The Diminishing Ku Klux Klan

THE DIMINISHING KU KLUX KLAN

EXAMINING THE BRANDING OF A HATE

THE DIMINISHING KU KLUX KLAN

EXAMINING THE BRANDING OF A HATE GROUP WRITTEN AND DESIGNED BY KATHERINE CARBERRY

This book is dedicated to my family and my girlfriend, whose support, understanding, and encouragement made this work possible.

IN TROD UCT ION

The Ku Klux Klan—It is a name that instantly conjures

once were and these days it is more

up sinister images of white hooded figures, crosses

likely to appear in a punch line

burning in the dead of night, and above all, a wellspring

than in a headline. The lack of any

of deep-seated hatred. “There was a weird potency

cohesive branding on the part of

in the very name Ku Klux Klan,” John Lester wrote,

the Ku Klux Klan not only reflects

“The sound of it is suggestive of bones rattling together”

its current state but also ensures

(qtd. in Bartoletti 25). The echo of those bones is still

that the power of the KKK lies in

heard today, despite the fact that the Klan is a mere

its history, not in its present.

shadow of its former self. The Ku Klux Klan of today is splintered into factions and marginalized by modern society—yet the Klan has retained the name recognition of a Fortune 500 company.

In stark contrast to the nation’s Nikes and Coca-Colas, the power of the Ku Klux Klan name is not the result of a cohesive and successful branding strategy, but instead merely a legacy of the Klan’s horrifically violent past.

The Ku Klux Klan has no branding identity and therefore, no ability to either enhance or, more importantly, alter the existing public perception of the group.

An examination of the identity system of a group is as revealing as a look at the habits, attitudes, and style of an individual. Brands reflect the personality of an organization. Examining the Ku Klux Klan through the lens of branding reveals the true nature of the modern Klan—it is a group bound together by fear and hatred as opposed to any central organization. Its membership and power have dwindled to a fraction of what they

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BR AN DIN G Vintage Coca-Cola advertisement from the 1950s.

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Defining Brand Each year the global brand consultancy firm Interbrand ranks the world’s top 100 brands according to their brand value. Brand value, also known as brand equity, is “the value premium that a company realizes from a product with a recognizable name as compared to its generic equivalent” (“Brand Equity Definition”). More plainly, brand value is the extra thirty-nine cents that customers are willing to pay for a box of Kellogg’s as opposed to a box of generic corn flakes. There is no standard for calculating a company’s brand value but many firms use a system similar to Interbrand’s, which combines a company’s profit with an estimation of the brand’s strength and the role it plays in a purchase (“Best Global Brands 2011 Methodology Overview”).

According to Interbrand, the top five brands of 2011 (Coca-Cola, IBM, Microsoft, Google, and GE) are valued at between $42 and $72 million (“2011 Ranking of the Top 100 Brands”). These figures may appear staggering but they’re not surprising considering the influence wielded by these brands both in the global market and in the mind of the consumer. Such brand domination is summarized best by an excerpt from the Coca-Cola Company’s official website: “In the remotest comers of the globe, you can still find Coca-Cola” (“Coca-Cola History: Coca-Cola Heritage Timeline”).

This is where the brand steps in.

“A brand is a ‘trust mark’,” writes Tom Peters, author of best-selling business and management books, “It’s shorthand. It’s a sorting device” (qtd. in Wheeler 3).

Though the brand may function as a ‘trust mark’, it is important not to conflate the notion of a company’s brand with its logo or wordmark.

As graphic designer Milton Glaser remarked, “A logo is the point of entry to the brand”—it is far from the brand itself (qtd. in Wheeler 4).

What, then, is a brand? The design and marketing worlds are not short of definitions. One of the most intelligible answers to that question lies in Jane Pavitt’s book Brand.new, when she compares commodities to brands. “Commodities are like faceless brands—products or services that achieve their functional aim but do so without any distinctive characteristics or identifiable

But what makes these companies so successful?

differences. Flour is a commodity.

Certainly, a quality product helps. In the days of the

Beer is a commodity. A plane

general store, quality was key—word-of-mouth and

journey is a commodity. To under-

the recommendations of store clerks and acquaintances

stand what a brand is we must

formed the basis of a product’s success or failure. The

juxtapose Coca-Cola (a brand)

brand was merely “a symbol of production” (Pavitt 73).

against a carbonated, caffeinated

Today’s commercial landscape, however, is markedly

beverage (a commodity)”(75).

different—when a consumer enters a grocery store to buy a tube of toothpaste, he is no longer greeted by the smiling face of a trusted clerk, but instead by row upon row of a seemingly infinite variety of toothpastes.

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“Green Coca-Cola Bottles”, Andy Warhol, 1962, oil on canvas.

Red overlay added by author.

In essence, a brand surpasses the physical output of

is so strong that new applications

a company and instead attempts to encapsulate the

of the brand can begin to serve as

company’s spirit—its history, its attitude, its commit-

shorthand—a glimpse of Coca-

ment to the customer. The brand is “the promise, the

Cola’s signature red and the mind

big idea, the reputation and expectations that reside

of the viewer fills in the rest.

in each customer’s mind about the product and/or company” (Wheeler 2). The brand is the personality of the company—a personality calculated to sell.

Defining Brand Identity If the brand is the spirit, the soul of the company, then the brand identity is its skeleton—a carefully calculated structure that serves as both a framework to help define the brand and a vehicle to convey the brand into the global marketplace. A strong brand identity system works as a backbone for the company, ensuring that all graphic output is in line with the brand personality and retains a visual coherence specific to the brand. CocaCola’s 2011 ‘Brr’ campaign in India is a prime example of Coca-Cola’s brand identity at work (“Coca Cola to Launch New Global Campaign ‘Brrr’ in India”).

Prominently displayed are the Coca-Cola logo, the

often associated with commercial output, however, they apply equally to any group with visual representation. An identity system’s strengths or weaknesses affects the public’s perception of a group similarly whether that organization is Nike shilling shoes, the American Civil Liberties Union campaigning for justice, or even, as author Steven Heller examines in his book Iron Fists: Branding the 20th-Century Totalitarian State, the Nazi Party propagating genocide.

Design is, after all, primarily a

Coca-Cola glass bottle shape, and Coca-Cola’s

method of communication—“a

signature bright red. The soda itself leaps up out of

component that has been part of

the bottle into the air, creating the word ‘Brrrr’ from

every successful enterprise” since

ice and insinuating that the drink is so dynamic and

the days of cave paintings (English

refreshing that it defies both gravity and physics.

9). A designer functions much like

This combination of primary visual elements (logo,

a bladesmith. A skilled bladesmith

bottle shape, and signature red) and implied emotion

creates a sharp, durable knife whose

(excitement, refreshment) is a cornerstone of Coca-

sole function is to cut well, whether

Cola’s brand identity. The true strength of Coca-Cola’s

it is cutting vegetables for a salad or

identity system, however, lies in its consistency. The

a victim’s flesh. A talented designer

visual and conceptual elements of the Coca-Cola brand

constructs a branding system that

are transmitted so cohesively through a variety of

can communicate any message—

applications that even a sidelong glance at this adver-

even one of hatred and violence.

tisement will implant the idea of Coca-Cola into the viewer’s mind. A truly consistent brand identity

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The principles of branding are

a strong brand identity system works as a

Key Components of Brand Identity The principle considerations of an effective identity

flexibility so that the brand can

system fall into two categories: the visual and the

adapt to different markets and new

conceptual elements.

applications with ease. Lastly, a

The primary visual component of any brand identity system is, of course, the logo—“the visual expression of a brand”(Vaid 28). Other visual symbols can play a large supporting role, however—consider the shape of the Coca-Cola bottle which, though it does not share the recognition afforded Coca-Cola’s logo, is a familiar form to the global public. Choice and treatment of imagery, use of color, and typography—all of these visual elements function as both an enticement to the viewer and an expression of the brand’s personality.

These visual aspects may serve to establish the brand’s identity, but it is only through a strict adherence to a set of overarching concepts that the identity can become a system. As in all design work, content is king—a strong identity system has a clear, concise message reinforced through the content and style of all written copy.

Consistency and coherence are, in fact, essential in all aspects of a brand identity system. Creating a unified, consistent voice and visual style is integral to crafting a brand that consumers know and trust. However, identity systems must balance this consistency with

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strong identity system will differentiate a brand from its competitors.

backbone for a company, ensuring that all graphic output is in line with the brand personality and retains a VISUAL COHERENCE specific to the brand.

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THE KU KLUX KLAN

A proud Klansman stands in front of a sign reading “Welcome to Klan Country”.

