57. Strippers

Summary

Podcast Summary: The Economics of Everyday Things, Ep. 57 — “Strippers”
Host: Zachary Crockett | Date: July 16, 2026

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Episode Overview

This episode delves into the hidden economics and evolving business model of strip clubs in the U.S., exploring the financial realities, operational challenges, and societal perceptions of strippers. Through in-depth conversation with “Layla,” an experienced New York City stripper, and insight from Dave Manik, publisher of the industry trade journal Exotic Dancer, host Zachary Crockett uncovers how strip clubs actually operate: their financial structures, risks, and recent changes spurred by technology and shifting social attitudes.

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Key Discussion Points & Insights

1. Financial Realities of Stripping

• Potential Earnings:
  • Windfalls: Layla recounts her biggest night as making $10,000 at an after-hours BYOB club in Texas. “Most strippers who've danced at a big city club have one night that's just crazy and they make a lot of money.” (Layla, 01:17)
  • Typical Income: Average good night: $800–$1,000; target average: $500 a night. (Layla, 02:13)
• Costs & Deductions:
  • House Fee: Strippers pay a “house fee” to work—akin to hairdressers renting a salon chair. Fees can be up to $200 per night, with additional tips to staff (house moms, DJs, management). (Layla, 05:04, 07:01)
  • Negative Nights: Due to these fees, strippers can end up losing money on slow nights. “You're already negative $200 … not enough bodies in the room.” (Layla, 07:36)

2. How the Money is Made

• Stage vs. Off-Stage:
  • Most cash comes not from tips on stage but “selling” lap dances and time in VIP/Champagne rooms, sometimes involving bottle sales and tips, with big spenders (“whales”) being the target clients. (Layla, 05:26–06:27)
  • The club usually takes 15–20% of VIP room charges; the rest goes to the dancer. (Zachary, 06:49)
• Side Note on Illicit Activity:
  • Stereotypes about drug use in back rooms persist, sometimes rooted in reality. (Layla, 06:32)

3. Who Becomes a Stripper and Why

• Diversity:
  • While college students appreciate the flexibility, the majority of strippers come from different backgrounds—often non-citizens or those for whom “regulation” is less of a barrier. Stripping allows undocumented workers to earn (Layla, 04:01).
• Flexible Self-Employment:
  • Most dancers are independent contractors, controlling schedules and bearing business risk. (Zachary, 02:25, 03:48)

4. Overhead, Body Image, & Physical Toll

• Cost of Appearance:
  • Expenses include wigs, hair extensions, plastic surgery (breast augmentation ~$5,000, Brazilian butt lift ~$7,000), ongoing costs for makeup, shoes, and mandated outfits. “Most girls get boob jobs. Guys want boobs, guys want an ass.” (Layla, 08:28–09:10)
• Physical Demands & Health Risks:
  • The job is physically grueling: “It's like doing squats in 8-inch heels for hours.” (Layla, 09:48)
  • Risk of workplace violence or harassment is ever-present, and often under-reported due to internal club dynamics. (Layla, 11:34)

5. Stripping as a Career & Beyond

• Transitioning & Side Jobs:
  • Many strippers, including Layla who holds an Ivy League master’s in public health, juggle “civilian jobs.” Some never leave because “the money with dancing is a rush … girls will try other things and then eventually come back.” (Layla, 10:35)
  • Long-term sustainability hinges on pacing and maturing in the industry. (Layla, 20:41)

6. Changing Industry & Clientele

• Evolution of Strip Clubs:
  • Strip clubs evolved from “rough and tumble” biker haunts (1970s) to upscale nightclubs (1980s onward). New demographics, including women and couples, are part of the clientele. (Dave Manik, 14:39–15:02)
• Selling the Fantasy & Racial Dynamics:
  • Success depends on targeting receptive clients, sometimes using stereotypes: “Girls assume a lot about guys … it's an equalizer in a way. Guys are like, oh, I just want a blonde.” (Layla, 15:36)
• COVID & Tech Disruption:
  • The pandemic closed ~200 clubs; OnlyFans and similar platforms became popular supplemental income sources. Still, Layla argues online and in-person strip club experiences are fundamentally different: “What you come to a strip club for is completely different than OnlyFans. Guys who are coming into a strip club want the touch.” (Layla, 17:55)
• Attracting Younger Customers:
  • Clubs face a generational disconnect: “That’s a generation that you’re going to have to look at them differently as customers.” (Manik, 16:51)
  • Younger clients seek more “real” and less transactional experiences.

