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FIFA spent more than $50million on Club World Cup marketing to boost ticket sales

FIFA spent more than $50million on Club World Cup marketing to boost ticket sales

New York Times5 hours ago

FIFA has spent over $50 million on marketing to promote this summer's Club World Cup tournament in the United States, including increasing their original budget by millions in the past month as they sought to drive attendances for the tournament, according to multiple people briefed on their budget.
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The Club World Cup, a project driven by the organisation's President Gianni Infantino, had been beset by organisational challenges as FIFA sought to make a splash for the first edition of the revamped 32-team tournament in the U.S.
In a statement released last week, FIFA said they 'anticipate great attendances and electric atmospheres' across the twelve venues and eleven cities hosting the competition.
They claimed the tournament will ultimately 'stand as the undisputed pinnacle of club world football.'
FIFA's marketing spend appears to have focused heavily on social media, with FIFA ploughing money into promoting posts with a significant number of influencers on Instagram. This has included engaging a baseball reporter to explain soccer to Americans and asking an invention influencer to talk about the competition, as well as cooking influencers to connect with the casual sports fan. FIFA has also spent significantly on highway advertising boards in several cities.
As previously reported by The Athletic, FIFA has been taking unusual steps in their bid to sell out stadiums for the tournament this summer. This worked for the opening fixture featuring Lionel Messi and Inter Miami, after tickets went tumbling down in price with tens of thousands of seats remained unsold a fortnight before the tournament launched.
FIFA's pricing on Ticketmaster had the lowest seat available for $349 in December after the draw, but these were reduced under a dynamic pricing model to $55 earlier this month. FIFA also gifted opportunities to Miami Dade College, who have over 100,000 students enrolled, by offering tickets for only $20 in the week before the tournaments — and with the bonus of four complimentary tickets. FIFA have also been making a certain number of discounted or complimentary tickets available to veterans for many group stage games.
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This strategy reaped dividends for the opener, as 60,927 attended the match in the 65,326-capacity stadium. Since then, it has been a mixed bag. Bayern Munich's 10-0 win against Auckland City was played yesterday in the much smaller 26,000-seater TQL stadium in Cincinnati and 21,152 attended this game. Paris Saint-Germain's group game against Atletico Madrid brought in 80,619 fans at the Rose Bowl in Pasadena on Sunday afternoon. However, tens of thousands of seats were left available for the other two matches on Sunday, as Palmeiras against FC Porto attracted 46,275 in the 82,500 MetLife Stadium in New Jersey, before the Seattle Sounders defeat by Botafogo brought in a largely home crowd of 30,151 at Lumen Field, which holds 68,740. Even those with a large number of empty seats are reasonable attendances for a revamped competition but the stadium selection has provoked disquiet. The Athletic reported on Saturday how there had been disagreement within FIFA over the balance of MLS-dedicated and NFL venues that should be used during the competition. While members of FIFA's U.S. offices favoured a broader use of smaller venues which could be sold out out, FIFA's European office, encouraged by Infantino, were eager to bring the tournament to as many large venues as possible for a competition FIFA have billed as 'the best against the best.'
The most concerning crowd of the tournament so far came on Monday at Atlanta's Mercedes-Benz Stadium, where Chelsea played MLS side LAFC but opened the game to vast sections of empty seats. Despite this, the cheapest seat available for a midweek afternoon fixture in Atalnta, as of Monday lunchtime, was still $52.
The challenge for FIFA increased in local markets amid confirmation that U.S. Customs and Immigration Enforcement (ICE) officials may be present at Club World Cup games, while U.S. Customs and Border Protection deleted a Facebook post saying they would be 'suited and booted' to provide security for the first round of games — only to then delete the post after senior personnel at FIFA contacted the organization to express concerns about the reaction it had provoked.
FIFA had struggled before the tournament to drive positive authentic publicity for the tournament in European and U.S. markets, with their own promotion sometimes leaning heavily on an Instagram roadshow by the organisation's President Gianni Infantino. There has been little conventional mainstream media access to the FIFA President — whose most extensive engagement appears to have been with the influencer iShowSpeed — while clubs and players competing in the tournament have mostly engaged digitally with the promotion for the competition with in-house quotes distributed as press releases. Speed was not paid for his time with Infantino, according to the influencer's spokesperson at Creative Artists Agency.
The Athletic has previously reported how European teams discussed walking away from the tournament in the autumn of 2024 due to a lack of clarity over sponsorship, broadcaster and prize money, while there has also been a mixture of criticism and lawsuits from the Premier League, La Liga and bodies representing players, who are unhappy about the disruption to the calendar and players being physically stretched by an extra tournament. The scepticism from Europe is underlined by the fact that FIFA's own data, which they provided to The Athletic, does not include English, Spanish or Italian buyers in their top 10 selling markets for the competition. There has, however, been considerable enthusiasm from Brazilian and Argentine supporters, as well as Egypian and Tunisian fans, with significant numbers of travellers from the two countries for the tournament but also the diaspora from those countries creating raucous scenes particularly in New York City.
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There were videos of South American teams receiving rapturous send-offs from their home fans before setting off for the U.S. while games involving Argentine side Boca Juniors in Miami have also been in high demand, with a strong attendance expected tonight against Benfica at Hard Rock Stadium.
At Sunday's match at MetLife between Palmeiras and Porto, FIFA offered attending fans 20 per discounts for further tickets during the group stages at the venue by scanning a QR code visible on big screens.
Concerns over a broadcaster and prize money were calmed after a $1 billion deal was struck with the Saudi-backed DAZN to broadcast the tournament globally while Europe's leading clubs were appeased by securing the largest portion of the participation money, with prize money of up to $125m for the winner of the tournament. FIFA's hope is that interest and goodwill is generated towards the tournament as it progresses and that the U.S. public will spend big on the knockout stages of the competition when Europe's leading clubs will likely take centre stage.
FIFA did not respond to a request for comment.