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The Ku Klux Klan: A Brief History In her book Designing Brand Identity: a Complete

In 1871, President Grant, struck

Guide to Creating, Building, and Maintaining Strong

by the KKK’s horrific crimes and

Brands, Alina Wheeler emphasizes the importance of

the corrupt government officials

conducting an “internal audit” as the first step of the

who looked the other way, signed

branding process. The internal audit, Wheeler explains,

what has become known as the

streamlines the company’s mission, values, and goals,

Ku Klux Klan Act, which made it

while giving both designers and company stakeholders

illegal for groups to conspire or

a stronger understanding of the organization’s strengths

wear disguises to intimidate or harm

and weaknesses (60). Accordingly, the first step in an

individuals (Bartoletti 129). The

examination of the branding of the KKK should be

Ku Klux Klan Act effectively

a look at the group’s history and stated goals.

brought the first wave of the Ku

The KKK was founded in Pulaski, Tennessee in May

Klux Klan to an end.

of 1866 by a group of six disenfranchised Confederate

Soon the Klan experienced an

soldiers who decided to “get up a club” (Bartoletti

intense revival. Sparked by the

25). The Klan quickly became a popular prospect for

release of D.W. Griffith’s film

angry white Southerners who channeled their feelings

The Birth of A Nation in 1915,

of defeat and fear into a new pastime—dressing up as

the KKK again became a national

hooded figures and scaring or threatening with violence

organization. During its 1925

the now-freed slaves. As the Klan gained members,

march on Washington, the New

the group became more organized and the violence

York Times estimated the number

escalated, directed towards any black man or woman

of marchers to be between 50,000

who struck the Klan as impertinent or dangerous,

and 60,000 (Chalmers 2; Bartoletti

as well as any white sympathizers.

154). This time around the Klan’s

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list of enemies expanded to include immigrants, Jews, Catholics, and anyone the Klan deemed immoral.

In many cases this meant “sexually adventurous women” and illegal drinkers, as the Klan were virulent supporters of Prohibition (Pegram 3). Though involvement dropped off sharply by the beginning of the Great Depression, the second wave of the Klan did not fully dissolve until the late 1940s, when it was strained by the federal government’s request for back taxes, internal strife following the death of leader Dr. Samuel Green, and the arrival of World War II (Pegram 20; Chalmers 335; Chalmers 424).

The third significant wave of Klan activity evolved as a response to the civil rights movement. “It was the Supreme Court decision against public school segregation on May 17, 1954, that gave the Invisible Empire a new impetus and environment for action,” writes historian David M. Chalmers in Hooded Americanism: The History of the Ku Klux Klan. “In a South marked by growing hysteria, the Klans burst into activity” (343). And burst into activity they did—a 1959 report detailing Klan activity during the four years after Brown v. Board of Education “listed some 530 cases of overt ‘racial violence, reprisal and intimidation’”(349).

Though Klan membership in the 1960s hovered around fifty thousand members, the Ku Klux Klan no longer acted as a single cohesive movement: “most Klaverns (local units) remained stubbornly independent” (387; “Ku Klux Klan— History”). In the meantime, the American attitude towards the Klan had soured and local and federal law enforcement agencies, including the F.B.I., worked diligently to infiltrate and break up the klaverns (“Ku Klux Klan— History”).

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Clockwise from top: The 2nd U.S. Artillery, at Fair Oaks, VA, June 1862.

Klansmen march in Washington, DC, 1925.

Photograph by Walker Evans during the Great Depression.

Police officials watch as barrels of liquor are poured into the New York sewer system at the start of Prohibition.

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Klansmen listen to a speech given by their Grand Wizard.

The Klan marches down a city street in the 1920s.

An unmasked Klansman holds a gun while smoking a cigar.

A half-burned 6-foot cross leans against Florida church after it was extinguished by firefighters.

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In the years between 1970 and 2000, the Klan continued

The Klan today is a mere shadow

to splinter and decline, most especially in the public

of what it once was. However, it is

eye. The Klan did experience a brief revival in the late

still true that “of all the types of

1970s and early 1980s, but with the exception of a few

right-wing groups that exist in the

national organizations, klaverns were locally-based and

United States, the Klan remains the

operated independently of each other. In the 1970s

one with the greatest number of

David Duke, Imperial Wizard of the Knights of the Ku

national and local organizations

Klux Klan, radically altered the face the Klan presented

around the country”(“About the

to the outside world. By avoiding the use of racial slurs

Ku Klux Klan”).

and emphasizing the ideas of pride, heritage, and family values, Duke attempted to broaden the Klan’s appeal and soften its image in order to enlarge its membership.

Several of these tactics were picked up by the few national Klan groups still remaining, among them the American Knights of the Ku Klux Klan and the Knights of the White Kamelia (“Ku Klux Klan— History”).

Near the end of the twentieth century, many American cities were faced with “a significant influx of immigrants, especially Hispanics, for the first time in their histories.”

In response to this rise in immigration, many klaverns increased their focus on opposing immigration. (“About the Ku Klux Klan”).

The Ku Klux Klan Today According to the Anti-Defamation League, a civil rights agency dedicated to fighting anti-Semitism, racism, and bigotry, more than 40 distinct Klan groups are currently in existence nation-wide. Many of these groups have multiple klaverns, or chapters, and over one hundred klaverns are currently operating around the country.

The ADL estimates the total number of Klan members and associates to be roughly 5,000 individuals. Klan members today often focus on issues like gay marriage, immigration, and what they consider to be “assaults on Christianity”(“About the Ku Klux Klan”).

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VISUAL COM PONE NTS

Overhead shot of the Klan’s 1924 march down Pennsylvania Avenue in the District of Columbia.

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Visual Components of the KKK Brand Al and Laura Ries, marketing professionals and co-authors of The 22 Immutable Laws of Branding, compare successful branding to occupying the mind of the consumer. “If you want to build a brand, you must focus your branding efforts on owning a word in the prospect’s mind. A word that no one else owns.

What prestige is to Mercedes, safety is to Volvo” (qtd. in Wheeler 65). An examination of the visual components of the Ku Klux Klan brand reveals a desire to own two words, specific to the consumer. In the mind of the current or prospective Klansman, the KKK aims to own the word “pride”. In the mind of its enemies, “fear”. The visual aspects of the Klan brand, its choice of symbols, imagery, color, and typography all center around these two concurrent purposes—to inspire a sense of pride and duty in its current and prospective members and to instill terror in any and all individuals who are at odds with Klan principles.

In some instances, the visual aspects of the Klan are concise and striking; in others, they are convoluted and clearly the spawn of individual egos. But all are united by the fact that force of their visual effect is the result of the bloodshed wrought by the Klan, as opposed to any intrinsic power.

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Klan Symbols: Klan Robes The basis of the Klan regalia—the white robe and mask

of ornamentation were adopted in

that both inspire fear in the viewer and cloak the

different sections, governed chiefly

wearer in anonymity—was the result of the first night

by the individual’s personal taste

ride by the founding Klansmen in Pulaski, Tennessee.

and whim, and some of them

“Bubbling over with the excitement of their new-found plaything, the young members of the new Ku Klux Klan decided to make a public manifestation of themselves;

appurtenances like the horns popular in some states” (Horn 60).

so, borrowing the familiar idea of the easy Hallowe’en

Over time, klaverns began to

disguise, they wrapped themselves in sheets, mounted

demand a mandatory robe

their horses and galloped through the streets of the little

purchase in order to join and as

town, greatly enjoying the sensation they created—

fewer Klan robes were sewn

particularly the alarm and dismay of the negroes, to

by members’ wives, robes grew

whose superstitious minds the sight of white-sheeted

to be less individualized (Pegram

figures suggested nothing but spirits risen from the

16). Many klaverns, however,

grave, and who accordingly fled to their homes in

developed their own systems to

panic-stricken terror” (Horn 13).

indicate a Klansman’s ranking

Whether the Klansmen happened upon the white robes and hoods or chose them purposefully in order to resemble the ghosts of dead Confederate soldiers, the members were undoubtedly pleased with the result (32). Robes and hoods quickly became the Ku Klux Klan uniform, though they were worn more often at “raids, demonstrations or other group appearances in public” than at regular meetings (Horn 58).

Klansmen took pride in their costumes. Style, color, and ornamentation of robes differed greatly amongst members though there were overlapping features.

“The matter of color and style was left largely to the individual’s personal taste, although all [robes] were of a grotesque nature calculated to impress and terrify the ignorant and superstitious. White robes were originally used by the Pulaski organizers of the Klan, and were generally favored by other Klans at first…

There was, however, an early departure from the popularity of the white robes, and black or red with white trimmings seemed to be favored. Various schemes

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went in for ingeniously terrifying

using particular stripes and colors.

Today Klansmen often wear open-faced hoods or cover their face with a removable cloth.