7. Labor Organizing, Regulation, and Club Survival

• Workplace Protections:
  • Some dancers have unionized; states like Washington have passed “Strippers Bill of Rights”; some clubs now classify dancers as employees.
  • Industry consolidation continues: cities often restrict clubs through legislation; now, “there are a lot of people that want to close you down.” (Manik, 20:18)

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Notable Quotes & Memorable Moments

• “My all time Greatest night was 10k. … We just ran that guy up.” – Layla (01:17)
• “You give the club a lot of money. … Everything else we keep coupled with the house fee.” – Layla (07:01)
• “There are nights where you can leave negative … there’s just not enough bodies in the room for you to sometimes make enough money to break even.” – Layla (07:36)
• “Most girls get boob jobs. Guys want boobs, guys want an ass.” – Layla (08:28)
• “It's like doing squats in eight inch heels for hours.” – Layla (09:48)
• “The money with dancing is a rush. … girls will try other things and then eventually come back.” – Layla (10:35)
• “Bad things have happened to everybody in the club. … Sometimes you're like, this is just a reality of the job and you have to, like, get over it.” – Layla (11:34)
• “Back in the 70s, strip clubs … were very rough and tumble. Many were even owned by biker gangs.” – Dave Manik (14:39)
• “You want to go up to as many people as you can because that betters your odds … there are racial stereotypes … it's an equalizer in a way. They do it to us.” – Layla (15:36)
• “What you come to a strip club for is completely different than OnlyFans. … They want the touch.” – Layla (17:55)
• “The better clubs, the better operated clubs are the ones that are still here. … You have to fight a lot of battles.” – Dave Manik (20:18)
• “You adjust as you get older if you want to survive.” – Layla (21:09)
• “I enjoy being mansplained about stocks like you're drunk in the club telling me all this insider trading information. Thank you.” – Layla (21:39)

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Important Timestamps

• 01:17 – Layla shares her “greatest night” and big money experiences.
• 02:13 – Discussing “average” stripper earnings.
• 05:04–07:01 – How strip clubs charge dancers, and how the financial arrangements work.
• 08:28–09:10 – Discussion of overhead and surgical/body image costs.
• 09:48 – Physical demands of the job.
• 10:35 – Layla discusses her education, career, and the “adrenaline rush” of dancing.
• 11:34 – Addressing risks and safety concerns.
• 14:39–15:02 – Manik recounts the history and image of strip clubs.
• 17:55 – Impact of OnlyFans and differences from in-person dancing.
• 16:51 & 17:24 – Discussion of generational shift and online competition.
• 19:11 – Labor organizing efforts and growing workplace protections.
• 20:18 – Regulatory hurdles and club closures.
• 20:41–21:09 – Layla explains her future plans and longevity in stripping.
• 21:39 – Layla’s humorous commentary on club conversations about stocks.

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Conclusion

The episode paints stripping as a challenging but potentially lucrative profession, shaped by high overheads, risky conditions, personal investment in appearance, and shifting consumer dynamics. While the digital age and regulatory pressures threaten traditional clubs, the unique in-person experience they offer persists—and so do the economic complexities for those who work there. Layla’s candid insights provide a rare, unfiltered look into the realities behind the industry’s “fantasy.”

Transcript

[LinkedIn Advertiser]

Flowing ad budget on metrics that look great till the CFO sees them. That's bullspend. And marketers are calling it out in dashboard Confessions.

[Zachary Crockett]

I remember telling my boss, it'll be good for the brand when leads were slow. Yeah, it.

[Dave Manik]

It wasn't.

[LinkedIn Advertiser]

Cut the bull. Spend LinkedIn lets you target by company, job title and more. Advertise on LinkedIn. Spend $250 on your first campaign and get a $250 credit. Go to LinkedIn.com campaign terms and conditions apply.

[Lindsey (Bank of America/US Soccer PSA)]

Good morning, students. Soccer teaches us teamwork, leadership, geometry, art, physics, and a lifetime of lessons we can take with us long after we leave the field. That's why bank of America and US Soccer are committed to helping bring soccer to every school. Soccer is officially in session. Raise your hand to help bring soccer to [e-mail] soccer@schools.

