek breathing marks, the Armenian emphasis and apostrophe, the Arabic comma, the decimal separator, the thousands separator, etc. Some authors claim that the reason for this was a practical one, in order to get a character that was clearly distinguishable from the apostrophes, the commas, and the parentheses. In France, by the end of the nineteenth century, the marks were modified to an angular shape: «…». īlank space (in yellow) provoked by elevated quotation marks some type designers consider this excessive. The usage of a pair of marks, opening and closing, at the level of lower case letters was generalized. In most other languages, including English, the marginal marks dropped out of use in the last years of the eighteenth century. During the seventeenth century this treatment became specific to quoted material, and it grew common, especially in Britain, to print quotation marks (now in the modern opening and closing forms) at the beginning and end of the quotation as well as in the margin the French usage (see under Specific language features below) is a remnant of this. After the publication of Filelfo's edition, the quotation marks for literal quotations prevailed. Non-verbal loans were marked on the edge. Until then, literal quotations had been highlighted or not at the author's discretion. In his edition of the works of Aristotle, which appeared in 1483 or 1484, the Milanese Renaissance humanist Francesco Filelfo marked literal and appropriate quotes with oblique double dashes on the left margin of each line. The double quotation mark derives from a marginal notation used in fifteenth-century manuscript annotations to indicate a passage of particular importance (not necessarily a quotation) the notation was placed in the outside margin of the page and was repeated alongside each line of the passage. Our copyists place this sign in the books of the people of the Church, to separate or to indicate the quotations drawn from the Holy Scriptures. Hanc scriptores nostri adponunt in libris ecclesiasticorum virorum ad separanda vel demonstranda testimonia sanctarum Scripturarum. Isidore of Seville, in his seventh century encyclopedia, Etymologiae, described their use of the Greek diplé (a chevron): The single quotation mark is traced to Ancient Greek practice, adopted and adapted by monastic copyists. 6.3 Curved quotes within and across applications.4.10 Belarusian, Russian, and Ukrainian. īallston began to redevelop rapidly after the Washington Metropolitan Area Transit Authority opened the Orange Line's Ballston Metrorail station on December 1, 1979, and when an entrance to Interstate 66 (I-66) opened on December 22, 1982. Parkington was anchored by the headquarters location of the Hecht Company, and was reputed to have the largest parking garage in the U.S. In 1951, the Parkington Shopping Center opened at the intersection formerly known as Balls Crossroads on the site of the present Ballston Quarter. The Fairfax trolley closed in 1939, but Metrorail’s Orange Line follows its route through Arlington. In 1912, the rival Washington & Old Dominion Railway began crossing the tracks on a bridge 200 yards west of here, following the present route of I-66 from Rosslyn. In 1910, at this location, the railway built a car barn, railyard, workshops, electrical substation, and general office. By 1907, the Fairfax trolley linked Fairfax, Vienna, and Ballston with downtown Washington. In 1896, the Washington, Arlington & Falls Church Railway began running electric trolleys from Rosslyn to Falls Church on the present routes of Fairfax Drive and I-66. A historical marker entitled "Lacey Car Barn" located near the northwest corner of N. Interstate 66 and the Bluemont Junction Trail now follow the route of this railroad branch between Rosslyn and the Washington and Old Dominion Railroad Regional Park in Bluemont Park. In 1912, a competing interurban electric trolley line, the Washington and Old Dominion Railway constructed a branch that crossed the WA&FC near the west end of Ballston (then called Lacey), near a WA&FC car barn and railyard. Also buried here in the cemetery are many of John Ball's direct and collateral descendants including John Wesley Boldin, a Civil War soldier (Company D, Third Pennsylvania Cavalry) and members of the Marcey, Stricker, Donaldson, and Croson families. John Ball was the son of Moses Ball, who was one of the pioneer settlers in the Glencarlyn area of Arlington. Ensign John Ball (1748–1814), a veteran of the American Revolution (Sixth Virginia Infantry) is buried here. This is one of Arlington's oldest family burial grounds. The Ball family burial ground on Washington Boulevard has a historical marker as well, stating: Here Clements Avenue, now Stafford Street, divided to pass on either side of an old Ball family graveyard. The track of the Washington, Arlington, and Falls Church Electric Railroad ran along what is now Fairfax Drive the Ballston Station was at Ballston Avenue, now North Stuart Street. More diffuse settlement extended westward to Lubber Run and southward along Glebe Road to Henderson Road. Stafford Street, one block east of the Ballston Metrorail station (which is at the former site of the Ballston trolley station) states:īy 1900, a well-defined village called Central Ballston had developed in the area bounded by the present-day Wilson Boulevard, Taylor Street, Washington Boulevard, and Pollard Street. A historical marker that stands near the northwestern corner of Fairfax Drive and N. Construction of the trolley line, which branched at Clarendon to serve both Rosslyn and downtown Washington, D.C., temporarily shifted much of the area's development away from the crossroads. In 1896, an