This project began with modest ambitions: a casual examination of some band names that have inspired us over the years, along with their origins or creation myths. As we dove into this treasure trove of nomenclature, however, the scope escalated into an deep investigation of over a hundred years’ worth of band name etymologies. The first dozen or so entries are not band names per se, but stage names, nicknames, and pseudonyms of seminal artists that have shaped the course of music and the manner in which bands and musicians are branded.
Observations (& Inspirations)
Vanished Brands: Orange Whip
For no rational reason, I stumbled upon this particular Robert Frank photograph, below, from his famous 1955 book, “The Americans.” Ordinary Americans drinking soda at a Detroit drugstore soda fountain in the mid-1950s. But I was struck by the incredible display of advertising overkill going on for a drink called “Orange Whip” — only ten cents a glass! The air is thick with Orange Whip signs, and the man in the foreground seems to be enjoying a glass of this marvelous elixir:
Brand Mascots: Procter & Gamble’s Mr. Clean
Brand Mascots: Procter & Gamble’s Mr. Clean (AKA Don Limpio, Maestro Limpio, Monsieur Net)
CONCEIVED: 1957
CREATORS: Harry Barnhart (concept), Ernie Allen (art direction)
AGENCY: Tatham-Laird & Kudner, Chicago
CORPORATE OVERSEER: Procter & Gamble, Cincinnati
AD SPEAK / SPIEL: “Mr. Clean leaves a sheen where you clean”
TAGLINE: “When it comes to clean, there’s only one Mr.”
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Reflections on the Monolith: Kubrick, McCracken, Zeppelin, Nothing

I had the privilege to know and work with the artist John McCracken (1934–2011) as an undergraduate art student. McCracken began making his famous leaning “plank” sculptures and freestanding “monoliths” in the mid-1960s, before Stanley Kubrick’s famous monolith appeared in the film 2001: A Space Odyssey (1968).
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Zen in action: no tree, no mirror, no dust

Bodhidharma left his robe and bowl to his chosen successor; and each patriarch thereafter handed it down to the monk that, in his wisdom, he had chosen as the next successor. Gunin was the fifth such Zen patriarch. One day he announced that his successor would be he who wrote the best verse expressing the truth of their sect. The learned chief monk of Gunin’s monastery thereupon took brush and ink, and wrote in elegant characters:
The body is a Bodhi-tree
The soul a shining mirror:
Polish it with study
Or dust will dull the image.
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Sweet and sour: Orwellian sugar ads of the 1960s
This happy ice-cream imbiber appeared in a pro-sugar ad that appeared in the May 10, 1971, issue of TIME Magazine. Below this photo, the ad helpfully suggested: “Enjoy an ice cream cone shortly before lunch.” Then the ad launched into some positively Orwellian copy about the glorious benefits sugar can provide you, the unwitting dupe thoughtful “consumer”:
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A Brief History of X (1895-2014)

Patient X
I first encountered the X modifier in my youth. As an aviation enthusiast I was introduced to the radical X-3 Stiletto. The Douglas Aircraft Company designed and manufactured the X-3 Stiletto experimental jet aircraft for the U.S. National Advisory Committee for Aeronautics (NACA). The NACA was the precursor of the National Aeronautics and Space Administration (NASA).
X-Plane it to me
The X-3 looks like a personification of the beaked-nose white spy from Mad magazine’s Spy vs. Spy, with its a slender fuselage, a long tapered nose, and ultra-modern white-on-white paint scheme. The United States military developed a series of experimental airplanes, helicopters and rockets — collectively referred to as “X-Planes” — that were used to test and evaluate new technologies and aerodynamic concepts:
Such desiderata of desiderata. Many antiquary. So curiosa. Wow.

Or, what do an 18th Century English antiquarian, an early 20th Century Indiana lawyer, Adlai Stevenson, Commander Spock and an obscure 1970s singer have in common?
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A “Generic Brand Video” that tells the truth about the worst in branding and advertising
This brilliant parody of a blandly generic corporate brand video began life as a poem by Kendra Eash in McSweeneys, This Is A Generic Brand Video:
How HAL from “2001: A Space Odyssey” got his name…and no, it’s not IBM minus one
The HAL 9000 computer is one of the stars of Stanley Kubrick’s science-fiction film masterpiece, 2001: A Space Odyssey, and the novel it is based on by Arthur C. Clarke. Legend has it that the name HAL was derived because each letter comes one place before IBM in the alphabet. Arthur C. Clarke has always denied this, and the true origin of HAL’s name is recounted on the HAL 9000 Wikipedia page:
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The cinema and visual poetry of the Lettrists of Lettrism (AKA Lettrisme or Letterism)