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Inter Milan ready to turn page in Club World Cup opener: Chivu
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Inter Milan ready to turn page in Club World Cup opener: Chivu

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NYC Whisky Mecca The Flatiron Room To Expand To Miami This Fall
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Forbes

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  • Forbes

NYC Whisky Mecca The Flatiron Room To Expand To Miami This Fall

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You can see what glass, see what they're charging, see what kind of ratio of food to beverage they're doing, or what kind of offerings they have. That's not that you want to follow them, but you know, knowledge is power, and you at least have a kind of an educated awareness of what, what your competition is doing. And from that, you can kind of carve out your own thing. What are you seeing in the food and drink scene when you go down there? You can kind of think about those fun tropical cocktails, but you know, Miami, the food and beverage scene is definitely getting much, much better. A lot of people are migrating down there. I think there's a lot of opportunities for us. There is, there's some very nice cocktail bars. And, you know, there's diversity down there. How much is the Miami Flatiron Room going to replicate the New York experience? What I want to avoid is I don't want to make it purely New York. I love our concepts here. Customers seem to like the aesthetics. But I think if we were to try to match this down there, it just wouldn't work. We got lucky with our designer. She's really good. And I knew it was a tall task, because we have an established brand with its own identity. So to bring that brand and interpret it for a Miami market could be challenging. Like, how do we maintain this kind of maximalist design aesthetic in a place that's very minimal? But she did it. And I think when guests go down there, if they were to come in and not see our logo, they would probably be like, 'Oh, this reminds me of the Flatiron Room.' So we have certain brand pillars that we try to focus on. You know, the live music is one of them. Our bottle keep is one of them. Our distilled spirits program, which we've got a lot of fame from, and then the cocktails and food. So always want to maintain those things. Our distilled spirits program is super comprehensive, and we're excited to bring it down into Miami to see what people are gravitating for. 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But it's all things we can work, and we just have to work a little bit smarter, streamline the operation, run lean. And for us, what we're super excited about is that it's we're able to, it's our third location, and we're able to, you know, spread out some of these fixed costs over multiple venues. So having more locations actually helps you? For instance, whenever you do quantity, you get bulk. So even now, like when we're purchasing glassware and we're purchasing plates, it's so much easier for us to hit that next tier of price discount, because now we're sharing the cost between three locations, and we've been doing that across the board, and we've been having a lot of fun with that. For instance, we we have some really fancy hand towels in our bathrooms, and they're very, very nice. They're a linen like towel, and they feel very, very durable, but they're expensive. We found a manufacturer that was able to print our logo on it. And even with the logo, provided we get 50,000 of them, our price is cut in half. Little things like that are opportunities, and unfortunately, we wouldn't have that opportunity if we had one venue, because it's just too big of a cost to eat. You've got a few zero-proof cocktails on your menu. What's your opinion of the category? Just personally, if there are good non-alc options on a menu, I'll have two cocktails, and then instead of either cutting myself off or having a third one and feeling awful the next morning, I will have a no-alc just to keep the fun going, but, you know, not get any more drunk. I was having dinner with a friend, and there's some cocktails that we offer on the menu. You've heard of our Garden of Eden [a Spanish-style gin & tonic]. We have [a non-alcoholic] one called Eve's Elixir, which looks exactly the same when you order it, it doesn't sound like you're ordering a non-alc cocktail. 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Flatiron Room culinary director, Michelin-starred chef Jiho Kim, hard at work. You've been the face of the Flatiron Room since it opened. Now that you're presumably going to be spending a lot of time in Miami, how do you think that's going to affect the New York locations? The last year, I would say we've really been focusing on growth and making sure we have plenty of systems so that we can grow, and this place isn't as reliant on me. I've got a really good team. I love technology, and there's so much technology out there right now that really helps businesses grow and scale. So we're we're doing what we can. Obviously, there's gonna be things that fall through the cracks, but I expect when we first open to be down there most of the time. Fortunately, it's like a two and a half hour flight to get back and forth, so it gives me that luxury of being able to come back when I need on a moment's notice, without breaking the bank, because it's not crazy expensive. But as as a new business, I need to be down there and just see what's happening. You open up a new restaurant, you think everything through, and then there's certain nuances that just come out. There'll be a grumpy neighbor upstairs, a creaky step or, you know, a heater that isn't working properly. You just, there's things that you learn when you go there. And no matter how much you you plan it out, it's not until you open that you see how the restaurant actually flows, which is always the biggest challenge. It's that you want that kind of perfect balance of form and function, and you don't really know the form part until, you know, you start seeing bottlenecks, and you start seeing kind of irregularities or things that you didn't anticipate. Then you adjust. Do you feel like you need to have a new 'face of the brand' in New York? I don't think I want to be the face of the brand. I mean, I think inherently, as the owner, I probably will be. But you know, as we grow, I really want our members to have somebody that is going to recognize them when you come in. Why people buy our lockers or our bottles [as part of the Flatiron Room's Bottle Keep program] is, it's really so little to do about the alcohol and more to do about the experience and that kind of, I'd say, a bit of a notoriety or recognition or just that exclusiveness, right? So it can never be just me, the one that's going to provide that. So we — the general manager, the AGM, even our staff — we want to make whenever they come in, we want them to feel special. And yeah, if I'm here, I really enjoy doing that. But as we grow, I can't, I can't realistically think, Okay, well, I'm going to be the one that provides that experience. What is your secret to keeping a bar/restaurant going for so long? I think the secret is just, just keep focusing on what you're doing. 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The Myth Of The Free Market: Chris Hughes' American Economic History
The Myth Of The Free Market: Chris Hughes' American Economic History