[Zachary Crockett]

Hey, it's Zach. Before we get started, just want to let you know that we're covering some adult topics in this episode. If you're listening with kids, you might want to skip this one. All right, on with the show.

[Layla]

Everyone has their like all time greatest night. My all time Greatest night was 10k. I think most strippers who've danced at a big city club have one night that's just crazy and they make a lot of money.

[Zachary Crockett]

That's Laila. She's a stripper in New York City. Before that she worked in Texas, which is where her all time greatest night took place.

[Layla]

It was me and three other girls and one guy. We had an after hours BYOB club that could stay open. We took the guy there and we were there probably until like, I want to say, nine or ten in the morning. And so we just ran that guy up.

[Zachary Crockett]

That night was an outlier for Layla. But the possibility of that kind of windfall is part of the allure for women who go into exotic dancing. And although $10,000 nights are rare, strippers can still do pretty well on a regular basis.

[Layla]

I would say the average night when things are good, I think for me, is around 8, 800 to 1000. An average that I aim for is 500. If I make $500, I'm happy.

[Zachary Crockett]

Performers like Laila are almost always independent contractors. In a lot of ways, stripping is like any other form of self employment. There are overhead costs, seasonal trends, sales tactics, and a constant adjustment to what the market demands.

[Layla]

This is actually, I feel like the greatest danger to the future of strip club. The demographic that is becoming middle aged wants something different.

[Zachary Crockett]

For the Freakonomics Radio Network, this is the economics of everyday things. I'm Zachary Crockett. Today, strippers. Like many of her colleagues, Layla started dancing in College. She was 21 years old at the time. She had friends who were already dancing, and it seemed like a good way to make some money. At first she thought she'd only be doing it for a little while.

[Layla]

I didn't really think about it a lot when I started, and then I kind of just couldn't find what I wanted to do after. And so I started dancing full time. And then the pandemic happened, and I applied to grad school, and I just kind of continued dancing because I was used to it, and it's a great job to have when you're in school.

[Zachary Crockett]

Stripping works well for students because the hours are typically pretty flexible.

[Layla]

You choose when you work. Some clubs do have a schedule, but that's pretty rare. You're an independent contractor. You just show up.

[Zachary Crockett]

But most strippers aren't graduate students, and the work has advantages for them, too.

[Layla]

I would say 80% of the girls are not, you know, like me. They have a very different socioeconomic background. A lot of them are not citizens. And with dancing, there's not as much regulation. Like, you need a Social Security card. But some clubs, you can dance even if you're immigrant. Immigration status isn't solid. You need to live, and dancing can allow for that.

[Zachary Crockett]

At many clubs, the one thing you need to do to dance is pass an audition.

[Layla]

They ask you basic questions about whether you've danced before, how long you've been dancing, do you live in the city? And then, you know, they just kind of want you to go on stage and get naked. Sometimes they just ask you to work a night, and then at the end, they'll tell you whether you stay or not. Usually they just make you go on a little stage. You do, like, half a dance. The manager says yes or no.

[Zachary Crockett]

Layla has danced at clubs in Austin, Houston, and Manhattan, and she says the financial arrangements have been pretty similar in each place.

[Layla]

When we enter the club, we have a house fee that can vary. It's dependent on the time you enter the club.

[Zachary Crockett]

The house fee is the equivalent of a hairdresser renting a chair at a salon. They need a place to work, and strip clubs have a stage, or, as it's called in the industry, a floor.

[Layla]

The floor includes stage money, which is how the average person, I think, assumes strippers make money. You know, just people throwing money. If you do tricks in the club,

[Zachary Crockett]

the floor is more of a marketing tactic than a big moneymaker the majority of a stripper's earnings are made off the stage.

[Layla]

Lap dances. They're all cash and you keep all of it. And then there's the VIP champagne room. That's what you're trying to sell. That's what you work up to in a dance. That's what you immediately try to sell when you walk in. And if you think they're like a whale or like they think they're like a big baller, they have like the watch and everything. That's the big money. It's by hour. It can range. There are half hour rooms that are like 300. And then the hourly rooms, like the big rooms are usually like 500 in a room. You also want to sell a bottle because some clubs do give you a cut of the bottle sales if the champagne is worth enough money. So you have an incentive and then you get a tip on top of that.

[Zachary Crockett]

Illegal activity has been known to happen in the back rooms of some clubs.