Current Klan robes also feature the Ku Klux Klan logo sewn prominently over the left breast.

The robes and hoods worn by Klansmen had the practical function of uniting Klan members and protecting their identities so that acts of intimidation and violence could not be attributed to any particular individual. But they also had a deeper, more sinister effect perhaps best explained by historian and civil rights activist W.E.B. Du Bois.

“The method of force which hides itself in secrecy is a method as old

as humanity. The kind of thing that men are afraid or ashamed to do openly, and by day, they accomplish secretly, masked, and at night. The method has certain advantages…it shields itself in the mob mind and then throws over all a veil of darkness which becomes glamor. It attracts people who otherwise could not be reached. It harnesses the mob” (Bartoletti ii).

The Klan robe is one of the strongest visual elements of the Ku Klux Klan brand. Like Coca-Cola’s signature red, the Klan regalia instantly evokes the KKK and all of the violence and terror associated with it. Since the Ku Klux Klan’s inception, the robe and hood have retained their chilling effectiveness to communicate the presence of the Klan.

The KKK aims to represent the word PRIDE in the mind of prospective Klansmen and the word FEAR in the mind of its enemies.

Two Klansmen display the wide variety of personalization among individual regalia.

Klan Symbols: Burning Cross The KKK’s involvement with the burning cross originates, oddly, in medieval Scotland. Known as the “Fiery Cross”, or in Gaelic “Crann Tara”, the flaming cross was used by Scots to alert nearby clans of impending danger (“History of Crann Tara”). It was not until 1905 that the burning cross was first affiliated with the Ku Klux Klan when author Thomas Dixon claimed the practice as an early Klan tactic, despite the lack of any correlating evidence (Chalmers 430).

Dixon’s novel The Clansman became the inspiration for D.W. Griffith’s 1915 film Birth of A Nation, whose sympathetic portrayal of the Klan and glorification of cross burnings inspired an Atlanta klavern, led by Grand Wizard William J. Simmons, to hold the first Klan cross lighting ceremony on Thanksgiving Eve, 1915 (Chalmers 430, Koerner).

Cross burnings continued throughout the Klan’s resurgence during the 1920s. Klansmen used the cross lightings as both an intimidation tactic and an excuse for a community gathering. “Cross burnings were the Klan’s most spectacular and entertaining public displays…[They] reinforced the fraternal bonds among Klansmen, and, according to eyewitness testimony, thrilled the often large crows of onlookers attending the events” (Pegram 3). “‘Oh, it was fun’ to burn a cross, recalled a woman from Indiana’s female Klan auxiliary.

‘The way they wrapped it in gunny sacks and soaked it in oil and then those guys went up and lit it, it was just a fun thing to do’” (Pegram 24). In this way, the Klan cross burning ceremonies bring to mind the sense of spectacle Hitler first admired at a demonstration of Marxists in Berlin and later adopted himself during as the head of the Nazi regime (Iron Fists 16).

Ku Klux Klan members often refer to cross burning as “cross lighting” and base its importance on religious

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A Klansman douses the flames of a burning cross with water at the close of an evening Klan meeting.

significance. From kkk.bz, the website of the Knights

Swanson was writing about Virginia

of the Ku Klux Klan—”We don’t burn the cross, we

v. Black, the 2002 Supreme Court

Light the cross…The light of the cross symbolizes the

Case concerning the constitutional-

Light of Christ dispelling darkness and ignorance. It

ity of a Virginia statute banning

is the fire of the cross that reminds us of the cleansing

the burning of crosses. In April of

‘fire’ of Christ that cleanses evil from our land” (“The Christian Cross Lighting Ceremony”).

But to the Klan’s enemies, who had flaming crosses placed on their lawns as a warning or a precursor to violence, “the fiery cross of the 1920s was a threat” (Pegram 3). The burning cross’ impact was summarized by editor-in-chief James L. Swanson in the 2003 edition of the Cato Supreme Court Review: “For the past eighty-eight years, ever since the first recorded cross burning in the United States in 1915, that flaming object has been the trademark of one group—the Ku Klux Klan. To the members of the Klan, that symbol represents an ideology of white supremacy and racial solidarity. To African Americans, the burning cross symbolizes a sinister history of toxic racism reaching back to the Civil War. To this audience, a cross aflame also symbolizes danger: threats, arson, violence, robed night riders, lynchings, and murder” (82).

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2003 Supreme Court Justice Sandra Day O’Connor ruled that states have the constitutional right to ban “cross burning carried out with the intent to intimidate,” though the act of lighting a cross itself cannot be considered prima facie evidence of this intent to intimidate. Citing the Ku Klux Klan’s “reign of terror throughout the South”, Justice O’Connor stated, “…the burning of a cross is a ‘symbol of hate’…

While cross burning does not inevitably convey a message of intimidation, often the cross burner intends that the recipient of the message fear for their lives. And when a cross burning is used to

intimidate, few if any messages are more powerful” (“Virginia v. Black”). Despite this ruling, the use of burning crosses as a threat has continued to this day.

In 2007, the Federal Bureau of Investigation reported twenty incidents of cross burnings in the United States during the previous two years (“Decidedly Uncivil: Cross Burnings in the 21st Century”).

As a branding component, a fiery cross is a striking visual, even when divorced from the context of Klan history. Fire is an agent of destruction; it transforms all that it touches to ash. Yet it was the discovery of fire that propelled men from caves and into the world of electricity. In this sense, fire could be interpreted in a positive sense. But just as the swastika was transformed from an ancient Sanskrit symbol representing good fortune to a symbol of genocide due to the horrific violence perpetuated by the Nazi regime, the burning cross, once a cry for help from medieval Scots became a signal of racially-motivated hatred, violence, and even murder (The Swastika 19).

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“…there is no mistaking its meaning…

even if the KKK logo were not associated with the burning cross, that

drop of blood would still indicate a violent ideology.”

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Klan Symbols: Pure Blood Logo Known as the pure blood symbol, the Klan logo

members of the Klan themselves.

appears on countless Klan websites, merchandise, and

According to the anonymous writer

official robes. It is often referred to as the “M.I.O.A.K.”

of kkklan.com, a self-proclaimed

or “Mystic Insignia of a Klansman” by Klan members

Klan member, the current Klan

(“MIOAK”; “MIOAK Blood Drop Patch”). Despite

logo is actually an alteration of the

the splintering of the Ku Klux Klan into various factions

Imperial Seal of the KKK, instituted

across the country, it is a consistent symbol and for

by Grand Wizard Simmons in the

all intents and purposes functions as a logo for the Klan.

1920s. “You should be able to spot

Much like Nike’s swoosh or Coca-Cola’s logotype,

the ‘mioak’ part of the seal right

the pure blood logo acts as a central branding element.

away. You’ll notice in the center that

Internally, it unifies the KKK members, declares their

it looks like the oriental yin and

allegiance to the Klan, and stands as a symbol of the

yang symbol, and that’s what it is.

principles the Ku Klux Klan was founded on. To those

The dates are 1915, in the white

on the outside, it serves the same purpose as the Klan’s

part (the date the KKK was revived)

white robes and hoods—a visual representation of

and 1866, in the dark part (the

the hate group, shorthand for the Klan itself.

date the revival Klan recognized as

Unfortunately, little scholarly information exists about the origin of the pure blood logo, though considering the level of secrecy surrounding many aspects of the Ku Klux Klan, this is hardly surprising. In Volume 12 of the AIGA Journal of Graphic Design, Steven Heller proposed that the logo was the outcome of the “mixed marriage of Christian and pagan iconography,” citing the use of black and red and the outline of a “slabbed cross” (“Designing Hate”). The logo is actually composed of several simple geometric shapes. The white slabbed cross lies in the center of a red circle with a black stroke. This outer circular shape unifies the composition and reinforces the idea of a group. Inside the white cross sits a black diamond that holds the only organic shape in the composition—a drop of blood.

the first official year of the original Klan)…Now, you can see quite plainly that all they did next was to take the K’s and the yin yang and place it on a round patch and add the Klan colors of red, white, and black…[This] was called the MIOAK by the revival Klan and not the blood drop cross. However, it was hard to sew on the dates in the center so they could be seen and read. So, they were not put on the patches. Also, the white part of the yin yang could not be seen against the white background of the patch. So only the dark part

The Anti-Defamation League reports that, “According

showed up in red…There was no

to the Klan, the blood drop represents the blood shed

cross or blood of Christ connection

by Jesus Christ as a sacrifice for the White Aryan Race”

to it at all” (“The Mystic Insignia

(“Hate Symbols: Ku Klux Klan”). However, like much

of a Klansman”).

Klan mythology, this fact is highly debated, even by

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The current pure blood logo originates from this “MIOAK” badge.