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time27 minutes ago

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(Original Caption) High Officials Attend Funeral of William Woodin. Vice President John Nance ... More Garner, (left), and Jesse Jones, Chairman of the Reconstruction Finance Corporation, pictured leaving the Fifth Avenue Presbyterian Church, New York, after attending funeral services for William Woodin, for Secretary of the Treasury. Chris Hughes's Market Crafters: The 100‑Year Struggle to Shape the American Economy, published just a few weeks ago in the Spring of 2025, is a masterful, humanizing journey through a century of U.S. economic history. Hughes—economist, former English major, Harvard roommate of Mark Zuckerberg turned multimillionaire after selling his Facebook stock, and public intellectual—brings a storyteller's instinct to a traditionally arid subject. He can make Fed policy gripping. His background makes him uniquely compelling: he understands both language and markets, and he writes with clarity but does not condescend to the reader. He shatters the myth that free markets alone produced American prosperity. Instead, he chronicles a persistent, bipartisan tradition of 'market crafting': the deliberate use of government authority to shape markets—investing, regulating, and stabilizing—for public benefit. This narrative covers episodes ranging from Jesse H. Jones's Reconstruction Finance Corporation in the 1930s to modern semiconductor policy under Trump and Biden. Hughes's first book, Fair Shot: Rethinking Inequality and How We Earn, landed in February 2018. He began convinced that unconditional cash was the silver bullet for inequality. Over the course of his research, however, he shifted his position, recognizing the indispensability of public infrastructure—roads, schools, regulatory systems—that cash alone doesn't supply. It was an evolution worth noting, and in Market Crafters, that same curiosity drives a deeper exploration of institutional design. In 2019, Hughes authored a landmark essay in The New York Times calling for Facebook's breakup, the company he worked hard to build. That early and incisive stance on monopoly power foreshadows the themes that animate Market Crafters. Here, Hughes investigates the people and lawmakers – including it seems, Trump and Biden, who worry monopolies thrive when markets go uncrafted and how careful tariff, tax breaks, and direct investment can restore competition and innovation. The heart of the book is its cast of characters—detail-rich portraits of decision-makers whose lives shaped policy. These include Jesse H. Jones, William McChesney Martin, Arthur Burns, Nancy Teeters, Paul Volcker, Alan Greenspan, Lina Khan, Jake Sullivan, Brian Deese, Felicia Wong, and many others. Hughes's approach isn't ideological: he grants respect to pragmatic leaders—Republican and Democrat—who leveraged the tools of statecraft to stabilize and invigorate the economy. What is market craft? Chris Hughes writes 'it's the intentional use of state power to shape markets towards the political goal of stability. In the depression 'the alternative – – cascading bankruptcies in the banking, agricultural railroad sectors was out of the question.' Possibly the most satisfying lesson in marketcrafting comes early with Jesse H. Jones, who served as head of the RFC from 1932 until 1939. The RFC was not just a wartime lender—it was essentially a federal investment bank, channeling billions into faltering banks, railroads, and farms. Between 1932 and 1935, Jones authorized the distribution of about $74 billion in today's dollars. His vision of combining government money with private capital to prevent cascading bankruptcies defines 'market crafting': the calculated, visionary use of public power to engineer stability. Hughes devotes a section to the Federal Reserve's transformation. William McChesney Martin—Fed Chair from 1951 to 1970—famously insisted that the Fed's job was 'to take away the punch bowl just as the party's getting started.' And Hughes quotes him saying something like 'Markets are nursed along as children are nursed along,' explaining that policymakers guide markets because unregulated forces would otherwise leave economies vulnerable. Hughes also recalls Martin's innovation known as 'Operation Twist' in the 1960s, whereby the Fed sold short-term Treasuries to buy long-term bonds—an early instance of yielding to market needs without monetary expansion. Nancy Teeters, appointed in 1978 as the first woman to serve on the Federal Reserve Board of Governors, is remembered not as a Chair