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2023 | OriginalPaper | Buchkapitel

1. The Fan Principle: Fans and Fan Customers

verfasst von : Roman Becker, Gregor Daschmann

Erschienen in: FANOMICS®

Verlag: Springer Fachmedien Wiesbaden

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Abstract

In this chapter we explain, based on the relevant social science literature, who or what a fan is in the first place and which characteristics and behaviors are typical of fans. We determine why every fan relationship is based on identification and is experienced as unique by the fan. We show that every company can have fans and develop a lean measurement tool that identifies such Fan Customers. Fan Customers, we prove, are highly satisfied and emotionally loyal customers, and we show that our Fan Portfolio makes it possible to segment the universe of customers into five groups ranging from Fans to Opponents. We prove that the Fan Rate, i.e., the percentage of fans among all customers of a company, is the much more valid metric for managing a company than customer satisfaction. At the end, we look at the Fan Rates of different industries in different countries.

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Fußnoten
1
Cf. Göttlich and Krischke-Ramaswamy (2003) and Roose et al. (2017b). Even before the emergence of modern consumer societies and the coining of the term “fan,” “fans” probably existed - back to antiquity - albeit not in the mass-like movements of today. The “fan” is therefore not a purely modern phenomenon. Cf. the historical outlines by Schmidt-Lux (2017) and Schlicht et al. (2003, p. 236 ff.).
 
2
In some Romance languages, too, the loanword “fan” was adopted into everyday language only through the U.S. model, although the word root “fanaticus” existed there before (e.g., “fanatico” in Spanish).
 
3
In the social sciences, “cultural property” is also understood to mean any man-made product, artifact, or social phenomenon.
 
4
This also makes it intuitively plausible why young people, of all people, often exhibit particularly pronounced fan behavior: they are in the life phase of the search for identity.
 
5
Schlicht et al. (2003, p. 140) even speak of the fan building “part of his self-concept from his connection to the star.”
 
6
Cf. Greenberg et al. (2021).
 
7
On the motives of sports fans, see Gabler (2002).
 
8
In this context, the choice of the star in a globalized and mediatized world is becoming more and more culture-unspecific, cf. Roose (2017) as well as Ohr (2017).
 
9
This also explains why there are supposedly so few fans, even though anyone can become a fan: Because biographical coincidence is required to come across the corresponding offer.
 
10
“Only on father’s shoulders, I could see something, and immediately it was done around me ... My new heroes, the eleven in red and white ... Mainz 05, love of my life ... ” Piranhas R. (2004)
 
11
As Melnick and Wann (2011) show, male socialization agents are frequently the trigger for a fan relationship in sports.
 
12
In an interview with the Süddeutsche Zeitung, singer Roger Daltrey explains how it came about in the first place that the destruction of instruments became a trademark of The Who: “The people in the club where we were performing suddenly began to stomp as if hypnotized. It made Pete Townshend a little nervous. He was banging the neck of his guitar against the amplifier. Our manager Kit Lambert was pleased. From then on, Pete had to do it all the time for now.” (Winkler 2010, p. 2).
 
13
Initially, this approach was anything but profitable: the cost of smashed instruments and amplifiers far exceeded the band’s fees, cf. Winkler (2010, p. 2).
 
14
From the Süddeutsche Zeitung interview: “But you were a mod!” Daltrey: “No, I played the mod”. (Quoted from Winkler 2010, p. 3).
 
15
For a detailed discussion of fandom over lifetime see Lee Harrington and Bielby (2010), Tamir (2022).
 
16
The fact that Ronaldo moved on from Turin to Manchester after a few years, on the other hand, did not smell of betrayal to Turin fans: Ronaldo had come as a Mercenary, and that’s how he left the club.
 
17
Roger Daltrey: “They did not come for the music then, but because they wanted to watch Pete sacrifice the guitar,” quoted from Winkler (2010, p 2).
 
18
Roger Daltrey: “At some point, however, it became not merely expensive but also troublesome,” quoted from Winkler (2010, p. 2).
 
19
This willingness to suffer even includes health risks, cf. Kohlmann and Eschenbeck (2009, pp. 635–680).
 
20
On fear of failure due to spectator influence, see Alfermann (2000, pp. 65–109) and Alfermann and Würth (2008, pp. 719–778); on athlete motivation due to fans, see Daschmann (2014, pp. 46–62).
 
21
Bernhard Gneithing, former Marketing Director of Harley-Davidson Germany (quoted from Ilg 2009).
 
22
B2B (“business-to-business”) refers to a business relationship between companies. Both the supplier and the customer are companies. B2C (“business-to-consumer”), on the other hand, refers to the classic customer relationship between a provider company and a private consumer.
 
23
The fact that increased satisfaction generates loyalty in the long term is an untested assumption even in the relevant management science literature (cf. e.g., Homburg 2016).
 
24
For details of the methodological approach, the companies studied, and the complete findings of Fanfocus Germany, see also the German edition of this book (Becker and Daschmann 2022, p. 55ff).
 
25
In the social sciences, this subjective absoluteness of judgment is called the Thomas theorem: “If men define situations as real, they’re real in their consequences” (Thomas and Thomas 1928).
 
26
Due to this fuzziness, research approaches which identify fans by self-assessment always have a limited construct validity (e.g. Wann and Branscombe 1993; Wann 2002).
 
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Metadaten
Titel
The Fan Principle: Fans and Fan Customers
verfasst von
Roman Becker
Gregor Daschmann
Copyright-Jahr
2023
DOI
https://doi.org/10.1007/978-3-658-41239-5_1