The anonymous Klansman goes on to explain the

The pure blood logo, shown here in both the incorrect (top) and correct (bottom) positions.

logo is quite striking. Red, which

surrounded by black lines of varying thicknesses in

features prominently in the design,

variations of the symbol. “…Look at the black bracket

has been long-recognized as the

and black “arms” stretching out on each of the four

most attention-grabbing of hues.

sides. These are four “K’s” symbolically facing the

The blood red is contrasted with the

four points of the compass. The four “K’s” stand for:

cross’ brilliant white, reinforcing

Knights of the Ku Klux Klan” (“The Mystic Insignia

the Klan ideals of purity and the

of a Klansman”). For this reason, the author insists

supremacy of the white race.

that the correct placement of the pure blood symbol

The use of flat colors and simple

is with the arms of the cross set at an angle as opposed

shapes help to create a strong,

to straight up and down.

Historical accuracy or inaccuracy aside, it is clear that there is some confusion among Klansmen as to proper placement of the M.I.O.A.K. The pure blood symbol, which also appears on newsletters, websites, and memorabilia, is seen most consistently on official Klan robes. The logo, in the form of a patch, is always sewn on the upper left chest, above the heart. This common placement ensures that the mark has proper “contrast from its surroundings” (Budelmann, Kim, and Wozniak 28). However, the rotation of the robe patch, as well as the other incarnations of the symbol, seems to vary from one klavern to the next.

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As a visual symbol, the “pure blood”

presence of the white slabbed cross, which is often

memorable symbol. As Steven Heller observes, “[It is not] as geometrically precise, or as aesthetically pure, as the swastika, but there is no mistaking its meaning…

Even if the KKK logo were not associated with the burning cross, that drop of blood would still indicate a violent ideology” (“Designing Hate”).

Klansmen in uniform cuddle ferrets in front of a Confederate flag.

The movie poster for The Black Klansman, a 1966 film directed by Ted V. Mikels.

Klansmen salute the cross.

A Klansmen rides on horseback.

Klansmen kneel before their Grand Wizard during a ceremony.

A Klansmen holds his young daughter in uniform on the cover of a 1965 edition of The Saturday Evening Post.

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Appropriated Symbols: Confederate Flag In contrast to white robes and the burning cross, the Confederate flag (also known as the “rebel”or “Dixie”

white border” on a red field

flag) is not a symbol associated solely with the KKK.

(“Confederate Battle Flag”).

To individuals of different races and upbringings, it may

Though a saltire is also known

signal anything from Southern heritage and pride to

as a “St. Andrew’s Cross”, in

racially-motivated hatred and violence. As strong as the

Miles’s design it was not intended

divide is between these two viewpoints, they are often

to have any religious significance.

held with an equally fierce strength. As David Sansing, Professor Emeritus of History at the University of Mississippi, succinctly explains, “There are at least five or six different groups to whom the flag is very important, but for very, very different reasons” (“The Confederate Flag: Current Controversies”).

The majority of Confederate armies adopted Miles’s battle flag, however, a few divisions created a variation of the flag by reformatting it into a rectangular shape. It is this version of the Confederate battle flag which

There are several misnomers concerning what is

has endured today, due in part

referred to today as “the Confederate Flag”. First,

to advertising companies that began

it is often mistakenly called the “Stars and Bars”,

to use the Confederate battle flag

a nickname that actually belongs to the first national

as a “generic symbol for the Southern

flag of the Confederate Congress, adopted in 1861

states” in the 1920s (Balloch B5).

(McWhirter D3). Second, the rectangular flag seen

The beginning of the Confederate

today on belt buckles and the backs of pickup trucks

flag’s popularity began in the

never officially represented the Confederate Army

1940s at college football games,

during the Civil War. As detailed in a 2003 article

where students and fans would

from The Atlanta Journal-Constitution, the use of the

wave them in the stands. This was

Confederate national flag, so close in appearance to

especially true at University of

the American flag, created confusion on the battlefield

Mississippi games (Balloch B5).

(McWhirter D3). The design of a flag specific for use during battle fell to William Porcher Miles, one of “the most vehement supporters of slavery” (McWhirter D3). Miles was said to have been inspired by South Carolina’s secession flag, a red field divided into quadrants by a blue St. George’s cross holding fifteen white stars. A white crescent and a white palmetto tree (South Carolina’s state tree) sit in the upper left (“Confederate Battle Flag”). A square flag, Miles’ design features thirteen white stars (representing the thirteen states of the Confederacy) aligned within a

26

“blue saltire, or X shape, with a

It was not until the civil rights movement of the 1950s that Klan groups began to display the Confederate flag as, according to one Klansman, “an act of defiance to the federal violations of State’s Rights” (Balloch B5; “The True Flag of the Ku Klux Klan”). During this period the flag grew increasingly entwined with issues of racial prejudice.

an emblem of southern pride or a symbol of racism?

27

Nazi flags hang in the streets of Germany.

Spreads from the Nazi pamphlet on branding and iconography.

The Anti-Defamation League comments, “Although the flag is seen by some Southerners simply as a symbol of Southern pride, it is often used by racists to represent white domination of African-Americans” (“Hate Symbols: Confederate Flag”).

Today the Confederate flag can be seen as a symbol of racism and the Klux Klan as much as an emblem of Southern pride. The image of the Confederate flag appears on countless Klan websites and merchandise and has been waved by Klansmen during marches and rallies. The Klan’s adoption of the Confederate flag has become so pervasive that members of the Sons of Confederate Veterans, a group dedicated to “preserving the history and legacy” of Confederate soldiers have begun to stage protests against the KKK’s use of the Confederate flag (Scv.org). During a protest on the steps of the Owensboro Federal Building in Kentucky, Sons of Confederate Veterans members carried placards “that read ‘Ban the Klan, not the flag’ and ‘Confederate flag is not a Klan flag’”(Lawrence 1).

The Sons of Confederate Veterans seem to believe that it is the Ku Klux Klan’s usage that has transformed the Confederate flag into a racist symbol, but it is important to remember that the flag’s original intent was to unite the thirteen states that chose to secede from the Union rather than ban the horrific oppression and slavery of black people. A Confederate flag does not necessarily need to be in the hands of a man in a white hood in order to be deemed a threat by a person of color. What remains inarguable, however, is the malice with which the Klan yields the Confederate flag and the fact that the proliferation of Confederate flag images associated with the Klan will only increase its reading as symbol of racially-motivated violence and hatred.

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Appropriated Symbols: Swastika In the first few pages of The Swastika: Symbol Beyond

At what point did the swastika

Redemption? Steven Heller comments on the visual

transform from a symbol of good

impact of the swastika. “…It is one of the most visually

will and benediction into a symbol

powerful symbols ever devised. Just set aside for a

of the Nazi regime and its millions

moment what is known about it and compare the

of victims? According to Thomas

swastika to other great signs of the past and present:

Wilson, a Smithsonian curator

No other mark—not even variations of the cross or,

who received federal support to

for that matter, the Nike swoosh—are as graphically

research the swastika in the late

potent” (The Swastika 3).

1800s, “the swastika emerged in

Heller goes on to explain his fascination with the symbol, remarking on its “geometric purity”, maximum legibility and “illusion of movement” when balanced on an edge. Indeed, the swastika seems to have held a visual fascination for many civilizations throughout history. “The word swastika comes from the Sanskrit svastika, which means “good fortune” or “well-being.”

The motif (a hooked cross) appears to have first been used in Neolithic Eurasia, perhaps representing the movement of the sun through the sky. To this day it is a sacred symbol in Hinduism, Buddhism, Jainism, and Odinism…Swastikas also have an ancient history in Europe, appearing on artifacts from pre-Christian European cultures” (“History of the Swastika”).

both hemispheres and throughout virtually every landmass, continent, and country” (The Swastika 21).

The swastika took different forms depending on its culture of origin with some variations involving dots, thicker bars, or more curved edges. The “normal” swastika however, according to Wilson, had straight bars “of equal thickness throughout [that] cross each other at right angles, making four arms of equal size, length, and style… all the ends are bent at right angles and in the same direction, right or left” (Wilson 767).