Lettrism (or Lettrisme or Letterism) is a French film and visual poetry movement that enjoyed a brief heyday as the avant-garde du jour in 1950s Paris, and is often associated with the French Revolutionary Student Movement of 1968. Founded by Elvis lookalike Isidore Isou (born Ioan-Isidor Goldstein, 1925-2007), Lettrism influenced other forms of art and poetry in Europe and Latin America up to the present and likely into the future, even as most Viners and Snapchatters remain unaware of this strange fold in the space-time continuum of art.
Describing the color white to a blind person

A memory of a newspaper clipping
I have been searching online for years for this story that’s been half-submerged in my memory, with no luck. The story concerns one Albert Einstein, a blind man, and a swan. I finally found it in an old journal entry dated June 8, 1985. The story is but a fragment that I cut out of a newspaper and saved. However, I have no idea which newspaper it came from, and I can’t find this exact version of the story anywhere:
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Academic research validates unusual and unexpected evocative names
In 2005 an interesting research paper, Shades of Meaning: The Effect of Color and Flavor Names on Consumer Choice (PDF), was published in the Journal of Consumer Research. The paper, by Barbara E. Kahn, a marketing professor at the University of Pennsylvania Wharton School of Business, and Elizabeth G. Miller, a marketing professor at Boston College, presents persuasive evidence that “consumers” (why we don’t like that word) react positively to evocative names that are not descriptive.
This was news to the researchers, perhaps, but not news to us.
There is a good article about the study published on the Wharton website, Florida Red or Moody Blue: Study Looks at Appeal of Off-beat Product Names, which I will summarize below.
The emotional power of language
Barbara Kahn says, “The research may have strong implications for Internet marketers whose customers cannot see a product first-hand and tend to rely more on written descriptions when making purchases.” What she means by this is that there is no physical context to products in the virtual world. Without a physical existence, the emotional associations created by language have even more importance.
In studies of jellybeans and colored sweaters, the researchers found an overall positive reaction to names that gave little information about what a flavor or product color was really like, such as Millennium orange or Snuggly white. “People jumped to the conclusion that the marketer must be telling this information for some reason,” says Kahn. “They said, ‘Even though I don’t understand the reason, it has to be something good because marketers wouldn’t tell me something that isn’t good.’ When they stopped and spent time on the name the assumption was that it was positive.”
The joy of surprise
Kahn and Miller focus on the idea that people may attach “positive associations” to evocative words like “millennium” and “snuggly.” But we think what’s really going on here is more interesting. That, in the context of jelly beans, those words are new, unusual, and unexpected, and thus spark an emotional connection. For a tech company, “Millennium Group” would be an expected name, and thus easily forgotten. The same is true with the name “Snuggly Wash” for a detergent. For jelly beans, however, these names resonate. Not because people feel that marketers “must be telling this information for some reason,” but simply because they are different. And the human mind craves difference.
Kahn was drawn to a study of unusual product names when she began to notice nail polish being sold under color names — such as Gunpowder — that gave no information about what the polish would actually look like. Another example: the line of Gatorade Frost flavors that are sold with hard-to-imagine flavor names such as Glacier Freeze, Riptide Rush and Cascade Crash. Perhaps the ultimate in ambiguity, says Kahn, has been achieved by Crayola which uses names such as Razzmatazz and Tropical Rain Forest to describe crayons, which are nothing else if not a color. “With the nail polish there was something edgy or revolutionary,” she says. “When Crayola comes out with names that don’t describe the color of crayons, that is just astonishing.”
It shouldn’t be that surprising. Colors are the ultimate “virtual” product, where individual units of the physical product being sold — crayons, markers, paint — are all exactly alike, with the only variation being the color. In such cases the name of the color becomes vital in distinguishing that product from a competitor’s product with the same or similar color. [See our later post, Paint the salmon misty: colorful names done right, all about the explosion of very creative, evocative color names in the house paint market.]
Queue up the evocative jelly beans
Here’s how the researchers conducted their experiment:
Gauging the effects of such names on consumer behavior is hard because so many other variables come in to play. So Kahn and Miller constructed controlled experiments of product names that were divided into four categories: Common, which are typical or unspecific, such as dark green or light yellow; Common Descriptive, which are typical and specific, such as pine green or lemon yellow; Unexpected Descriptive, which are atypical, but specific such as Kermit green or Rainslicker yellow; and Ambiguous, which are atypical and unspecific, such as Friendly green or Party yellow.