[Layla]

I'm not saying I've done it, I'm not saying it happens in my club, but that's where the stereotype of doing coke in a strip club comes off. You know, like a bunch of finance dudes will get a back room with a bunch of girls, do a bunch of coke. The girls kind of just like hang out, get naked, get lines done off of them.

[Zachary Crockett]

After the customers have paid up, the club takes around 15 to 20% of the room charge. The stripper keeps the rest. But she's also expected to share some of her nightly earnings with other workers in the club.

[Layla]

Some clubs you have a tip out fee, so in order to leave, you have to pay the club. Some clubs want you to tip out the house mom, which is the lady who like manages the locker room. They want you to tip out the management or the dj. Those are all additional sums to your house fee when you enter or exit, depending on the club. So you give the club a lot of money. And everything else we keep coupled with the house fee.

[Zachary Crockett]

All of these payouts mean that on a bad night, a stripper might end up losing money to the club.

[Layla]

There are nights where you can leave. Negative bodies are not entering the club. You're not making money. I have worked at one club where in total I pay $200 to work there between all the fees. So you know you're already negative $200. And like, there's a lot of girls working. Like, let's say 80 girls show up, it's a Friday night, you know, there's just not enough Bodies in the room for you to sometimes make enough money to break even, Especially if it's a slow season or, you know, customers feel your vibe as well. Because the big money is one on one. If you don't have good energy, it's very difficult to make money.

[Zachary Crockett]

Strippers also have overhead costs, and many of those costs have to do with their appearance.

[Layla]

A lot of that has to do with hair. A lot of girls wear wigs. A lot of girls go blonde. I have hair extensions and I have naturally curly hair, and so I straighten my hair a lot of times because it makes you more palatable. You want to look like what's popular, and so you get plastic surgery. I've had a boob job. Most girls get boob jobs. Guys want boobs, guys want an ass.

[Zachary Crockett]

All that surgery isn't cheap. The average cost of a breast augmentation is nearly $5,000. Many strippers also get what's known as a Brazilian butt lift, which can run over $7,000. And then there are the ongoing expenses.

[Layla]

Makeup is pretty expensive now, and people get fillers. That's like $800 minimum. We have to wear 8 inch heels or 6 inch heels. The shoes cost money and they wear down. And you need lingerie. Some clubs have rules. Like I work at a club where you have to wear dresses like stripper dresses, which is funny if you think about it, that they want you to wear a dress, you're taking it off, and then you have regulation thongs. It's a certain kind of g string that is almost like a swimsuit material. And it doesn't move on stage.

[Zachary Crockett]

Stripping can take a physical toll too.

[Layla]

The shoes are heavy. The poll will leave bruises all over your legs. A lot of times you learn how to sell without stage, but you still get worn down, even from lap dances. It's like doing squ in eight inch heels for hours.

[Zachary Crockett]

Even with these costs to their bodies and their bottom lines, strippers can make a nice living. Nicer than in a lot of other industries. For a performer like Layla, earning $500 a night, four nights a week can translate into a six figure annual salary. And for a lot of strippers, dancing is just a side gig. Many also have what they call civilian jobs. Leila has a master's degree in public health from an ivy league university.

[Layla]

For my civilian job, I work for a nonprofit that coordinates the std screening for porn. So it's in sex work, it's in the general field. And I got that because I was a stripper in the beginning. You feel like, you're only going to do it for a certain amount of time. And so you kind of are like, oh, I'm not gonna do this, like past 30. But the money with dancing is a rush. It's an adrenaline rush. So girls will try other things and then eventually come back. I still dance as a primary source of my income. I'm very aware that I will not make as much money in public health. I'm grateful I have a job that allows me to make enough money and I save and I invest.

[Zachary Crockett]

Laila says her experience as a stripper has been mostly positive. But the job does have its risks.

[Layla]

Bad things have happened to everybody in the club. I don't think anybody has had a career where something bad has not happened. It's just a risk of the job that you're in a back room with a drunk guy alone and like, it's a closed door and a guy's bigger than you and you're both inebriated. Sometimes you don't even sometimes want to tell management because you don't know if you're going to be blamed. And when that happens to a girl, you know, I don't think it's the best response. But sometimes you're like, this is just a reality of the job and you have to, like, get over it.

[Zachary Crockett]

That job is evolving and so is the strip club industry as a whole. That's coming up.

[LinkedIn Advertiser]

Are your ad campaigns lighting up the dashboard but not the pipeline? That's bullspend and marketers are calling it out. Dashboard confessions.

