"Fifty Shades of Black": the Black Racial Identity Development Of

Total Page:16

File Type:pdf, Size:1020Kb

Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 4-15-2018 "Fifty Shades of Black": The lB ack Racial Identity Development of Black Members of White Greek Letter Organizations in the South Danielle Ford Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Educational Leadership Commons, Higher Education Commons, and the Higher Education Administration Commons Recommended Citation Ford, Danielle, ""Fifty Shades of Black": The lB ack Racial Identity Development of Black Members of White Greek Letter Organizations in the South" (2018). LSU Master's Theses. 4697. https://digitalcommons.lsu.edu/gradschool_theses/4697 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. “FIFTY SHADES OF BLACK”: THE BLACK RACIAL IDENTITY DEVELOPMENT OF BLACK MEMBERS OF WHITE GREEK LETTER ORGANIZATIONS IN THE SOUTH A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Education by Danielle Ford B.S. Louisiana State University, 2012 May 2018 Don’t Quit When things go wrong as they sometimes will, When the road you're trudging seems all up hill, When the funds are low and the debts are high And you want to smile, but you have to sigh, When care is pressing you down a bit, Rest if you must, but don't you quit. Life is strange with its twists and turns As every one of us sometimes learns And many a failure comes about When he might have won had he stuck it out; Don't give up though the pace seems slow— You may succeed with another blow. Success is failure turned inside out— The silver tint of the clouds of doubt, And you never can tell just how close you are, It may be near when it seems so far; So stick to the fight when you're hardest hit— It's when things seem worst that you must not quit. - John Greenleaf Whittier ii ACKNOWLEDGMENTS “It always seems impossible until it's done.” – Nelson Mandela T.G.I.F.! Thank God I’m Finished! Thank you to everyone who has ever supported me during this journey. Words here cannot express my appreciation and gratitude. There are some people specifically I’d like to recognize. To my mother Olivia: Mama, you’re the Queen of my heart. I miss you so much. My life changed the day yours ended. Since then, you have been my constant source of motivation and inspiration. The greatest compliment anyone can give me is when they say how I remind them of you. YOU were the greatest woman who ever lived and to be compared to you is an honor. I love you. To my father Arthur: Daddy, you are the best father anyone could have. Even when you embarrass me to others with stories, I still smile inside because I know that means you care. Thank you for always being there and for supporting me. I love you. To my siblings: Sam, Dionne, Joey, Darryl, and Keith, thank y’all for always being there for me and for continuing to support me throughout the years. I love y’all. To my closest friends: Katrice, Gena, Tara, Deleon, and Heather, thank y’all for always being there for me to vent, to cry, to complain, to entertain, and just being the wonderful friends you are. To my committee: Dr. Chen, Dr. Clayton, and especially my Chair Dr. Blanchard, thank you so much for taking the time to assist me in process. I literally could not have done it without you. To my participants: “AJ”, “Alexandra”, “Andy”, “Caroline”, “Dawn”, “Heath”, “Melvin”, “Rose”, and “Raphael” – thank you for your candor, openness, and honesty. I learned so much from you all and sincerely thank you for my participation. To Lawrence Ross whose book Blackballed inspired the topic of my research and who told me on the day we met to “write truth to power”. I will carry your words everywhere. To Victoria Archangel, my undergraduate Academic Advisor who served as the catalyst for my desire to be a higher education student affairs professional. Thank you for all that you did for me. You were confident in me when I was not confident in myself, and because of you, I want to be to a student what you were to me. May you Rest in Power. To all cats and kitties: I just really wanna acknowledge cats here. They’re awesome and underappreciated. Adopt a cat today! iii TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................................................................................. iii ABSTRACT ................................................................................................................................... vi CHAPTER 1: INTRODUCTION ................................................................................................... 7 Statement of the Problem .............................................................................................................. 10 Purpose of the Study ..................................................................................................................... 11 Research Questions and Study Design ......................................................................................... 11 Significance................................................................................................................................... 12 Theoretical Frameworks ............................................................................................................... 13 Subjectivity Statement .................................................................................................................. 