but as a pathbreaker who often dissented during times of macroeconomic turbulence. Her role illustrates how even non‑chair governors can steer policy by holding the institution accountable for balance, not adherence to any dogma. Skipping ahead to the 2008 Hughes recounts the turbulent 2008 financial crisis. Bear Stearns was rescued on March 16, 2008, by JPMorgan Chase with a $30 billion-backed Fed loan—a classic move in the tradition of market crafting. By contrast, Lehman Brothers was left to fail when it filed for bankruptcy on September 15, 2008, triggering global financial panic. The about-face in policy reflects a tension between the ideological belief that NOT creating moral hazard was the most important policy goal. Hughes suggests the imperative of preventing systemic collapse was not in focus because the Treasury Secretary, Hank Paulson's, belief in the market's ability to discipline itself and snap back. Paulson insisted in public statements that he wasn't going to tolerate bailouts. Just a few weeks later the officials learned a different lesson and bailed out AIG. The final chapters examine how both President Trump and President Biden departed from neoliberal economic policies to embrace market crafting to boost investment in key industries. Trump's Operation Warp Speed is framed not only as a public-health success but also as a market-crafting intervention: the federal government intervened directly in private pharmaceutical markets to ensure vaccine development and distribution. Biden led bold market crafting and perhaps his boldness came from years of experience as Vice President and Senator. He knew government could shape markets. And he knew it was in the American tradition. He wanted to help the middle class and create jobs. During the campaign he said to potential donors,' My Lord, look at what is possible, looking at the institutional changes we can make, without us becoming a 'socialist country' or any of that malarkey.' Biden signed the CHIPS and Science Act on August 9, 2022, authorizing approximately $52.7 billion in direct semiconductor investments and research support, as part of a broader $280 billion science and technology initiative. What surprised many is how bipartisan the push became, with Republicans such as Senators Marco Rubio, Josh Hawley, and Todd Young. Hughes discusses their rethinking and departure from free market ideology on the same page as he describes Democrat Senator Elizabeth Warren's supporting for market crafting. Through these actions, Hughes suggests industrial policy is no longer a partisan liability but a pragmatic necessity. Both presidents, despite different rhetoric, drew from the same script: government can steer market outcomes for national stability and innovation. Hughes argues for a modern federal investment bank. t's hardly un-American—after all, the RFC came first. By tracing a narrative arc back to Jesse H. Jones and the Reconstruction Finance Corporation, Hughes suggests that a federal investment bank is not a radical departure, but a deeply American institution. The bank would have to be well – designed so it was evergreen, it could function across be swings in administrations, resist capture, and catalyze public‑interest investment. He writes, 'With smart design, a national investment bank could harness markets for social and political goals while building durable institutional expertise that outlasts any single administration. 'Market Crafters is not a partisan tract but an exploration of economic policymaking in action. It is, above all, a tribute to institutions that adapt and the people who create and recreate them -- RFCs, central banks, federal agencies. Readers get a renewed appreciation for American policymakers who navigated crises and steered the economy by not by retreating to free-market dogma – most of the time -- but crafting and shaping markets. Chris Hughes surprisingly readable economic history foregrounds the personalities behind policy while making a robust case for public policymaking as an art of market design. He makes the same argument in a recent New York Times article describing President Trump's conflict with Fed Chief Jerome Powell. Hughes book shows how, when governments act deliberately and skillfully, they can steady economies, spur innovation, and avert disaster. For anyone grappling with questions about tariffs, pandemic-era bailouts, industrial strategy, or Fed policy, Market Crafters provides both context and an invitation—to consider that markets are not self-executing, but human-crafted.

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