29

In 1874, during an archaeological dig of Hissarlik

first suggested by Dr. Friedrich

(the site of ancient Troy), Dr. Heinrich Schliemann

Krohn, a dentist and member of the

discovered multiple artifacts adorned with swastikas

German Workers Party who in

(Wilson 771). Schliemann incorrectly interpreted his

1919 submitted a report titled “Is

findings as proof of Germans’ Aryan heritage, and these

the swastika suitable as the symbol

views were published as fact by German writers and

of the National Socialist Party?”

scientists who were expounding on German racial

which detailed a design involving a

dominance and eugenics at the time (“History of the

clockwise swastika a color scheme

Swastika”). By the end of the nineteenth century,

of red, black, and white (The

“German racist mystics and occultists adopted the swastika as their sacred icon of racial purity and

other instances, Hitler took credit

invented a heritage and lore to support it” (The Swastika

for this idea, writing in Mein

38). In the years leading up to the formation of the

Kampf, “I myself, after innumer-

National Socialist German Workers Party (also known

able attempts, had put down a final

as the Nazi party), the flat-edged swastika had been

form: a flag with a background of

adopted by several right-wing occult and political groups

red, with a white circle, and in its

and was even in fashion with German youth “much

center, a black swastika” (qtd. in

in the same way the Egyptian Ankh was popular among hippies during the 1960s” (The Swastika 59; 53).

Thus, the swastika was highly present in German culture during the time when Adolf Hitler began searching for

30

Swastika 64). As he did in many

The Swastika 64). As Heller notes, “Hitler’s major contribution was to reverse the direction of the swastika” (The Swastika 65).

a symbol to represent the 1918 German Workers Party

The blatant appropriation of the

(renamed the National Socialist German Workers Party

once benevolent swastika by the

in 1920). Most likely, the adoption of the swastika was

Nazi Party would perhaps have not

been successful had it not been supported by such a strict branding policy. Under Hitler’s rule, the swastika became the centerpiece of the Nazi identity system, which “is a textbook case of how successful critical mass communication can become. The legacy of the Nazi’s branding campaign is its diabolical durability” (Iron Fists 75).

In 1952, Germany passed a constitutional law that banned the public display of the swastika or any other Nazi symbology (Iron Fists 75). There is no such corresponding law in America, where the swastika is used often by “neo-Nazis, racist skinheads and other white supremacist groups” (“Hate Symbols: Neo-Nazi Swastika Flag”). As Klan members share many of the same ideals as these groups—a hatred of immigrants and a focus on white supremacy—as well as attend many of the same events, it is hardly surprising that the swastika also appears on several Klan websites and in personal photographs of Klansmen.

31

32

33

A toddler dressed in Klan regalia touches the riot shield of a state trooper.

34

Consumers tend to prefer visuals as opposed to text Imagery An examination of several Klan websites showcases the prevalence of imagery in the Klan branding system.

Out of eight websites (belonging to the United Northern and Southern Knights of the Ku Klux Klan, the Brotherhood of Klans, the Church of the National Knights, the Empire Knights of the Ku Klux Klan, the Imperial Klans of America, the Knights of the Ku Klux Klan and two divisions of the Georgia Knight Riders), five devote a section to an image gallery or photo album.

All eight websites feature multiple images prominently.

Selection and style of imagery is an important aspect of any successful identity system. Consumers tend to prefer visuals—whether they be relatable, humorous, exciting, or artists—as opposed to text. The style and content of a company’s imagery is, in essence, the face of the brand, a key component in the visual representation of the brand’s “personality”.

An examination of the images that appear on the Klan websites specified above clearly demonstrates the weaknesses in the KKK identity system. Often, the images featured on these sites are photographs of individuals or small groups taken with personal digital cameras. These photographs lack proper lighting and are clearly taken by a fellow Klansman or a friend as opposed to a professional photographer. If one were to remove the Confederate flags, Klan logos, and Nazi salutes from the images, they might be of a group of average middle-aged Americans gathering in a backyard or rec room. One could argue that this is exactly the impression the Klan is hoping to make, one of a convivial fraternity, but these images are at odds with the Klan’s professed ideals and self-image as strong defenders of white family values.

Images of Klan rallies, marches and cross burnings are

symbols: the pure blood logo, the

no more impressive. Far from creating an impression

Confederate flag and other imagery

of a large, cohesive group united in their dedication

related to the Confederacy, and

to preserve the “sanctity of the white race”, the images

religious imagery. These pixelated,

show straggling, isolated groups that appear to be

clearly handmade creations under-

poorly organized and badly funded. In part, this effect

score the Klan’s lack of funding

is caused, once again, by a lack of professional photo-

and national organization.

graphy. Better composition, angles, and lighting can help create a mood for the scene as well as bolster an impression of a group’s funding and strong foundation.

The photographs taken at Klan rallies reveal a glaring distinction between the number of Klansmen and the number of spectators present at these protests—a distinction that perhaps could have been masked by shooting from a different angle or not including these images on an official web site at all.

36

The greatest flaw of the Ku Klux Klan imagery is that it reveals far too much about its subjects. Far from creating the impression of a successful and coordinated organization, the imagery that appears on these websites shows each Klan to be an individual unit with straggling numbers and

Other visual aspects of these Klan websites seem

a lack of funding and professional

inexplicably dated and poorly designed. The websites

marketing experience. These

of both the Georgia Knight Riders and the Arizona

are not images that could inspire

Realm Church of the National Knights of the Ku Klux

fear in the Klan’s enemies or

Klan feature repeating background imagery that

instill confidence in their potential

overwhelms the page. Many of the websites include

members and therefore constitute

collages in their photo galleries. These collages are

a very weak point in the brand of

typically poorly Photoshopped combinations of Klan

the Ku Klux Klan.

The greatest flaw of Ku Klux Klan imagery

is that it

reveals far too much about its subjects. these are not images that could inspire FEAR in the klan’s enemies or instill CONFIDENCE in its members.

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Color Color is a key component of a strong brand identity.

It is responsible for capturing attention as well as establishing a consistent visual brand that differentiates one group from another. “The brain responds to color the same way it responds to pleasure or pain. It’s immediate, primal (Budelmann, Kim, and Wozniak 16).

Though not every organization can “capture” a color to the extent of Coca-Cola or Tiffany & Co., color is nevertheless a strong visual indicator that can serve as a cohesive branding element.

The primary color scheme of the Ku Klux Klan is white and red, a striking duo. Accompanied at times with a deep black, this dominant color combination is evident both in the pure blood logo (largely red and white with outlines of black) and in Klan robes, which are often a pure white accented with blood red. An early pamphlet published by Mr. and Mrs. William B. Romine of Pulaski, Tennessee explained the emotional reasoning behind the Klan’s choice of colors concerning robes.

“As the Klan stood primarily for the purity and preservation of the home and for the protection of women and children, especially the widows and orphans of Confederate soldiers, white, the emblem of purity was chosen for the robes. And to render them startling

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Klansmen cluster around their Grand Wizard.

A lone Klansman stands in front of a burning cross.

and conspicuous red, emblem of the blood which

purposefully as red, white, and

Klansmen were ready to shed in defense of the helpless

black, the KKK’s frequent display

was chosen for the trimmings. Also a sentimental

of both Confederate and American

thought probably was present in adopting the color

flags causes this combination of

scheme, as white and red were Confederate color”

colors to become a secondary color

(qtd. in Randel 8).

The physical attributes of color most likely played a role in this decision as well, though perhaps only on a subconscious level. “Colors on the red end of the spectrum are focused slightly behind the retinas in your eyes. Therefore, a red color appears to move toward your eyes while you’re looking at it…Because of these physical reasons, red is the color of energy and excitement. Red is an in-your face color. Which is why red is the dominant color in 45 percent of all national flags” (A. Ries and L. Ries 86).

scheme. Red, white, and blue, especially when appearing in the form of the flag, are a clear signal of patriotism to American citizens.

This is certainly a useful symbol for the Ku Klux Klan, which aims to represent itself as the last bastion of American ideals, however the use of red, white, and blue as a device to represent respect for the United States is ubiquitous. The colors of the American flag appear

Indeed, the Klan’s red, white and black logo is highly

so frequently and often with more

reminiscent of the Nazi flag, an equally arresting visual.

connection to commerce than to

The sharp contrast created by the use of red, white,

patriotism that the Klan’s intended

and black cause the colors to almost leap off the page

message is hopelessly diluted.

towards the viewer.

Less effective, however, is the Klan’s use of red, white, and blue. Though these colors are not utilized as

39

Typography In Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining Strong Brands, Alina Wheeler explains the role typography plays in the creation and sustainability of a strong brand.

“Typography is a core building block of an effective identity program. Companies such as Apple, MercedesBenz, and Citibank are immediately recognizable in great part due to the distinctive and consistent typographical style that is used with intelligence and purpose throughout thousands of applications over time. A unified and coherent company image is not possible without typography that has a unique personality and information hierarchy…The typeface needs to be flexible and easy to use, and must provide a wide range of expression. Clarity and legibility are the drivers” (88).

A brief survey of several Klan websites reveals that the Ku Klux Klan has no discernible typographic system in place. There is no consistency in style between various chapters and most, if not all, of the websites lack a clear typographic hierarchy and feature type that borders on illegible.

