The name of a brand is the fundamental indicator of the brand. The name of the brand is the basis for raising awareness of the brand and communication efforts. Often even more important is the fact that it can generate association which serves to describe the brand (Aaker, 1991). Brand name is a significant choice because sometimes it captures the central theme or key association of a product in a condensed and reasonable fashion. Brand names can be extremely successful means of communication (Keller, 2003). Some companies assign their products with a brand name that in reality has nothing to do with the emotional experience but is catchy and a name that people can easily memorize. The core base of naming a brand is that it should be unique, that it can be easily differenciated from other names, that is easy to remember, and that it is attractive for customers (Papanastassiu & Rouhani, 2006).
The first configuration is what I came to call the Vampires’ Castle. The Vampires’ Castle specialises in propagating guilt. It is driven by a priest’s desire to excommunicate and condemn, an academic-pedant’s desire to be the first to be seen to spot a mistake, and a hipster’s desire to be one of the in-crowd. The danger in attacking the Vampires’ Castle is that it can look as if – and it will do everything it can to reinforce this thought – that one is also attacking the struggles against racism, sexism, heterosexism. But, far from being the only legitimate expression of such struggles, the Vampires’ Castle is best understood as a bourgeois-liberal perversion and appropriation of the energy of these movements. The Vampires’ Castle was born the moment when the struggle not to be defined by identitarian categories became the quest to have ‘identities’ recognised by a bourgeois big Other.