14 Concluding Thoughts .................................................................................................................... 16 Terminology .................................................................................................................................. 16 CHAPTER 2: REVIEW OF THE LITERATURE ....................................................................... 19 History of Fraternities and Sororities ............................................................................................ 19 Student Involvement ..................................................................................................................... 24 Racial Identity Development ........................................................................................................ 30 Conclusion .................................................................................................................................... 33 CHAPTER THREE: METHODOLOGY ..................................................................................... 35 Research Design............................................................................................................................ 35 Trustworthiness Statement ............................................................................................................ 40 Participants .................................................................................................................................... 40 Researcher Bias ............................................................................................................................. 41 Limitations .................................................................................................................................... 42 CHAPTER FOUR: RESULTS ..................................................................................................... 44 Major Themes ............................................................................................................................... 44 I-E-O Model and Nigressence ...................................................................................................... 62 Conclusion .................................................................................................................................... 68 CHAPTER FIVE: DISCUSSION AND CONCLUSIONS .......................................................... 69 Research Questions Addressed ..................................................................................................... 69 Recommendations for Advising ................................................................................................... 71 Recommendations for Future Research ........................................................................................ 73 Conclusion .................................................................................................................................... 74 REFERENCES ............................................................................................................................. 76 APPENDIX A: INSTITUTIONAL REVIEW BOARD APPROVAL ......................................... 83 APPENDIX B: RECRUITMENT POST ON FACEBOOK ........................................................ 84 iv APPENDIX C: INTERVIEW PROTOCOL ................................................................................. 85 APPENDIX D: CONSENT FORM .............................................................................................. 87 VITA ............................................................................................................................................. 88 v ABSTRACT It could
Recommended publications
  • Black and Blue: Police-Community Relations in Portland's Albina
    LEANNE C. SERBULO & KAREN J. GIBSON Black and Blue Police-Community Relations in Portland’s Albina District, 1964–1985 It appears that there is sufficient evidence to believe that the Portland Police Department indulges in stop and frisk practices in Albina. They seem to feel that they have the right to stop and frisk someone because his skin is black and he is in the black part of town. — Attorney commenting in City Club of Portland’s Report on Law Enforcement, 1981 DURING THE 1960s, institutionalized discrimination, unemployment, and police brutality fueled inter-racial tensions in cities across America, including Portland, Oregon. Riots became more frequent, often resulting in death and destruction. Pres. Lyndon Johnson’s National Advisory Com- mission on Civil Disorders issued in early 198 what became known as the “Kerner Report,” which declared that the nation was “moving toward two societies, one black, one white — separate and unequal.”2 Later that year, the City Club of Portland published a document titled Report on Problems of Racial Justice in Portland, its own version of the national study. The report documented evidence of racial discrimination in numerous institutions, including the police bureau. The section “Police Policies, Attitudes, and Practices” began with the following statement: The Mayor and the Chief of Police have indicated that in their opinions the Kerner Report is not applicable to Portland. Satisfactory police-citizen relations are not likely to be achieved as a reality in Portland in the absence of a fundamental change in the philosophy of the officials who formulate policy for the police bureau.
