The high cost of sporting glory

Events such as the World Cup and the Olympics are not the economic juggernauts that their promoters

There is no doubt that the World Cup has been a joyous party for those lucky enough to attend. There is also no doubt that it has been a bon­anza for Fifa, football's governing body. The commercial income accruing to Fifa will come to about £2.2bn for TV rights, sponsorship and merchandising, while an estimated £800m has been spent on organising the tournament and £700m on local development projects.

Fifa, therefore, generates a tidy profit of £700m, which it either retains to promote its own pet projects or disburses to national football associations: a significant bargaining chip in the hands of its 24-man executive committee. In 2004, the projected cost to the South African taxpayer for hosting the finals was R2.3bn, or £200m (the bid book was lost for years until the Mail and Guardian posted it online in June); the current figure is said to be R33bn (£3bn). Fifa does not pay for the stadiums, but gets to put its brand all over development projects in the host country. And what does South Africa get in return for its investment?

The organisers claim that the event will produce an economic stimulus of R55bn (£4.8bn), generating in excess of 300,000 additional foreign tourists and promoting growth across the economy. Similar claims have been made for previous World Cups and other major sporting events, especially the summer Olympic Games. Politicians seem especially fond of claiming that major events bring significant economic benefits. This case rests on two foundations: first, that the building of stadiums and related infrastructure will boost the construction industry, with knock-on effects into the wider economy; second, that there will be a large influx of foreign visitors.

Eye candy

The problem with the first claim is that it is predicated on the assumption that the resources required for construction are lying around idle, waiting for something to do. In reality, modern infrastructure construction requires skilled labour and expensive resources. The question is not whether construction generates income; it is whether this particular form of construction puts resources to best use. It is not difficult to see that the needs of a developing country such as South Africa would be better met by building roads, houses and related infrastructure in the townships rather than building big stadiums. As with the Olympics, facilities for the World Cup are likely to be little used after the event. It's like building a bridge that is going to be used only once.

Take the development of Green Point in Cape Town at a cost of R4.5bn (£400m): the stadium will have hosted just eight games by the end of the tournament. It does offer spectacular views of Table Mountain, but remember just how much this eye candy cost. The original plan was to upgrade the existing stadium in Athlone, at an estimated cost about R1.7bn (£150m). The Athlone redevelopment was attractive because the facility is located in the poor Cape Flats and could have triggered public-sector spending in an underdeveloped area while providing a long-term facility for football fans.

Green Point, by contrast, is located in an affluent area and the mostly white sports fans there are already well provided for in the sports that interest them: rugby and cricket. The local authority had developed the Athlone plan with the South African government. It came into question when Fifa's president, Sepp Blatter, visited the Cape, after an advance delegation realised what a superb TV image a stadium at Green Point would provide. A dubious case was made that Athlone would not provide enough seats, and the semi-final promise was dangled in front of the organising committee. The result: £400m for a few TV shots.

It is questionable whether developing stadiums is a good use of South African government revenue, but the absurdity of the Green Point white elephant seems beyond doubt. Similar questions were raised about the Moses Mabhida Stadium in Durban, which cost R3.1bn (£270m). Local housing activists have bemoaned the waste of resources when so many ordinary people remain without basic facilities. The question of visitor numbers is similarly problematic. It sounds as if the event ought to bring a tourist bonanza, but the records from previous tournaments provide little evidence of any. Take Germany, for example. In June 2006, hotel bookings for overnight stays increased by 1.4 million compared to the previous June - which sounds impressive, until you realise that stays were significantly down on the previous year in May and August 2006, and that 2005 overall was a bad year. The entire 2006 overnight stay figure was only slightly higher than that recorded in 2001. Thus, the World Cup did little to boost German tourism that had stagnated after the 11 September 2001 attacks.