[Zachary Crockett]

My boss asked for results, so I opened my dashboard for the only positive sounding metric I had. Impression.

[LinkedIn Advertiser]

Cut the bull, spend. See revenue, not just reach. LinkedIn delivers the highest return on ad spend of major ad NETWORKS. Advertise on LinkedIn. Spend $250 on your first campaign and get a $250 credit. Go to LinkedIn.com campaign terms and conditions apply.

[Lindsey (Bank of America/US Soccer PSA)]

Good morning, students. Soccer teaches us teamwork, leadership, geometry, art, physics, and a lifetime of lessons we can take with us long after we leave the field. That's why bank of America and US Soccer are committed to helping bring soccer to every school. Soccer is officially in session. Raise your hand to help bring soccer to [e-mail] soccerchools I'm Lindsey, and even

[Layla]

before my diagnosis, my hands were full as a mom and an investigator. After treating my HR positive HER2 negative early breast cancer, I wanted to do everything I could to try to keep it from coming back. So I talked to my doctor about a treatment plan that Included Cascali Qisqali

[Cascali Patient (Lindsay)]

Ribociclib's 200mg tablets with an aromatase inhibitor is for adults with HR positive HER2 negative stage 2 or 3 early breast cancer with a high risk of coming back. Kaskali may cause serious skin reactions, liver problems and low white blood cell counts that may result in serious infections. Life threatening lung problems and abnormal heartbeats can occur. Your doctor should test your heart and blood before and during treatment. Tell your doctor if you have new or worsening cough, chest pain or dizziness before taking Cascali. Tell your doctor all your medical conditions, medicines you take and if you're breastfeeding, pregnant or planning to be as it can harm an unborn baby. Common side effects include nausea, headache and tiredness. Lindsay is a real patient, compensated for her time.

[Layla]

Learn [e-mail].

[Zachary Crockett]

Striptease has a long history at festivals in ancient Greece, women danced provocatively while undressing. But strip clubs as we know them began in the United states in the 20th century. Dave Manik has watched the industry evolve. He's the publisher of the trade journal ed, or exotic dancer.

[Dave Manik]

Back in the 70s, strip clubs, if you will, were very rough and tumble. Many of them were even owned by biker gangs. They were the kind of place that you probably would go in in a trench coat and a hat because you were scared to be seen going in. And then right around the mid-80s, what you had was this movement towards the upscale adult nightclub.

[Zachary Crockett]

Many strip clubs began to feel more like any other nightclub.

[Dave Manik]

There are dancers there, but that's not the primary focus. The idea was we want to elevate the way that not only the industry operates, but the way we're perceived by the outside world. You want to attract a wider clientele. And you've also seen a movement over the past 20 years or so of women couples going to adult nightclubs.

[Zachary Crockett]

As clientele has expanded, strippers have sharpened their skills. If they want to take home a few hundred dollars each night, they need to target the right patron.

[Layla]

There's a saying that it only takes one and it's an odds game. You want to go up to as many people as you can because that betters your odds of somebody wanting you. But sometimes you don't have the energy to just go up to everybody and so you can kind of suss out who likes you on average. Like, you know, that guy looks like he only likes white girls. And there are racial stereotypes that that are there. I'd be lying if I said that wasn't how it operates in the club. Girls assume a lot about guys and if you don't have the energy to just go up to everybody, you're going to want to stereotype, which is unfortunate. They do it to us, so it's an equalizer in a way. Guys are like, oh, I just want a blonde. And you can tell when a guy wants a blonde. There's a look.

[Zachary Crockett]

As with other live entertainment venues, the pandemic took a toll on strip clubs and the people who work in them. Manik estimates that around 200 clubs shut down during the pandemic and never reopened. He says around 1800 now remain in business in the US faced with an aging customer base, many of these establishments are wondering what today's young men want from a strip club.

[Dave Manik]

That is the million dollar question as far as what is going to bring the 20 somethings into the clubs. That's a whole generation of people that aren't used to human to human interaction. I'm not saying no 20 year olds go to strip clubs, but I'm saying that that's a generation that you're going to have to look at them differently as customers.

[Zachary Crockett]

Those potential customers have gotten used to online platforms like OnlyFans, where adult performers offer videos, live streams and personalized text chats for a fee.