    [Show full text]
  • SEVIRI HRV Fog RGB Quick Guide
    SEVIRI HRV Fog RGB Quick Guide Aim: Distinguishing of fog/low clouds from snow-covered land in high resolution. Area and time period of its main application: Mid-latitude region, daytime during winter. Application and guidelines: The identification of foggy and low cloud-covered areas is important for traffic and aviation security. Winter fog/stratus frequently forms over snowy cloud-free surfaces in high pressure conditions. Fog/water clouds have good colour contrast against snow and snow-free land. This is a daytime RGB as it uses shortwave channels. SEVIRI HRV Fog RGB for 7 March 2014, 08:40 UTC Background The table shows which channels are used in the HRV Fog RGB and lists some of the land and cloud features which typically make a low or high contribution to the colour beams in this RGB. Snow's reflectivity is much higher in the HRV than in the NIR1.6. As water clouds reflect much of the radiation in both channels they can be used in combination to distinguish snow and water clouds. Smaller contribution to Larger contribution to Colour Channel [µm] Physically relates to the signal of the signal of Cloud phase Ice cloud Red NIR1.6 Water clouds Snow reflectivity Snow covered land Cloud optical thickness Thick clouds Green HRV Thin clouds Snow reflectivity Snow covered land Cloud optical thickness Thick clouds Blue HRV Thin clouds Snow refllectivity Snow covered land Notation: HRV: High Resolution Visible channel, NIR: near-infrared, number: central wavelength of the channel in micrometer. HRV is used in two colour beams so the high resolution is not lost.
    [Show full text]
  • Black Seminoles Vs. Red Seminoles
    Black Seminoles vs. Red Seminoles Indian tribes across the country are reaping windfall profits these days, usually from gambling operations. But some, like the Seminole Nation of Oklahoma, are getting rich from belated government payouts for lands taken hundreds of years ago. What makes the Seminoles unique is that this tribe, unlike any other, has existed for nearly three centuries as a mixture of Indians and blacks, runaway slaves who joined the Indians as warriors in Florida. Together, they fought government troops in some of the bloodiest wars in U.S. history. In the late 1830s, they lost their land, and were forced to a new Indian home in present-day Oklahoma. Over the years, some tribe members have intermarried, blurring the color lines even further. Now the government is paying the tribe $56 million for those lost Florida lands, and the money is threatening to divide a nation. Seminole Chief Jerry Haney says the black members of the tribe are no longer welcome. After 300 years together, the chief says the tribe wants them to either prove they're Indian, or get out. Harsh words from the Seminole chief for the 2,000 black members of this mixed Indian tribe. In response, the black members say they're just as much a Seminole as Haney is. www.jupiter.fl.us/history On any given Sunday, go with Loretta Guess to the Indian Baptist church in Seminole County, Okla., and you'll find red and black Seminoles praying together, singing hymns in Seminole, sharing meals, and catching up on tribal news.
    [Show full text]
  • Degree Attainment for Black Adults: National and State Trends Authors: Andrew Howard Nichols and J
    EDTRUST.ORG Degree Attainment for Black Adults: National and State Trends Authors: Andrew Howard Nichols and J. Oliver Schak Andrew Howard Nichols, Ph.D., is the senior director of higher education research and data analytics and J. Oliver Schak is the senior policy and research associate for higher education at The Education Trust Understanding the economic and social benefits of more college-educated residents, over 40 states during the past decade have set goals to increase their state’s share of adults with college credentials and degrees. In many of these states, achieving these “degree attainment” goals will be directly related to their state’s ability to increase the shares of Black and Latino adults in those states that have college credentials and degrees, particularly as population growth among communities of color continues to outpace the White population and older White workers retire and leave the workforce.1 From 2000 to 2016, for example, the number of Latino adults increased 72 percent and the number of Black adults increased 25 percent, while the number of White adults remained essentially flat. Nationally, there are significant differences in degree attainment among Black, Latino, and White adults, but degree attainment for these groups and the attainment gaps between them vary across states. In this brief, we explore the national trends and state-by-state differences in degree attainment for Black adults, ages 25 to 64 in 41 states.2 We examine degree attainment for Latino adults in a companion brief. National Degree Attainment Trends FIGURE 1 DEGREE ATTAINMENT FOR BLACK AND WHITE ADULTS, 2016 Compared with 47.1 percent of White adults, just 100% 30.8 percent of Black adults have earned some form 7.8% 13.4% 14.0% 30.8% of college degree (i.e., an associate degree or more).