The decision to attend a World Cup hinges on complex factors. Many people who would have visited a location anyway choose to reschedule their trip to coincide with the event. Worse still, others will avoid visiting the country while the event is on. In 2003, there were 14 million visitors to Greece, but in 2004, when it hosted the Olympics, only 13 million. A better comparison with South Africa is the Japan-South Korea World Cup, which was some distance from the main sources of affluent, travelling fans. Japan had an increase in visitor arrivals in June 2002 of 37,646 over the previous year. South Korea suffered a decline of 56,864. South Africa expected a tourist uplift from Europe and the US; experience suggests disappointment.

In 2004, when South Africa was awarded the World Cup, there was talk of visitor numbers as high as 600,000 from people connected to the bid. By last year, Grant Thornton, as consultant to the organising committee, was still anticipating 483,000 visitors, but down­graded its forecast to 373,000 in the spring. Even this number sounds optimistic; hotels in Durban, Cape Town and elsewhere have been reporting occupancy rates in the region of 10-30 per cent, rather than the expected 65-75 per cent. Journalists have been talking about how quiet it is outside the stadiums. Demand for tickets within South Africa and from the rest of Africa has been particularly disappointing and some of the group matches were played in half-full stadiums, as if to emphasise what a waste of money much of the investment has been.

To put it in perspective, visitor numbers from outside Africa totalled 331,000 in June and July last year, while visitors from other African nations exceeded 1.2 million. So it looks as if numbers of tourists to South Africa will be little different from previous years. This is a financial nightmare for South African commerce, including large numbers of small businesses that invested in facilities to meet a much higher level of demand.Yet none of this should come as much of a surprise: if the South Africans had asked for an objective view backed up by data five years ago, they could easily have got it.

So, why are such inflated and misleading claims presented by governments and organisers? The answer is that Fifa and the International Olympic Committee (IOC) are monopolists selling the rights to the most attractive sports events on the planet and, like any good monopolist, they are not prepared to give their property away cheaply. That is why they organise bidding contests among potential host nations. Setting political rhetoric aside, what wins you the bid is the promise to lay on lavish games to the greater glory of Fifa and the IOC, largely at the public expense. These events could be self-funding, but then they would not be so lavish. Fifa and the IOC demand a government guarantee to underwrite the staggering cost. To justify this extravagance, politicians cover themselves by claiming that there is an economic benefit - a quite breathtaking refusal to face the facts.

Voodoo economics

In many cases, one might say that this does not really matter. There is good evidence that the public at large derives a significant feel-good factor from hosting major events and so is quite willing to subsidise them. Wealthy nations such as Germany and the UK can afford (more or less) to cover the cost if that is what people want. And, in the light of the banking bailouts, the subsidies no longer look so huge. Moreover, there is reason to believe that the public is not fooled by the organisers' voodoo economics. When it was announced in 2007 that the cost of the 2012 Olympic Games in London would be closer to £9bn than the original estimate of £2.4bn, few batted an eyelid.

But with South Africa, the issue is more serious. The UK government spends about £80bn annually on education, whereas South Africa spends about £12bn. The UK is spending a sum equal to just over 10 per cent of its annual education budget on London 2012, South Africa about 25 per cent to host the 2010 World Cup. Scarce resources are being diverted from activities that have much greater value added.

This is just not good enough. Historically, most major sports events have been awarded to wealthy nations that can afford to pay for them. Awarding the World Cup to a developing nation is an important step forward, but this achievement should not be bought by using essential resources to provide VIPs with freebies. There is no doubt that these events could be less lavish and remain equally entertaining. Most of us watch the World Cup on TV - we will be watching what is happening on the grass, and not from the blimp, or even the terraces.

There are many ways in which a more equitable World Cup could be organised, but most reforms require a more open and democratised governance at the top. Both Fifa and the IOC could choose to award their prestigious prizes not on the basis of extravagant public spending, but on sporting merit. For example, the nation that did the most to promote participation in sport could be awarded the right to host these events. Nor need they discriminate against the poor, as the key measure would be growth, not the base level at which countries start. However, such reforms require a commitment to pursuing purely sporting objectives, rather than the current system of rampant commercialism for the good of organisations such as Fifa. Football is meant to be the beautiful game, not the bankrupt game.

