In ostensible demarketing, people grow to like something more when it is taken away from them. In third-party demarketing it is an outside body intervening that can cause a brand's value to soar. Parental Advisory Labels, for example, can boost sales of a CD by giving it a cutting edge that it might have lacked.
The attempted imposition of bans by regulators, backed up by the calls of moral guardians, are the stuff of legend in the music industry also. One of the early arbiters of public taste was the BBC and its infamous Dance Music Policy Committee, whose archives date back to the 1930s. Leigh's excellent 2007 study of these shows how the corporation objected to innuendo and direct reference to sex, drugs, brand names, blasphemy and other taboos.
Frankie Goes to Hollywood: image from LastFM.com |
What better way to be noticed in a crowded marketplace, what more effective way of establishing the cutting edge credentials of a piece of culture than to have it withdrawn? see Stephen Brown's excellent piece in Harvard Business Review, 2001). Ostensible demarketing exploits the principles of psychological reactance. In music it works by provoking Taste Guardians to talk the outrage, and then exploiting any subsequent ban.
References
Brown, Stephen (2001), “Torment your customers (they'll love it)”, Harvard Business Review, October
Grundy, Gareth (2011), “Frankie Goes to Hollywood's Relax 'banned' by the BBC”, The Guardian, 11 June
Spencer, Neil (2005), “The 10 most x-rated records”, The Guardian, 22 May
Spencer, Neil (2005), “The 10 most x-rated records”, The Guardian, 22 May
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