    [Show full text]
  • Social and Cultural Transformations in the Context of Modern Globalism”
    The European Proceedings of Social & Behavioural Sciences EpSBS Future Academy ISSN: 2357-1330 https://dx.doi.org/10.15405/epsbs.2019.03.02.235 SCTCMG 2018 International Scientific Conference “Social and Cultural Transformations in the Context of Modern Globalism” СOLOUR NAMING IN OSSETIAN LANGUAGE: LINGUOCULTURAL ASPECT Rita Tsopanova (a), Larisa Gatsalova (b)*, Angela Kudzoeva (с), Aza Gazdarova (d), Ida Khozieva (е) *Corresponding author (a) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, (b) North Ossetian State University named after K. L. Khetagurov, Vladikavkaz Scientific Center RAS, 10 Mira, Ave., Vladikavkaz, Russia, (c) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, (d) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, (e) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, Abstract The paper explores core and peripheral color lexicon and shades in Ossetian language. Derived, complex words and analytical structures transmit shades of colors. Four colors have the highest use frequency in Ossetian language: black, white, red and blue. Black and white colors have the greatest semantic and stylistic meaning in the speech of Ossetian linguistic culture. These colors are precisely the part of mental language formations. An important role in color features of objective world is played by yellow and gold that is close to it. Blue, green and gray are named by one color. Color words have connotative meanings, express the peculiarities in people mentality and participate in symbol formation and stereotypes. Individual author’s development of color vocabulary enriches visual and expressive possibilities in Ossetian language. This study gives an idea of color picture of the world in the minds of the Ossetians.
    [Show full text]
  • RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
    RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey
    [Show full text]
  • Color Chart See Next Page for Trim-Gard Color Program
    COLOR CHART SEE NEXT PAGE FOR TRIM-GARD COLOR PROGRAM 040–SUPER WHITE 068–POLAR WHITE 070–BLIZZARD PEARL 071–ARCTIC FROST OUG–PLATINUM 1C8–LUNAR MIST 1D4–TITANIUM 1F7–CLASSIC SILVER 700–ALABASTER 017–SWITCHBLADE OUX–INGOT SILVER 1D6–SILVER SKY 1F8–METEOR METAL 1F9–SLATE METAL 1G3–MAGNET GRAY 797–MOD STEEL 0J7–MAGNETIC METAL 8V1–WINTER GRAY 1EO–FLINT MICA 202–BLACK 209–BLACK SAND ORR–RUBY RED 3L5–RADIENT RED 3PO–ABSOLUTE RED 089–CRYSTAL RED 3R3–BARCELONA RED 3Q7–CASSIS PEARL 102–CHAMPAGNE 402–DESERT SAND 4T8–SANDY BEACH 4T3–PYRITE MICA 4U2–GOLDEN UMBER 4U3–SUNSET BRNZ 6T3–BLACK FOREST 6T6–EVERGLADE 6T8–TIMBERLAND 8S6–NAUTICAL BLUE 8T0–BLAZING BLUE 8Q5–COSMIC BLUE 8T5–BLUE RIBBON 8T7–BLUE STREAK 8R3–PACIFIC BLUE ACTUAL COLORS MAY VARY SLIGHTLY COLOR PROGRAM BULLET END TIPS ANGLE END TIPS WHEEL WELL DOOR EDGE COLOR 14XXXBT BTXXX 15XXXAT 75XXXAT 20XXXAT 3XXX NEXXX 000 - CLEAR X X 017 - SWITCHBLADE SILVER X X X X 040 - SUPER WHITE X X X X X X X 068 - POLAR WHITE X X X X X 070 - BLIZZARD PEARL X X X X X X 071 - ARCTIC FROST X X X X 089 - CRYSTAL RED TINTCOAT X X X X 0J7 - MAGNETIC METALLIC X X X X 0RR - RUBY RED METALLIC X X X X X 0UG - WHITE PLATINUM PEARL X X X X 0UX - INGOT SILVER METALLIC X X X X 102 - CHAMPAGNE SILVER X X X X 1C8 - LUNAR MIST X X X 1D4 - TITANIUM METALLIC X X X X X 1D6 - SILVER SKY X X X X X 1E0 - FLINT MICA X X X 1E7 - SILVER STREAK X X X 1F7 - CLASSIC SILVER X X X X X X X 1F8 - METEOR METALLIC X X X 1F9 - SLATE METALLIC X X X 1G3 - MAGNETIC GRAY X X X X X X X 202 - BLACK X X X X X X X 209 - BLACK SAND PEARL X X X X 3L5
    [Show full text]