Stefan Szymanski is professor of economics at Cass Business School and co-author of “Why England Lose" (HarperSport, £7.99)

This article first appeared in the 05 July 2010 issue of the New Statesman, The cult of the generals

MATTHIAS SEIFARTH FOR NEW STATESMAN
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Moby: “The average American IQ is around 98”

Moby, the vegan king of chill-out pop, talks wealth, David Bowie’s hat and the average intelligence of his fellow Americans.

In January 2012, two women walking their nine dogs on the hill beneath the Hollywood sign found a man’s severed head wrapped in a plastic bag. His decomposing feet and hands were discovered nearby. First theories pointed to the work of a Mexican drug cartel, or the murderous Canadian porn actor Luka Magnotta. The story piqued the interest of the electronic dance music mogul Moby, who wrote about it in a New Statesman diary in May this year.

Today, the smell of cedar and pine hits you on the canyon path, which is hot, steep and sandy – an immediate wilderness in one of LA’s most exclusive areas. The Griffith Observatory shines like a strange white temple on the hill. Brad Pitt, a local resident, was doorstepped after the head was discovered: he lives near Moby on the streets of Los Feliz, near Griffith Park, where the only sounds are hedge strimmers and workmen’s radios. Moby’s 1920s mansion is all but obscured by Virginia creeper.

As we sit down at his kitchen table, Moby tells me that the body parts were found to belong to a 66-year-old Canadian flight attendant called Hervey Medellin. Shortly before Medellin’s disappearance, his boyfriend, Gabriel Campos-Martinez, had used a computer in the flat they shared to find an article titled, “Butchering of the human carcass for human consumption”. The head, feet and hands showed signs of having been frozen: the rest of the body was never found. He says it was one of those rare times in life where reality was more intriguing than the conspiracy theories.

Moby, of course, eats no meat. Fifteen minutes’ drive away in the hipster neighbourhood of Silver Lake, his vegan bistro, Little Pine, serves a variety of plant-based dishes, proceeds from which go to animal rights organisations including the Humane Society and Peta. His own music is never played there. We are meeting to talk about his new album – but, he says: “It’s 2016 and people neither buy nor listen to albums. And they certainly don’t listen to the 16th album made by a 51-year-old musician. I don’t care if anyone gives me money for this music or for live shows ever again. Once a record’s released, I couldn’t care less what happens with it. I liked making it, but I don’t care.”

He is currently working his way though the stages of grief outlined by the psychiatrist Elisabeth Kübler-Ross. To denial, anger, bargaining, depression and acceptance he has added a new phase: Schadenfreude. On the night of the US election, he left the house at 6pm west coast time to watch the coverage with some friends. He checked his usual round of sites on his phone: CNN, the New York Times, the Washington Post, Nate Silver’s FiveThirtyEight, the Guardian, the Huffington Post, the BBC, politico.com. He was concerned to see that no one was calling any of the early states; with Obama’s election, exit polls suggested the victory by noon. Days earlier, Moby had been predicting humanity’s “wake-up call” in the form of the destruction of Greenland or a zoonotic virus – but not this. He is softly spoken, with a quick laugh and the kind of intelligence that seems to warm him up from the inside when he talks, but today he is angry.

“It is disturbing on so many levels,” he says. “One, that we have elected an inept racist as president. Two, just seeing how dumb and delusional so many Americans are. Because really – in terms of the subsets of people who would vote for Trump – you have to be delusional, or racist, or stupid. I am so confused as to the fact that such a high percentage of Americans are either really stupid or incredibly bigoted.”

The stupidity of Americans is, he says, a matter of “anthropological curiosity” – or simply demographics. “The average American IQ is around 98,” he notes. “So that honestly means – in a vaguely non-pejorative way – that there are a lot of really, really dumb people. The nonsense that people were spouting before the election – that Trump was a good businessman, for example? This phenomenon has been particularly egregious of late: people have an almost adversarial relationship with evidence. Climate-change deniers are another example.”

