Bex Smith is the guest on Other People's Money. Crux Football is her investment vehicle that is buying up women's teams, starting with Montpellier and Rosengard in France and Sweden respectively.
Hear it here:
The shadow of rugby
In the following clip I say women's football is "sleepwalking toward replicating the mistakes of rugby".
"This is not a moneymaker for this town. In fact, it's probably more of a headache than it's worth." This is the quote from local councillor on the prospect of hosting an official World Cup fan festival.
MacLehose summarises the three point plan:
Invite more guests to the party - 16 more teams means 64% more games than we saw at Qatar 2022. More ticket sales and more eyeballs means more sponsorship inventory.
Retain all meaningful revenue - broadcast rights, global sponsorships, ticket income, projected to surpass $11 billion for this tournament.
Distribute all costs - security, policing, infrastructure, operations - to host cities. Cities get the honour of hosting. FIFA gets the money.
We recorded a live podcast last week at MSQ Sport and Entertainment in Covent Garden, to mark the launch of At Last, Callaway Golf's new brand film, a way in to a conversation about the state of the golf business as we head in to The Masters, the first major of the season. The film captures the mood nicely.
A golf ad that doesn't feature the product...Bolshevism!
The Times understands that it was mainly the result of people overseas who were trying to claim the financial incentive offered for completing surveys; it found that the fraud was human, rather than being caused by automated bots.
See also: excellent piece on the right's islamophobia.
Roth defined satire as "moral outrage transformed into comic art" and "a verbal ritualization of frustration and anger".
Malcolm Gladwell's Revisionist History is really good on the paradox of satire, which includes a version of confirmation bias, when viewers interpret satire in a way that aligns with their pre-existing beliefs.
A famous example is The Colbert Report, a right wing parody beloved by conservatives.
I enjoy talking with old pros. In this case defined as people who've worked in the industry for a long time.
Some of them have great stories; eye opening, jaw dropping anecdotes from their careers spent in and around the room where it happened.
My response is obvious: Come on the podcast and tell them.
Or, write them down. Publish them in a book, or a Substack.
Most don't want to do this.
They're worried about damaging their own or other people's reputations. Or they want a job and worry that they'll be seen as telling tales out of school. Sometimes it's just vanity stopping them, the stories aren't as interesting as they think, or they're not true.
But at what point do you say fuck it. I'm going to tell my story. As truthfully as I can. I've come to think that maybe our only job is to record as faithfully as we can what it was like to live at this time and in this place.
So, what are you waiting for?
The second question is can you be honest about the role you played.
Are you the main character, or a support act.
Are you Hamlet or Guildenstern?
Both are important.
But you need to be honest, and this can be added to the fears listed above, because the truth might conflict with how you've presented yourself in the past. We all big ourselves up, positioned ourselves closer to power than we really were, a little higher up the pole that was really the case.
The vast majority of us are Guildenstern. A minor character in a bigger story.