The “Activism” page of the Empire Knights of the Ku Klux Klan website, for example, is a black screen nearly filled with bright red text—not a highly legible color combination under ordinary circumstances, but made increasingly worse by the small type, tight leading, and lack of paragraph separation. The two (presumably) most important phrases on the page, “Contact Congress” and “Contact Senate” are a medium blue and set at the same size as the rest of the type, two factors which contribute to the two links being nearly indistinguishable from the background. The Georgia and Arizona chapters of the Church of the National Knights of the Ku Klux Klan also sacrifice legibility by putting their text in bright red, yellow, and blue.

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The websites lack a clear typographic hierarchy and feature type that borders on

ille

gib

le

The Klan has never been simply about

STOP RACISM! There are thousands of groups working for the interests of blacks and other non-whites, but how many groups stand up for the cultural values of whites? Not many! As a result, we are faced with reverse discrimination in jobs, promotions and scholarships-high taxes for non-whites welfare- a black and Hispanic plague of crime- gun control- anti white movies and TV shows. In short, a society oriented to the wishes of non-whites!

We of the United Northern & Southern Knights of the Ku Klux Klan are un-apologetically committed to the interest and values of the white race! We are determined to maintain and enrich our cultural and racial heritage! We are growing fast and strong because we have NEVER compromised the truth! Want to learn more?

For more Information write to:

The homepage of cnkkkk.net, the general website of the Church of the National Knights of the Ku Klux Klan, is representative of many of the Klan’s errors in handling text. Type appears in six different colors and three fonts

National Office P.O. Box 26506

Fraser, MI 48026

are employed: Arial, Times New Roman and an ornate display font used for both group’s title and a subhead reading “Klansmans Kreed”. This use of an assortment

OR VISIT OUR WEBSITE AT WWW.UNSKKKK.COM

of fonts is reflected in the material of other klaverns.

The Imperial Knights of America, the Georgia Knight Riders, and the Empire Knights of the Ku Klux Klan all employ a serif, sans serif and display font. The serifs and sans serifs tend to be the most generic available, and the use of one over the other seems to be almost arbitrary. For example, in a United Northern and Southern Knights of the KKK flier, the street address of the organization is written in a sans serif typeface while the city and state information is set in a serif face.

Display fonts employed by the KKK tend to be excessively decorative and often have a medieval or gothic feel, perhaps in reference to an era in which knights were hailed as heroes and protectors of what was just and moral.

The KKK’s inappropriate employment of typography is one of the weakest facets of the Ku Klux Klan brand.

“Legibility, flexibility, and consistency” are the pillars of successful typography and the majority of the Klan websites struggle to accomplish even one of those components (Budelmann, Yang, and Wozniak 46). The mixture of font styles, large blocks of text, and issues of legibility reveal the Klan’s divisiveness and create a convoluted message that even dedicated Klansmen may not be able to decode.

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A young child lies down on a wooden cross as Klansmen prepare to light it on fire.

44

OVE ARC COM PONE NTS

ER CHING Overarching Components of the KKK Brand A brand cannot subsist on visual elements alone. Just as the logo must be supported by “a visual language and a vocabulary”, this visual language must rest upon a conceptual framework, one that takes into account the organization’s primary goals (Wheeler 81). “The best identity programs embody and advance the company’s brand by supporting [its] desired perceptions.

The identity encompasses every tangible expression of the brand and becomes intrinsic to a company’s culture—a constant reminder of its core values and its heritage” (Wheeler 12). Without a clear and defined message, as well as a consistent approach to representing that message, a brand is without an identity as well as a system. The Klan’s splintering into a multitude of distinct chapters has ensured that the KKK is unified in name only. Klaverns have conflicting views and visual styles, and while several have made concerted efforts to remain in the public eye, the Klan remains deflated, unsupported by a central identity system.

45

46

Message W.E.B. Du Bois once referred to the Ku Klux Klan as the “Shape of Fear”, an apt description for a group that has so often coalesced during periods of upheaval in American history (qtd. in Pegram 11). The Ku Klux Klan, writes historian David Chalmers, “was part of an enduring tradition, an available vehicle for the social and racial anxiety of at least part of a stratum of American society” (Chalmers 7). For many Klansmen, their decision to join the Klan was based less on political motives and more out of a desire to be part of a group.

“The nature of the psychic value which the Klan offered went far beyond night riding, reform, economic gain, or political advantage. It provided recreation and a sense of belonging. Probably the greatest strength of the Invisible Empire lay not in its creed but in its excitement and its in-group fraternalism…merely belonging to the Invisible Empire solved many of the Klansman’s problems” (Chalmers 115).

This sense of fraternalism mixed with an exotic mysteriousness is the most successful aspect of the KKK brand. “The best brands tend to symbolize something in a culture beyond the specific, pragmatic offer…

Brands that are as much about belonging as they are about buying tend to build the greatest value over time”

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Spectators line the streets during a Klan march.

Illustrations of the Klan by Branford Clark, 1925.

(Budelmann, Kim, and Wozniak 42). If one were to disregard the Klan’s horrendous acts of violence and racist theories and speech, the Klan, with its inner structure of “Wizards” and “Dragons”, coded greetings, night expeditions, and secret handshakes would sound like a children’s club. Certainly a great deal of the Klan’s appeal to prospective members is due to its unsaid promise to provide a sense of camaraderie, fellowship, and self-importance.

Yet the Klan has never been simply about fraternity, however cleverly it may present itself as such. The KKK’s history is stained with acts of egregious violence and its “rhetoric, both in public and within the klavern, was frequently acrid, confrontational, and by its very excess suggested the possibility of violence” (Pegram 18). For years, the Klan’s violence and intimidation went unpunished, but after time society began to see the KKK as the “divisive force it actually was in the community” (Chalmers 4). Between the resulting federal investigations and the rising societal disapproval, the Klan was forced to alter its message (at least outwardly). Many Klan websites now specifically state their objections to violence. The Church of the National Knights’ site proclaims, “CNKKKK ARE

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100% LAW ABIDDIN [sic.] AND HAVE ZERO TOLERANCE ON VIOLENCE, DRUGS AND ABUSE

Christianity and lambasting the “Jewish media”. There is some

OF ELDERS, WOMEN, CHILDREN, AND ANI-

overlap between different factions.

MALS” (cnkkkk.net). The Knights of the Ku Klux

For example, immigration, gay

Klan was established by David Duke in 1975 with the

marriage, and the election of Barack

intention of creating a “kinder, gentler” Klan which

Obama, are discussed on many

would promote its ideals through the media and court

sites—yet the distinctions in content

system (“Knights of the Ku Klux Klan”). David Duke’s

and editorial style are large enough

efforts continue today, as evidenced by the Knights

that the discrepancy is clear. While

Party’s website, whose primary visual is a large banner

the Ku Klux Klan may be able to

image of a white American family set against a backdrop

successfully purport an image of

of the American flag, gazing at the words “Welcome to

brotherhood and secrecy, its own

the Ku Klux Klan; Loving Our Family!” (kkk.bz).

divisiveness convolutes the brand’s

The Knights Party’s website may be the most obvious example of a “kinder” KKK online, but most other

message, undermining the identity of the Klan.

Klan websites use equally “positive” language, emphasizing family values, pride, and patriotism as opposed to hatred and desire for violence. It is at this point, however, where the messages from various Klan chapters diverge. The websites of some chapters have page upon page of information specific to their members with little general information about the Klan. Some sites feature galleries of horribly racially offensive cartoons and imagery while others focus on promoting

49

the greatest failing

of the KKK’s identity system is its LACK of

consistency 50

Consistency The greatest failing of the KKK’s identity system is its lack of consistency. In order for a brand to be successful, it must be considered dependable. An identity system is about forging a bond of trust between the organization and the consumer—“Brands are promises, and keeping promises is all about being consistent” (Budelmann, Kim, and Wozniak 66).

The Ku Klux Klan’s identity system is inherently flawed because the Klan is separated into multiple factions that have opposing views, objectives, and visual styles. As the Anti-Defamation League notes, “there is no ‘one’ Ku Klux Klan”—more than 40 Klan groups, broken down into over one hundred chapters, currently exist in the United States (“About the Ku Klux Klan”). All of these groups operate under some form of the KKK name and yet there is no overarching organization or even a central registry for Klansmen of all KKK affiliates.

Worse still, the klaverns themselves are shoddily assembled and are subject to infighting.

This absence of structural coherence is echoed by a lack of visual consistency among the chapters. The varied factions of the Klan draw upon many of the same symbols and elements—the burning cross, the pure blood logo, the colors red and white—yet they are applied in a different fashion from website to website.

The Klan’s lack of cohesion, both structurally and visually, is a huge impediment to the establishment of a strong identity system. If one were to compare it to an organization, it would be as if Nike split into separate groups based on each county in which a Nike store was located.