  • The Bigger Picture Black Womenomics
    The Bigger Picture | March 9, 2021 BLACK WOMENOMICS Investing in the Underinvested Daan Struyven Gizelle George-Joseph Daniel Milo [email protected] [email protected] [email protected] The Goldman Sachs Group, Inc. Goldman Sachs The Bigger Picture Table of Contents Executive Summary 3 Confronting the Wealth Gap 6 Earnings Gap 8 Education Gap 12 Capital Access Gap 15 Personal Finance Gap 19 Housing Gap 21 Health Gap 22 Actions to Invest in the Underinvested 27 Good for Growth 30 Fairer and Richer Society 31 Disclosure Appendix 32 The Bigger Picture is a publication series from Goldman Sachs Global Investment Research devoted to longer-term economic and policy issues, which complements our more market-focused analysis. For other important disclosures, see the Disclosure Appendix. BLACK9 March WOMENOMICS 2021 2 2 Goldman Sachs The Bigger Picture ExecutiveExecutive Summary Summary 1. Black women face a 90% wealth gap. The economic and business case for diversity will only grow as US demographics and the labor force are set to become increasingly racially and ethnically diverse over the coming decades. Yet, due to complex historical factors and ongoing discrimination, Black Americans and especially Black women remain heavily disadvantaged across a broad range of economic measures, including wealth, earnings, and health. The median Black household owns nearly 90% less wealth than the median white household and the gap is even slightly larger for single Black women relative to single white men. The structural factors that have created and reinforced these economic disparities that Black women face are multifaceted and interrelated, and inevitably we neglect many important issues.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • Trygge Toven
    TRYGGE TOVEN MUSIC SUPERVISOR RECENT FEATURES AND EPISODIC WORK WESTWORLD (S3) Lisa Joy and Jonathan Nolan, creators HBO 6 UNDERGROUND Michael Bay, dir. Netflix DEEP WATER Adrian Lyne, dir. Fox DOLEMITE IS MY NAME Craig Brewer, dir. Netflix FINDING OHANA Jude Weng, dir. Netflix SPIES IN DISGUISE Nick Bruno & Troy Quane, dir. Blue Sky ALWAYS BE MY MAYBE Nahnatcha Khan, dir. Netflix FANTASY ISLAND Jeff Wadlow, dir. Columbia Pictures SEXTUPLETS Michael Tiddes, dir. Netflix SHAFT Time Story, dir. New Line BRIGHTBURN David Yarovesky, dir. Sony RED SHOES & THE 7 DWARFS Sung-ho Hong, dir. Locus THE PREDATOR Shane Black, dir. Fox IT’S TIME Frank Waldeck, dir. Mt. Philo Films MOTION PICTURES (continued) IBIZA Alex Richanbach, dir. Netflix AVENGERS: INFINITY WAR (Music Coordinator) Anthony Russo, Joe Russo, dirs. Disney BLACK PANTHER (Music Coordinator) Ryan Coogler, dir. Disney FINDING STEVE MCQUEEN Mark Steven Johnson, dir. AMBI Group THOR: RAGNAROK (Music Coordinator) Taika Waititi, dir. Disney WHERE’S THE MONEY? Scott Zabielski, dir. Lionsgate NAKED Michael Tiddes, dir. Netflix SPIDER-MAN: HOMECOMING (Music Coordinator) Jon Watts, dir. Columbia Pictures ALL EYEZ ON ME Benny Boom, dir. Morgan Creek AMERICAN MADE (Music Coordinator) Doug Liman, dir. Universal Pictures MEGAN LEAVEY (Music Coordinator) Gabriela Cowperthwaite, dir. LD Entertainment GUARDIANS OF THE GALAXY VOL. 2 (Music Coordinator) James Gunn, dir. Disney SING (Music Coordinator) Garth Jennings, dir. Illumination TRUE MEMOIRS OF AN INTERNATIONAL ASSASSIN Jeff Wadlow, dir. Netflix DOCTOR STRANGE (Music Coordinator) Scott Derrickson, dir. Marvel TROLLS (Music Coordinator) Mike Mitchell, dir. DreamWorks Animation MOTION PICTURES (continued) SKIPTRACE (Music Coordinator) Renny Harlin, dir. Saban Films A CINDERELLA STORY: IF THE SHOE FITS Michelle Johnston, dir.
