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18   || SPORT, CULTURE AND THE MEDIA


                         for loss of work through travel or injury, and the International Olympic
                         Committee to this day eschews the paying of prize money to athletes (since 1981
                         questions of eligibility to compete and remuneration have been left to the indi-
                         vidual international federations; Hill 1992: 240), the penetration of the logic of
                         capital accumulation into sport has been such that, as Cashmore (2000) has
                         noted, the term ‘amateur’ has increasingly become a term of abuse in sporting
                         culture.
                           ‘Pure’ amateurism in sport, if it ever existed, quickly died and, in the case of
                         rugby union (the amateur side of the split), a long period of ‘shamateurism’
                         ended in 1995 with such suddenness that it now threatens to swamp in
                         commercial terms its long-time professional antagonist  – rugby league  –
                         while multi-millionaire tennis players like Andre Agassi, Serena Williams, Venus
                         Williams and Pete Sampras are now permitted to take part in Olympic com-
                         petition. A suggestion to introduce golf as an Olympic sport has been opposed
                         due to concerns that the best players would not compete because they would
                         earn much more money on the international golf circuit. Estimating the current
                         global value of the ‘sportsbiz’ is no mean task, given the range of economic
                         activities which it can claim to embrace, but in 1988 Neil Wilson (1988: 8)
                         noted that ‘Official figures in Britain estimate that more than [US]$4 billion is
                         spent on sport each year, more than on motor vehicles. In Britain, sport-related
                         activity employs 376,000 people, more than the chemical industry, or agri-
                         culture or the combined electricity and gas industries’. A decade later, a report
                         by the Confederation of Australian Sports valued sport’s economic activity in
                         that country (with a population less than one-third of Britain’s) at AUS$8
                         billion, with the sports sector directly employing ‘95,000 people in 1995–96 –
                         more than the rail, grain, electricity and clothing industries’ (Boreham and
                         Pegler 1998: 3). In the same year as this report was released in Australia, the
                         eight-year TV rights to the National Football League in the United States
                         alone were sold for US$17.6 billion (Attwood 1998: 39; see Chapter 3). In 2000,
                         La Fédération Internationale de Football Association (FIFA), soccer’s world
                         governing body, estimated that annual world expenditure on this sport alone
                         was US$250 billion (Miller et al. 2001: 13). It can easily be seen, then, that the
                         sports industry (without factoring in its contribution to ancillary industries like
                         clothing, food, beverages and transport) has grown enormously over recent
                         decades – and in global proportions.
                           How can such large sums of money be generated in and through sport?
                         In examining the flow of capital, the initial source lies in the willingness of
                         some people to pay for the privilege of sport spectating. This ability and desire
                         to be entertained by those who specialize in and excel at particular activities –
                         a phenomenon periodically present in pre-industrial societies in the shape of
                         travelling groups of troubadours and actors – grew as part of a more general
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