Although each Nike group retained a connection to the Nike name and “swoosh”, they were applied in a multitude of ways depending on the local group. A lack of cohesion can do nothing but dilute a brand.

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A Klansman kneels during an initiation ceremony.

Two married Klansmen lean on each other during a Klan meeting.

Flexibility In order for a brand to be successful, it must be flexible. Flexibility refers to the ability of an identity

stay relevant through other means

to be applied with equal force across any application,

as well, primarily through capturing

as well as the ability of an identity system to alter itself

the attention of the media.

according to the changing market.

As previously examined, the Klan’s online presence

In 1994, Missouri Klansmen gained national attention by applying to

is extraordinarily weak. Klan sites are often dated in

participate in the “Adopt-A-High-

appearance, overwhelmed with illegible text, and

way” program. Citing the KKK’s

provide no link from one Klan chapter to another.

The online Klan follows none of the prescribed rules for strong web design—“Graphics should be eye-catching, but not confusing…Typography should be simple but unique…As a rule of thumb, designers should use few typefaces, and avoid clashing colors, or colors that are difficult to read against the background” (Vaid 102).

This is especially damaging to the success of the Klan considering that the Internet, as described by Helen Vaid, is a form of “pull” rather than “push” media.

Push media refers to print material, radio, and television, while “the World Wide Web conform[s] to the ‘pull’ model, in that consumers actively seek specific information and ‘pull’ it from whichever sources provide it in the most authoritative, accessible, and visually attractive manner”.

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The Ku Klux Klan has attempted to

“racist membership policy and history of ‘unlawful violence’”, the Missouri Department of Transportation refused their application, a decision which the U.S. Supreme Court later ruled to be unconstitutional (Reaves).

Four years later, the Missouri branch of the Knights of the Ku Klux Klan attempted to underwrite NPR’s “All Things Considered” (“Public Radio Versus the Klan”), a move which generated a great deal of controversy. More recently, a Virginia branch of the Ku Klux Klan called the Knights of the Southern Cross was involved in

a counter-protest of the Westboro Baptist Church, a group known for picketing the funerals of American servicemen with anti-gay placards. While the Klansmen did not seem to draw much attention at the event itself, the resulting news coverage was extensive (Ure).

The Klan may be skilled at keeping its name in the

Two Klansmen and a Grand Wizard stare directly at the camera.

public eye but in all other ways it has been unable to alter its presentation to conform to the expectations of today’s consumers. Modern corporations target individuals through market research, engaging and professional imagery, and a dynamic use of new technologies. While the Klan’s publicity-garnering stunts point to at least a modicum of media savviness, in the end it is only further evidence of the Ku Klux Klan resting on the legacy of their name as opposed to a formulated branding strategy.

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Differentiation The ultimate purpose of a brand is to distinguish one organization from another; to establish in the consumer’s mind one enterprise as the premier manufacturer of a particular commodity, be it athletic footwear or racist diatribes. While the number of national and local Ku Klux Klan groups is greater than that of any other American right-wing hate group, the ideals of the KKK are hardly unique to the Klan alone (“About the Ku Klux Klan”). The late 1970s began a period of rapid growth for the American neo-Nazi movement and today racist skinheads flock to groups like the White Aryan Resistance, the American Nazi Party, Aryan Nations, and American Front (“Ku Klux Klan— Ideology”; The Swastika 124-127).

The Southern Poverty Law Center contends that stormfront.org, an internet forum founded in 1995 by former Klan leader Don Black, “may be the Western world’s most popular forum for so called ‘white nationalists’ to post articles, engage in discussions, and share news of upcoming racist events” (“Stormfront”). “One of the secrets to Stormfront’s success is its focus on community building. Whereas typical hate sites function as one-way transfers of information— rather like a brochure that can be read but not responded to — Stormfront has always been organized as a message board. Members can post opinions, listen to others respond, then post more feedback for all to read” (“Stormfront”).

In this way Stormfront is vastly superior to any Klan websites, which perhaps forms the basis for its banning by the Church of the National Knights, whose website proclaims, “CNKKKK WILL NOT BE APART [sic.]

OF NAZI OR NEO CON COMMUNITIES” (“KLARION CALLS”).

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Early Klan members marching in full regalia.

A female Klan member heads a local march.

Door of the Wheels of Soul clubhouse, an African-American motorcycle club in West Philadelphia.

Other branches of the KKK seem less conflicted about

tattoos, slogans, and even music.

joining forces with neo-Nazi groups. The headquarters

A number of Klan groups have

of the Imperial Klans of America in Kentucky is the

abandoned the use of the traditional

location of Nordic Fest, an annual festival of white

hoods and robes, eschewing them

supremacist groups and music (“Imperial Klans of

altogether or only using them

America”). The Brotherhood of Klans, who often

during ceremonies. As a result,

connects with outside

the modern Klansman might just

white supremacists,

as easily resemble a racist skinhead

“most notably racist

in dress and appearance as he

skinheads and outlaw

might the traditional hooded and

bikers”, has chapters

robed figure that most people

who have participated

associate with the Klan” (“Ku

in Aryan Guard

Klux Klan— Ideology”).

rallies. (“Brotherhood of Klans”).

There are several differences between the Ku Klux Klan and the neo-Nazi movement—the Klan tends to focus its hatred on AfricanAmericans and immigrants, while neo-Nazi groups are known for their anti-Semitism, and Klansmen tend to be deeply Christian while many neo-Nazis are atheists or pagans (“Ku Klux Klan— Ideology”). The principle of white supremacy, however, remains in the forefront and many Klans have begun to take advantage of this fact in order to gain larger appeal.

The ADL notes, “Many white supremacists, especially younger ones, viewed the Klan as old-fashioned compared to these newer movements. Some Klan groups

In the face of competition, the Ku Klux Klan is merging with other groups instead of working to differentiate their brand.

Relating the story of Coca-Cola versus Pepsi-Cola Al and Laura Ries note, “Not only should the dominant brand tolerate competitors, it should welcome them. The best thing that happened to Coca-Cola was Pepsi-Cola… choice stimulates demand” (56).

The KKK’s joining ranks with neo-Nazi groups is the equivalent of Pepsi-Cola merging with Coca-Cola on the basis that they both sell soda. By joining forces with other white supremacists, the Klan may increase its ranks but only through further sacrificing their already weakened brand.

adapted to this challenge by imitating neo-Nazi and skinhead groups, adopting their symbols, regalia,

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CON CL USI ON

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In 1924, sociologist John M. Mecklin published The Ku Klux Klan: A Study of the American Mind and summarized the root of the Klan’s quandary. “Were the Klan more closely organized and animated by a more definite and comprehensive program it might become a force to be reckoned with in national life. There is, however, little danger that the Klan as a whole will ever be able to utilize all its strength in a political or social program. This is due to the essential local nature of the Klan, its singular lack of able and statesmanlike leaders, its planless opportunism, and, above all, its dearth of great unifying and constructive ideals. In the language of Freudianism, the Klan is essentially a defense mechanism against evils which are more often imaginary than real. It is for this reason negative rather than constructive in its influence” (qtd. in Chalmers 296).

It is evident that Mecklin’s words are true to this day.

The Klan’s complete lack of an identity system, its “dearth of great unifying and constructive ideals”, only underscores the hollowness that pervades the Klan.

Brands have been explored in many ways, and explained by many people. “A successful brand is all about detail,” writes Alina Wheeler. “It’s an emotional connecting point that transcends the product” (Peters 26). “Brands are promises, and keeping promises is all about being consistent” (Budelmann, Kim, and Wozniak 66). All of these observations are true but they neglect to mention what is more important that what a brand is—what a brand can do.

“Branding,” writes Naomi Klein in her seminal book No Logo: No Space, No Choice, No Jobs, “in its truest and most advanced incarnations, is about corporate transcendence” (21). Thanks to the brand, Nike is not about shilling shoes, it’s about amazing feats of athletic performance. Apple does not manufacture computers, it makes ways to connect with friends, family, and the

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world. Mercedes-Benz is not in the business of selling automobiles, it is opening an avenue to luxury. And thanks to the brand, the Ku Klux Klan could be not about racial hatred, but about community and strong family values.

Detractors could disagree. They could point to the Klan’s legacy of violence and say that the blood on its hands could never be washed clean, no matter how well-designed the identity system. To this I would say: I agree. As Paul Rand once said, “A logo doesn’t sell, it identifies. A logo derives its meaning from the quality of the thing it symbolizes, not the other way around.

A logo is less important than the product it signifies; what it means is more important than what it looks like” (Cass). No matter how cleverly and consistently an identity system was applied, the Klan would not be able to deny its heritage or the basic inhumanity of its views. But could a well-designed and promoted brand interest those who would not have been interested previously? Could it sway the opinions of those on the edge of applying for membership? Absolutely.