As a self-described old-timey alcoholic, Richard Melville Hall (nicknamed Moby by his father in honour of his great-great-great-uncle Herman) has a pervasive interest in neurochemistry. He uses it to explain much of the past six months in Western politics. Our failing political systems – the subject, in fact, of the album he doesn’t want to talk about – are underpinned by “a kind of delusional motivation, which is basically to ignore the countless things that are actually going wrong in the world and focus all your attention on things that are arbitrary. In the United States, you have people who have perfectly good jobs in safe communities who are obsessed about Mexico, crime and unemployment. We have these quasi-Orwellian responses to stimuli, and they come from a place of fear and scarcity. Humans are still built to amass as much wealth as possible, and fight off the enemies as quickly as possible, but the only threats are the ones we generate ourselves.”

There’s a dishcloth on the table, a few magazines, a bit of a draught and Moby in a black hoodie pouring two glasses of water.

Fear and scarcity pervade American society, he says, because social policy is an extension of corporate process and “nothing is free from the cadres of professional lobbyists”. Meanwhile the ravenous news consumption that helped drive Trump reflects a human addiction to the “neurochemical jolt” of engaging with the media.

“People have a profound and almost feral attachment to that which makes them feel good in the moment,” he says. “Without thinking of long-term consequences, does their belief give them a shot of dopamine right at this second? If so, they hold on to it. Eating junk food, voting Brexit and voting for Trump.”

 

***

 

Moby is the model of an addictive personality well-practised at controlling itself. He was a fully fledged alcoholic by his early twenties: at ten, he’d been given champagne and made himself the promise, “I always want to feel this good.” Now, he cannot touch a drink, but his modern-day addiction, he says without a beat, is his phone. Every thought is pursued to extremes. He recently released an animated video for a new song, “Are You Lost In the World Like Me?”, showing a procession of grotesque, phone-addicted cartoon characters filming a girl as she throws herself off a skyscraper and hits the ground.

The house is vaguely baronial, airy and open-plan: all dark wood and furniture polish. An Annie Hall poster in the pool house; a coyote postcard on the kitchen wall.

This particular property is a result of serious downsizing: Moby has a habit of buying very big places, doing them up and then moving out. When he was still in New York, he bought a remote mountaintop retreat in Kent Cliffs, 50 miles north of Manhattan. He created a magnificent bedroom of 1,500 square feet with ten skylights – but quickly learned he could only get a decent night’s sleep when he pulled his mattress into the cupboard. He told the New York Times that, living all alone in the big house, he “felt like Orson Welles at the end of Citizen Kane”.

He moved to LA in 2010, swapped vodka for quinoa smoothies and took the keys for another large building – the Wolf’s Lair, the turreted, 1920s Gothic castle in Hollywood once inhabited by Marlon Brando, with the swimming pool historically used for porn movies and the hidden tiki bar. He bought it for $4m and sold it for $12.5m four years later – allegedly to Banksy. He rattled around in that house, too. Right on cue, he tells me: “I felt like Orson Welles at the end of Citizen Kane.”

On the one hand, these were sensible ­investments for the man who’s sold 20 million records; on the other, large impersonal spaces appealed to Moby long before he was in a position to buy them. Raised by his single mother on food stamps and welfare in Darien, Connecticut, he started his adult life squatting an abandoned lock factory, where he could ride his moped around his bedroom, piss into a bottle and read battered Star Trek paperbacks while working on early demo tapes, rather like a ragged, vegan version of the boy in the movie Big.

He was very happy in his penniless state, as he records in his memoir, Porcelain. He’d like to propose something he calls the End of Wealth – but we’ll come back to that.

In the past few years Moby has broken free from the “Beckettian purgatory of touring”. When his biggest-selling album, Play, was released in 1999, his music career was effectively “over”. Before Play, he had changed creative direction, going from progressive house to ambient to thrashy punk – to which he has just returned – and no one knew what to do with him. The only reason he hadn’t been dropped by his UK label, Mute Records, was that its owner, Daniel Miller, was “an old egalitarian socialist”.