[Dave Manik]

Covid changed the dynamic for the adult nightclub industry because you have customers that couldn't go to clubs. So they got used to whatever interaction they would typically have with an entertainer. They started to have that interaction on Onlyfans.

[Zachary Crockett]

Some strippers set up OnlyFans accounts when the clubs were closed, and a few of them have earned big money catering to tens of thousands of fans at once. Layla was an early adopter, but she thinks the site's impact is limited.

[Layla]

I think people overestimate the effect of OnlyFans on stripping. What you come to a strip club for is completely different than OnlyFans. The guys who are coming into a strip club want a strip club. They want the touch.

[Zachary Crockett]

But she does think younger customers are looking for something they won't find.

[Layla]

At most strip clubs, people want something more intimate. When guys walk into the club, it's kind of an intimidating experience. You get walked in by a guy in a suit, you get brought to a table. There's a lot of pressure. It's very intense. Younger guys don't want that kind of experience. They don't want to feel like they're being sold to. They want something that feels real.

[Zachary Crockett]

In their quest to figure out how to draw this generation into the clubs and keep them there. Owners are starting to invest in talent retention.

[Dave Manik]

Some clubs did things like renovating their locker rooms. Some even have tanning beds or other things to make it a more comfortable experience for the entertainers. Because if you're in a larger city, you're competing as a club not just for the customers, but you're competing for the best entertainers. They're going to dance where they know they can make money, but they also want to know they're going to be treated well and valued for what they bring to the operation.

[Zachary Crockett]

Some strippers are pursuing other approaches. In the past few years, dancers at clubs in California and Oregon have voted to unionize. Washington state recently passed a law known as the Strippers Bill of Rights, which includes wide ranging workplace protections for strippers. And in response to the federal Fair Labor Standards act, in some states, strippers are being classified as employees rather than independent contractors. But neither Manic nor Layla believes these developments will lead to industry wide change. And dancers are in a tough position because the number of places they can work is getting smaller.

[Dave Manik]

Cities and municipalities for years have done everything they can for the most part to close clubs down or keep them from opening. They're just not looked at as a desirable business.

[Zachary Crockett]

As a result of zoning laws and other regulations, it can be difficult, if not impossible to open a new strip club. Manek says that isn't necessarily a bad thing.

[Dave Manik]

The better clubs, the better run clubs, the better operated clubs are the ones that are still here. It is not an industry for just anybody. You do have to fight a lot of battles. There are a lot of people that want to close you down.

[Zachary Crockett]

Layla is 28 years old and she has no plans to stop stripping anytime soon.

[Layla]

I would retire, you know, when I feel like I'm in a place to right now I am working less compared to how I did when I was younger. That's kind of common. You have to pace yourself to last in it because like that's kind of how girls burn out younger is that they just like party through it. You get better at the job. The way I work now is smarter and I think the clientele that I have is better.

[LinkedIn Advertiser]

Better.

[Layla]

You adjust as you get older if you want to survive

[Zachary Crockett]

for the economics of everyday things. I'm Zachary Crockett. This episode was produced by Julie Kanfer and Sarah Lilly and mixed by Jeremy Johnston. We had help from Daniel Moritz Rapson. We found Layla through her very funny Twitter feed.

[Layla]

My Twitter handle is Botticelli Bimbo.

[Zachary Crockett]

Thanks for listening.

[Layla]

I enjoy being mansplained about stocks like you're drunk in the club telling me all this insider trading information. Thank you.

[Zachary Crockett]

The Freakonomics Radio Network the hidden side

[Lindsey (Bank of America/US Soccer PSA)]

of everything

[LinkedIn Advertiser]

are your ad campaigns lighting up the dashboard but not the pipeline. That's bullspend and marketers are calling it out in dashbo Confessions.

[Zachary Crockett]

My boss asked for results, so I opened my dashboard for the only positive sounding metric I had.

[LinkedIn Advertiser]

Impressions Cut the bull Spend. See revenue, not just reach LinkedIn delivers the highest return on ad spend of major ad NETWORKS. Advertise on LinkedIn spend $250 on your first campaign and get a $250 credit. Go to LinkedIn.com campaign terms and conditions apply.

[Lindsey (Bank of America/US Soccer PSA)]

Soccer teaches us lessons we can take with us long after we leave the field. That's why bank of America and US Soccer are committed to helping bring soccer to every school. Raise your hand to helpofa.com Soccerchools New

[Layla]

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