This is the double-edged sword of branding—simply, that it works. When we are speaking of our fledgling company, this is exactly what we want to hear. When we are discussing radical groups intent on eliminating certain races from the Earth, the effect is chilling. Yet after the horrific success of the branding of the Nazi party during World War II, this should come as no surprise. “Even the most vociferous opponents of Nazism agree that Hitler’s identity system is the most ingeniously consistent graphic program ever devised” wrote Steven Heller in The Swastika: Symbol Beyond Redemption? (68).

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Branding and success go hand-inhand. “Why have brands become so important?” Alina Wheeler asks.

“Bottom line: good brands build companies. Ineffective brands undermine success” (2). It is with relief, therefore, that we should conclude this examination of the branding of the KKK. Not only is its lack of an identity system a reflection of the poor state the Klan is in, it points to the future of the Klan—a continual disintegration.

A woman watches as robed KKK members walk in downtown Montgomery, AL, prior to a cross-burning that night, November 1956.

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IN TERV IEW

Steven Heller has played many roles in the design community.

For 33 years, he worked as an art director at the New York Times. He is currently co-chair of the MFA Designer as Author program at the School of Visual Arts in New York. He has contributed scores of articles to design magazines such as Print, Graphis, Eye, and I.D. In addition he has authored, co-authored, or edited over 100 books. His works The Swastika: Symbol Beyond Redemption? and Iron Fists: Branding the 20th-Century Totalitarian State were especially useful during the research of this book.

KC: In The Swastika: Symbol Beyond Redemption?

that as well, and whether it has the

you write about the swastika being used as shorthand

same problem of losing its potency.

on the covers of books and movies about World War II. Is there a danger in recycling symbols in such a way?

And if so, how would you encourage designers to avoid relying on such devices?

SH: Well, I mean the danger is ultimately you get used to a symbol and by getting used to it, it no longer has its power. But the paradox is you need the symbol to indicate what you’re selling—in this case a film, or a book, or something else. And it’s the most logical option that somebody has. So you see an awful lot of swastikas and, contrary to what I just said, it still strikes fear in me, so I presume it strikes fear in others of a particular generation. I don’t know what it means to people of my son’s generation. It may have much less of an impact and it might have less of an impact inevitably, not simply because it’s plastered on movies or books.

SH: Well, Fraktur’s just a typeface.

It happened to be to used as the Volk typeface or the people’s typeface in the Nazi era for a short time, and now it’s used again in a different context. I think on one hand, in terms of the book that I wrote, my point was to make a statement about the power of symbols—and particularly that symbol, and how it needs to be remembered for what it was.

Not for what it was before the Nazis, but what it was during the Nazi period and to respect that—that evilness of it. But I take a much more liberal view when I’m just looking at something. It really

KC: You mentioned in the book that Fraktur was for

depends on how it’s used. If it’s

a while the official typeface of the Nazi party and it’s

used in a benign manner, it’s benign.

used by a lot of heavy-metal groups and skateboarding

If it’s used in an aggressive manner,

companies and I was curious about how you felt about

then it’s aggressive. So, I don’t have

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a rigid principle on this. Fraktur type goes back to

SH: It doesn’t. I mean the outcomes

Gutenberg. It wasn’t always a Nazi type, it’s not

are essentially different, but the

entirely owned by the Nazis. When it’s in the Nazi

branding of something is the same

context, it definitely exudes that sense of power

across the board. A brand is there

and ultimately what we know about the Nazis. But

to identify and create a bond between

when it’s done for Ketel One advertising or a logo

the company or the movement and

on the bottle of vodka, it’s a bottle of vodka and the

the receiver of that information so

logo is handled very nicely.

realistically speaking, you can’t

KC: In the epilogue you make a strong case for swastika control. I see some interesting parallels between the swastika and the Confederate flag, which is used today by a lot of hate groups including the KKK, but it’s still sold as a symbol of Southern pride and used on a lot of merchandise. Would you advocate for Confederate flag control as well?

SH: No. In the best of all possible worlds there would be education that explains to people why certain symbols have dual meanings, or triple meanings, or why their single meaning may offend others. I’m a Libertarian in the sense that I don’t want there to be too many controls over something because that just puts us in the same position as the things that we’re fighting against. In terms of the Stars and Bars, it does have a very strong symbolism and until people say and act upon that thing, that it doesn’t represent slavery,

one from the other. You can talk about specifics, you know, certain companies want to be friendly and certain movements want to be authoritative and vice versa. So in that sense it’s the way branding is applied, but branding in general is similar on both ends.

KC: I’ve noticed in my research that certain sects of the Ku Klux Klan have attempted to present a friendlier image—do you believe it’s possible for the KKK to replace their image of violence with one of patriotism and family values?

SH: Well, the KKK has a history and

it doesn’t represent a grotesque inhumanity to other

it would be very difficult to expunge

human beings, it has to be looked at with a certain

that history and, in fact, ill-advised.

jaundiced eye. But it also represents, as you say, Southern

But there are groups that have started

pride. And it’s hard to distinguish that. They’ve taken

out more militant and have become

it off of most state flags in deference to the negative

more community or charity-based.

stereotypes. But you can’t just take it out of people’s

The Black Panther movement, which

lives if they feel that it’s important to them. And not

people were quite terrified of in the

everybody that shows the Stars and Bars is a racist.

sixties, did an awful lot of community

KC: How does the branding of a movement differ from that of a corporation?

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really separate out in a general way

work. So one aspect of their brand was this defiance against white mainstream society and the other

Children of Klansmen paint placards reading “White Pride”.

A Klansmen prepares to light a cross.

part of their brand was aimed at their consumers

look at this stuff and take it apart

basically and that was as a benevolent group that

on those grounds,” then you have

would help people survive. The KKK, as far as I’m

to state that up front. But you also

concerned, is a racist organization and when it tries

have to be cognizant that it’s not

to put on a happy face, through David Duke or

going to matter to a lot of people.

somebody like that, it doesn’t work. Their underlying ethos is pretty disgusting. And there’s just so much anti-KKK propaganda out there that it would be very difficult to convince people who do not subscribe to that, that they are a wonderful organization. Now they might convince people who are tempted to join them for the wrong reasons—the wrong reasons being

KC: Are there any aspects of the Ku Klux Klan identity that you think have a broad appeal or are particularly strong in terms of a visual or branding sense as opposed to the message they send?

white supremacy, but will also be wearing ties instead

SH: There’s nothing positive about

of hoods.

the KKK. What could be considered

KC: I’ve noticed a lot of, in my opinion, poor design when it comes to Ku Klux Klan groups and their websites and materials. Is it possible that a poor visual language can at times be effective for an audience?

Whether poor design and an emphasis on hatred is in some ways its own brand?

Klansmen in Jacksonville, FL, protest the film Island in the Sun, which features interracial relationships.

August, 1957.

positive in a negative sense is that they created an image that you can’t get out of your mind and speaks to the issues that they wanted to create.

They wanted to create terror and fear and whenever you see that white hood and robe, that’s the terror.

SH: Well, it’s an interesting and complex question and

There are other groups that wear

the fact is, what is good design? What’s good design

white, like nurses, but none so

to you at the Corcoran is not good design necessarily

terrifying as the KKK. And part of

to somebody else. Or let’s put it this way, what’s bad

that is what they wear and the other

design for you at the Corcoran is not bad design for

part of it is what they do. So they

that particular constituency. They don’t care whether

put the two things together and the

the typeface is too smushed together or not, all they

calculus is pretty horrible.

want is an affiliation. And the KKK brand supersedes all of the design. Their primary design motif is the cross, and as long as you have the cross with a little drip of blood, you’re not going to get too much better or worse than that, basically. So you have to watch out, I think, when you’re analyzing this stuff, what perspective you’re analyzing it from. If you’re analyzing it from the position of “I am a designer and I work in a sophisticated world of typography and imagery and I’m going to

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View of a burning cross at a Ku Klux Klan rally in South Carolina, 1959.

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Additional Image Gallery

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Refer to page 23 www.zimbio.com

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Refer to page 43 www.arizonacnkkkk.webs.com

Refer to page 43 www.cnkkkk.net

Typefaces used in this publication include DIN and Sabon. The publication was printed on Finch Fine paper and printed at Global Printing in Alexandria, VA on an HP Indigo Press.

A sincere thank you to Alice Powers, Antonio Alcalå, and Maria Habib whose input and suggestions helped me immensely. To my team of fellow students, I’m grateful to have spent four years with such a smart, talented, and most importantly, hilarious class.

Corcoran College of Art + Design Spring 2012

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