    [Show full text]
  • Graphics Standards Guide Primary Logo
    GRAPHICS STANDARDS GUIDE PRIMARY LOGO This City of Hays logo should never be re-created or re-typeset. To maintain consistency, a cohesive balance, and a strong visual identity, the City of Hays logo should only be used from existing digital files. CLEAR ZONE The City of Hays logo should always have an area of open space or “clear zone” around it. No other graphic elements should fall within this area around the logo. Where the “X” is equal to the height of the capital (H) in the word “Hays”, leave at least X amount of clearance on all sides of the logo. MINIMUM SIZES The City of Hays logo should always be used at an appropriate size to make sure it is legible. When the primary logo is used, it should be no smaller 1.0625 than 1.0625” at its widest point. COLOR PALETTE This City of Hays logo is composed of 2 colors with a tint of 25% through the abstract (h) logo. Four-color process printing is the preferred option for printing. When the logo is used on the web or on screen, the RGB format should be used. Four-color process, Pantone and RGB formulas are listed below. MAIN BRAND COLORS 4-COLOR PROCESS (CMYK) SPOT COLOR (PANTONE) RGB & HEX VALUE (WEB) C 0 PMS 7406 R 241 M 13 G 196 Y 100 B 0 25% tint 25% tint 25% tint K 1 HEX #F1C400 Yellow Yellow Yellow C 63 PMS BLACK 7 R 61 M 60 G 57 Y 64 B 53 K 65 HEX #3D3935 Black 7 Black 7 Black 7 LOGO FONT Gotham Book and Gotham Black are the two fonts for the City of Hays text of the logo.
    [Show full text]
  • 13 Shades of Black PR
    Black Wednesday Social Co. Launches 13 Shades of Black Series FOR IMMEDIATE RELEASE: May 3, 2016 (CHARLOTTE, NORTH CAROLINA) – Charlotte-based Black Wednesday Social Co. to release a new 13- week series, “13 Shades of Black,” on Wednesday, May 4th, 2016. The series will feature local fashion makers, designers and artists as styled in the color black. Black Wednesday Social Co. is a boutique marketing company based in Charlotte, North Carolina that specializes in showcasing the human element. Through its brand personification services, BW custom builds marketing strategies that are tailored to fit your needs, with the goal of helping you share the living, breathing human passion behind exactly what it is that gets you up in the morning (besides coffee). Because yes, Black Wednesday is a big fan of coffee: but an even bigger fan of the conversations that happen over a cup of coffee. So, what’s your next conversation? Black Wednesday whole-heartedly believes in building community through social media and designed the series to do such. The first BW series, “#cyoWedventure,” was a weekly meet up series launched in December of 2015. Every Monday a theme was announced and BW followers voted on their favorite places followed by a Wednesday meet up at the winning spot. The second series, “13 Shades of Black” features Charlotte fashion influencers and how they would style themselves in Black Wednesday’s favorite color; photos were taken by local fashion photographer, Katherine Kirchner. Over 13 Wednesdays, each of the involved will be revealed over the @bwsocialco social media and blog channels.
    [Show full text]