Play sampled slave songs of the Deep South – recorded by the ethnomusicologist Alan Lomax in the 1940s – and wove them into a backdrop of cerebral chill-out. The songs of pain and emotion took on an eerie neutrality, and TV shows and ad companies came calling. He was approached by Will and Grace and Grey’s Anatomy. At that point, selling records and touring were still more lucrative than licensing a song to TV – and licensing a song to TV was still considered selling out. But Moby considers himself an ugly duckling: “If someone who was once unattractive suddenly gets asked out on loads of dates, of course they say yes a lot.” He licensed every song on Play and it became the soundtrack of the millennium.

His memoir was unusual because it concentrated on the ten-year period before he got famous. It captured his enthusiasm – and his strangeness – at its source and showed him to have a sense of humour that may have passed people by the first time round. “I’m in London! London!” he wrote. “Benny Hill, Joy Division, Peter O’Toole!” He visited the vegan café in Covent Garden.

The book is filled with money: or with the constant, practical concern of not having it. Navigating poverty is an everyday routine: he is an “alchemist” turning used beer bottles into nickels at the recycler, and thence into soya milk and oranges. In his early twenties he becomes a Christian, partly so that he can repeat the Sermon on the Mount at Bible classes in the households of Greenwich Village and “judge” the rich children.

Book two, which Faber & Faber is waiting for, is more difficult. The period of his fame and fortune in the 2000s is too much of a cliché. “Ten years ago I was entitled, narcissistic, bottoming out, alcoholic, selfish and feral. Robbie Williams has done that story, so has Ozzy and Mötley Crüe. Who wants to read that? It’s tautological.”

Instead, he has decided to write about the first ten years of his life. It will look into his relationship with his mother, who loved him but raised him in various drug dens. He was at her side when she died in 1997, but he missed her funeral, having woken late in the morning to discover that at some point in the night he must have got up and set his alarm clock three hours late. He took a taxi to the wake, worrying about the fare, and for reasons he can’t really explain, turned up cracking jokes.

He has a strange nostalgia for the kinds of friendships you have in early adulthood, when everyone is equal, “before that point when someone starts making money and they think they’ve won: they’re going to have access to a different kind of happiness”.

In 2003, when he turned 38, he was famous, wealthy and miserable. “I’ve been able to see and inhabit almost every stratum on the socioeconomic scale, from extreme poverty and obscurity to wealth and fame, and it gives me an insight into it,” he says. “Because a lot of people who experience wealth are born into it, and a lot of people who experience poverty never leave it. I can safely say that for me there has been no causal effect between increased fame and wealth and increased basic happiness and well-being.”

When Moby talks about himself, he applies many apologetic epithets: clichéd, meditating, yoga-loving, mealy-mouthed. In 2007 he developed mobygratis.com, a large online resource offering independent film-makers and film students a licence to use his music for free. If their films are commercially successful, the revenue from licence fees must go to the Humane Society. He says he wants to propose a more rational, evidence-based approach to wealth.

“We are still attached to the idea of the redistribution of wealth,” he says. “As progressive lefties, we’re all brought up to think that is a good idea. In the old days, it meant the difference between eating and not eating. Nowadays the person on $30,000 consumes twice the calories of the millionaire, and has a bigger TV and works fewer hours.

“There is an underlying assumption that if wealth were distributed more evenly then people would be happier, but there is unfortunately very little anthropological or sociological evidence to support that idea, unless there are institutions to support the basic needs of community, like food and shelter. Confusing materialism with happiness is the essence of our culture.”

While west LA is plastic surgery and gold-plated toilets, he says, his own neighbourhood is “David Lynch wearing an old T-shirt and mowing the lawn”. Among the millionaires of Los Feliz, conspicuous consumption is frowned upon. He knows several who live “incredibly austere lives. I was having tea with Jim Carrey the other day. He’s basically just giving everything away. He just realised that owning three planes was stressing him out . . .”

In his New Statesman diary, Moby said that life in LA offered him miles and miles of lavender-scented name-dropping.