interurban electric trolley line, the Fairfax line of the Washington, Arlington and Falls Church Railway (WA&FC), began operating north of the crossroads along the present route of Fairfax Drive, whose name derives from that of the trolleys' final destination, Fairfax City. The intersection became known as Ball’s Crossroads when Ball’s Tavern was established here in the early 1800s. The second was eventually named Wilson Boulevard in honor of President Wilson. The first came to be known as the Glebe Road because it passed the glebe of Fairfax Parish and in order to distinguish it from other roads to the Falls. This intersection has been a focal point since about 1740, when two roads were developed, one from the future site of Alexandria to the mouth of Pimmit Run, the other from Awbury’s Ferry (at the site of Rosslyn) to The Falls Church. Ī historical marker that stands near the southeastern corner of the intersection reads: Ballston began as Birch's Crossroads, and later became Ball's Crossroads at what is now the intersection of N. Stafford Street and Fairfax Drive ( Virginia State Route 237). Ballston is named after the Ball family, one of whose family cemeteries lies in the neighborhood at N. applecynic on Fed’s preferred gauge shows rampant U.S.DudeMac on Beleaguered Facebook scrambles to escape stock’s death spiral as users flee, sales plummet.stock indexes post third straight quarterly loses on rampant U.S. How do you test a new feature that’s impossible to test?.The Apple Watch Ultra finally convinced me to leave Garmin behind.One of the best new AirPods Pro features is coming to the original model.How to find these great iOS 16 and watchOS 9 features you might have missed. There might not be an event, but October will still be a huge month for Apple releases.Carry your music from room to room with $49 off this compact Bluetooth speaker.Apple declares once hugely popular iPhone 6 to be ‘vintage’.Today in Apple history: Apple’s own code spills details about iPhone 4s.Take high-resolution 48MP photos with your iPhone 14 Pro.Enjoy matchmaking and free games with 5% off PlayStation Plus Essential.How Apple’s works – January 07, 2009Īpple unveils iWork ‘09 Introduces public beta for online document sharing – January 06, 2009 PC Magazine hands-on with Apple iWork ‘09: ‘Innovative suite certainly looks impressive’ – January 08, 2009 PC Advisor reviews Apple’s : Handy and convenient tool – January 13, 2009 Sydney Morning Herald reviews Apple iWork ‘09: 4 out of 5 stars – January 26, 2009 T3 reviews Apple iWork ‘09: New features well worth the price – February 03, 2009ĬNET reviews Apple iWork ‘09: An emerging powerhouse worthy replacement for Microsoft Office – January 30, 2009 PC Magazine: You’ll find a lot to like in Apple’s iWork ‘09 – February 07, 2009 TrustedReviews: Apple iWork ‘09 a capable, less expensive alternative to Microsoft Office – February 19, 2009Īpple’s iWork sports impressive features, gives Microsoft Office a run for its money – February 17, 2009 Microsoft releases Office 2008 for Mac Service Pack 2 – July 20, 2009Īfter attempting to belittle Mac users, Microsoft tries to sell them Office 2008 with free trial – April 14, 2009 MacDailyNews Take: Do you really need Microsoft Office? Give Apple’s free 30-day iWork ’09 trial a try and find out for yourself. Microsoft’s “solutions” can be found here. It seems that Microsoft’s Mac Business Unit awoke long enough to concoct laundry list of workarounds while users of Mac Office 2008 SP2 wait for Microsoft to release an update in August. “Maddeningly, this issue appears to affect different Macs and their users inconsistently.” “MacWindows is reporting that Office 2007 (ie Windows) Open XML formated documents (.docx), presentations (.pptx) and spreadsheets (.xlsx) cannot be opened by Macs running Office 2008 after applying the SP 2 Update from last week,” Carlson reports. Redmond’s recommending that users roll back to an earlier version in order to restore compatibility,” Ronald O. “Various sources, including Microsoft, indicate that PC created Open XML formated files cannot be opened after applying last week’s Office 2008 Service Pack 2 (SP2). 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Another thing I need to try is going the other way and riffing the bassline off of the output from the tELHARMONIC, but for me it's just easier to compose initially by flipping some switches/pots on metropolis. I think I should program the changes to interval mostly and leave degree alone. I was hoping I could use a turing machine (from Peaks) that is clocked by the sync output (and into d-gate) of metropolis to switch up the pads, but I think I have it backwards. Music theory (especially with respect to chord progressions!) are not my strong suit.ĭo most ppl not modulate both at the same time? Is it better to just modulate 1? If you do modulate both do you use typical LFO-type stuff or 2 sequencer lines (I had much better results with sequencer lines)?Įxample: I would like to start with a bassline generated from Metropolis and then work some backing pads into the mix, but whenever I try to do so it sounds very disjointed. I just received it Saturday, I was thinking that I could run modulations into both the interval and degree inputs, but I think mostly non-nonsensical progressions are the result. (Tuning the tonic knob while degree is set full CCW and interval set to unison) Any specific advice? I am tuning it as suggested a few pages back. However, I'm having trouble getting the sounds it generates to play nicely with the other sounds in my small system. Hi, I purchased a tELHARMONIC recently and I like it a lot.
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