In an initial experiment testing flavor names, 100 undergraduates were asked to complete an unrelated questionnaire on a computer. After finishing the questionnaire at the computer, the students were told they could take some jellybeans. The jellybeans were in six cups each with a sign attached listing the flavor. Half the subjects saw jellybean names that were common descriptives: blueberry blue, cherry red, chocolate brown, marshmallow white, tangerine orange and watermelon green. The other half saw flavors with ambiguous names: Moody blue, Florida red, Mississippi brown, white Ireland, Passion orange and Monster green. Researchers observed that the less common names were more popular.
As part of the experiment, some subjects were distracted by questions about the computer survey as they selected their jellybeans. In those cases, there was no preference for the unusually named flavors. That suggested that the decision to go with the less common name is a cognitive response indicating a person puts at least some thought into the decision.
Evocative names supported by “incongruency theory”
Aha! Here is the key: the decision to go with the less common name is a cognitive response indicating a person puts at least some thought into the decision. In other words, unexpected evocative, metaphorical names require a person to put some thought into “decoding” them. The result is that a strong new memory is formed. This is why evocative names are so much more memorable than descriptive names. Why “Amazon” is memorable and “Book World” is not.
This is called “incongruency theory,” and was also tested specifically by the researchers as part of this study. Incongruency theory posits that, “people make judgments by evaluating new encounters against existing expectations. When encounters are incongruent with prior expectations, individuals put in more effort to resolve the incongruency.” Again, we respond with a resounding Yes! The power of unexpected names is a result of the effort required to “resolve the incongruency.” This effort cements a name in memory.
…if the name is uninformative because it is atypical, consumers will search for the reason the particular adjective was selected as described by incongruency theory. The result of this additional elaboration is increased satisfaction with the product.” Kahn says some consumers seem to enjoy figuring out the names and feel smart when an obscure, but clever name clicks in their mind.
As the researchers note in their paper, “When consumers encounter an unfamiliar name which is counter to their expectation that the marketer would be providing a familiar name, they try to determine how the adjective describes the color/flavor. If they discover the connection, the consumer may congratulate himself for solving the problem, resulting in positive affect. The most positive affect should result when the name is mildly incongruent.”
Although she did not test for it, Kahn says there is probably a point where strong incongruency would backfire, leaving consumers frustrated with meaningless names and leading to negative product response.
Yes, there is such a point, and that point is when a name, no matter how potentially interesting and powerful in and of itself, is too far removed from the brand positioning of the product, company or service. To be effective, names have to map to and reinforce the brand positioning. If names “go rogue” and fail to do that, they are then just perceived as random. People, ultimately, enjoy and identify with stories, and mapping to a well-defined brand positioning is how to Tell A Good Story with a name.
Where the academics come up short
This is a fascinating research study that we believe validates what we have observed anecdotally and have put into practice for years. The researchers, however, come up a little short in their conclusion:
Kahn says the use of odd names seems to work best in products that rely on the senses, such as food or fashion, and would probably not work in a high-stakes product category such as healthcare or financial services. And at some point, she says, the advantage of an odd or unexpected name will wear off. “Over time, people get used to it. I don’t think people have this reaction to Gatorade Frost anymore,” she says. “It isn’t an effect that’s going to last forever unless the company keeps coming up with new names.”
We beg to differ. Just look at the success we’ve had creating memorable, lasting brand names in the three sectors Kahn mentions: Healthcare/Medical/Pharma Names and B2B/Enterprise/Industrial Names, and financial names. The strongest, most powerful names work over time not by conforming to a temporary trick of perception, but by tapping into the collective memory and imagination. Doing so creates an emotional bond with individual people. A bond that remains long after the Millennium orange or Snuggly white has been used up.
More about evocative names
See also: Evocative names make the most powerful brand names
Everyday mysteries: Saul Leiter, a master of lyrical color street photography
Saul Leiter, perhaps the most famous non-famous New York street photographer, has just passed away at age 89. A pioneer who worked mostly in color in an age when street photography was still a predominantly black and white medium, Leiter captured the ineffable details than can only be seen and appreciated if you slow down and pay attention. Notes the obituary in today’s New York Times:
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Chips, chips: Via Con Me, by Paolo Conte
No matter how dark of a mood might ever overtake you, I defy you to not be happy when you hear this song. It’s wonderful…. Chips, chips!
The accompanying video scenes, though unrelated, fit the mood quite nicely. They were taken from the films, “Top Hat” (1935), “Shall We Dance” (1937) and “Swing Time” (1936), starring Fred Astaire and Ginger Rogers.