“Coldplay played the Rose Bowl recent­ly,” he says. “And the Rose Bowl holds 75,000 people. It’s a struggle for me to sell 2,000. At first, I winced with a little jealousy. But then I thought, ‘If my career was at that Coldplay level, how would that actually affect my daily existence? Would it make my shoes fit better? Would it make the water pressure in my shower better?’ As long as you’ve satisfied the basic hierarchy of needs – enough to eat, clean air to breathe, bears not eating your legs – happiness is all where and how you put your attention.”

***

He goes to his kitchen cupboard and from among the colanders and measuring jugs he extracts a black velvet fedora – size seven, silk-lined, from a London company established in 1879. In green marker around the inside rim are the words “With love from David – Christmas 2005”. Bowie gave it to him over Christmas dinner that year. “It’s the hat that he wore in The Man Who Fell to Earth,” Moby says. “There’s this amazing picture of him wearing it with John Lennon and it’s clearly when he was doing a lot of cocaine.”

Moby lived on Mott Street in Little Italy and Bowie lived on Mulberry Street. “I had a little roof deck, and he had a beautiful roof terrace, and we could wave at each other.” They were neighbours and friends, worked on music together, went on tour together, had barbecues together. He says the title of Bowie’s last album, Black Star, is a reference to the 1960 Elvis Presley song of the same name “about the end of a life” (“And when a man sees his black star,/He knows his time, his time has come”).

“David had been sick for a long time,” he says. “Or ill, as you say in the UK. So, David had been ill for a long time. I was very pleased that . . . after he died, people were asking me, ‘How do you feel?’ and I’m like, ‘Actually, I’m just kind of happy that he lived as long as he did.’ Because I . . . had thought, yeah, I had thought that he was going to die a little before that. So.”

The Radiohead singer Thom Yorke lives just up the street from him in Los Angeles but Moby has never met him “as far as I know”. Apart from Bowie, he claims not to have musician friends.

“Musicians – and I’m sure you’ve encountered this many times – have a sense of self-importance that is off-putting,” he says. “It is very hard to be friends with someone who thinks that just by showing up, they’re doing something special. At the end of the day, you want to say to them, ‘You know what? You wrote a couple of good songs. Let’s put it in perspective.’”

He was born on 11 September 1965, and on his 36th birthday he watched the twin towers burning from his roof deck. He tells me that when the second plane hit and it became clear the first was no accident, he heard “the cumulative effect of ten thousand rooftops covered with people, and the weirdest scream. A scream of horror but also a scream of understanding.”

Fifteen years on, he talks about this year’s politics as a Manichaean thing. “Half the world are motivated by fear and desire to move backwards, and the other half are motivated by optimism and a desire to move forward rationally. It’s religious tolerance versus fundamentalism; it’s racism versus inclusion. I wonder if there’s a way we can make peace with that whole other half of humanity who are holding on to a non-evidence-based approach to the future. But I don’t know what it is.” He has known Hillary Clinton for two decades, was a vocal supporter of hers during the election run and released a pair of anti-Trump tracks for Dave Eggers’s music project 30 Days, 50 Songs.

He says that many celebrity Clinton backers were cautious to come out for her during the primaries “because Bernie supporters wanted to crucify you. Now Trump has united and inspired Democrats more than anything since the Vietnam War.”

The election result, he says, might just be “the equivalent of a crystal meth addict going on one last bender. Maybe this bender will finally convince Americans to stop voting for Republicans. Because they are terrible. There has always been an understanding that if everyone in America voted, there would be no Republican politicians. The reason Republicans win is that most Americans don’t vote.

“Those of us on the left who were brought up to be tolerant of people who had different opinions from us – well that’s great, ­unless the opinions are bigoted and wrong. If someone is a climate-change denier, they are wrong. If someone voted for Brexit, they are wrong. If someone voted for Trump, they are wrong. There is a lot of ambiguity in the world, but not about these things.”

The clock ticks towards 11.15am and Moby, ever punctual, is done.

“These Systems Are Failing” is out now on Little Idiot/Mute

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump