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Is Mikel Arteta right – do footballs really make a difference to performance?

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Is Mikel Arteta right – do footballs really make a difference to performance?

This article was updated on January 9 to reflect the ball being used in Sunday’s FA Cup third round game between Arsenal and Manchester United.


Mikel Arteta was in no doubt.

Arsenal’s manager was dissecting a painful 2-0 home defeat against Newcastle United in Tuesday’s Carabao Cup semi-final first leg when — unprompted by any journalist in the room — he raised an unlikely issue that, he felt, helps explain his team’s inability to convert any of their 23 shots on the night into goals.

“We also kicked a lot of balls over the bar, and it’s tricky that these balls fly a lot, so there are details that we can do better,” Arteta said in the post-match press conference.

When asked to expand on his comments later, he added: “(The Carabao Cup ball) very different to a Premier League ball, and you have to adapt to that because it flies differently. When you touch it, the grip is also very different, so you adapt to that.”

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Arsenal were certainly profligate, with Gabriel Martinelli, Kai Havertz and Jurrien Timber all spurning fine opportunities. But was the ball being used — the Orbita 1, made by German manufacturer Puma  — really to blame?

Newcastle forwards Alexander Isak and Anthony Gordon seemed to have no issues with it as they converted their own side’s chances, and the ball hadn’t held Arsenal back in previous rounds in the competition, where they scored 11 goals in three games against Preston North End, Bolton Wanderers and Crystal Palace.

Arteta’s complaints were met with a sceptical response in many quarters, not least from the English Football League (EFL), which organises the Carabao Cup, English football’s No 2 cup competition after the FA Cup.

“In addition to the Carabao Cup, the same ball has been successfully used in other major European leagues, including both Serie A and La Liga and our three divisions in the EFL,” it said in a statement. “All clubs play with the same ball (in the competition), and we have received no further comments of this nature following any of the previous 88 fixtures which have taken place in this season’s Carabao Cup.”

Puma is yet to respond to The Athletic’s request for comment.

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But was Arteta’s outburst so outlandish? There are, after all, two external factors (aside from the players) which materially affect the outcome of a football match — the pitch and the ball. It stands to reason, therefore, that any unexpected variation in either of those could potentially influence the outcome.

As Premier League clubs, Arsenal and Newcastle are used to training and playing with the Nike Flight ball. U.S. company Nike has supplied the footballs used in England’s top flight since the 2000-01 season, when it replaced British firm Mitre as ball manufacturer, and players have prepared for and played with its balls in league matches ever since. Occasionally, however, they are obliged to change.

Arsenal also feature in the Carabao Cup, FA Cup and Champions League this season, with a different ball (made by other manufacturers) used in each instance. In addition to Puma’s Orbita 1, Adidas supplies the balls for the Champions League and Mitre for the FA Cup.

On Thursday, it was confirmed that the ball being used in Sunday’s third-round tie with Manchester United at the Emirates Stadium would be a special gold edition of the Ultimax Pro model — a nod to United having won the competition last season.

Though they all have similar dimensions and are made from similar materials, slight alterations in design can make a marked difference.“The more ‘perfect’ a ball is, the more likely it is to be erratic,” says Justin Lea, founder of ball manufacturer Hayworth Athletic. “They all have their own personalities. If you look at the FIFA ball rules, there are ranges for everything. A ball can only retain a certain amount of water if a field is wet. There’s a range to the sphericity of the ball and the bounce of the ball.”

The game’s laws state a regulation size-5 ball must be 68-70cm (26.8-27.6in) in circumference and weigh between 410 and 450 grams (14-16 oz) at the start of the match. It must also be inflated to a pressure of 0.6-1.1 bars at sea level.


The Premier League is using the Nike Flight 2024 ball (Matt McNulty/Getty Images)

“There’s a certain amount of intuition with a ball,” says Lea. “The Brilliant Super from Select, for example, kind of goes where you want it to go. But the more ‘perfect’ a ball is, the more likely it is to be erratic. Some with thermal bonding technology and higher-end materials can get so spherical that the dynamics and the trajectory change. They can go in a lot of different directions.”

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At the 2010 men’s World Cup in South Africa, it wasn’t just the honking sound of fans blowing vuvuzelas, a trumpet-like musical instrument, in the crowd that dominated discussion. Adidas’ now infamous Jabulani was also a hot topic, becoming arguably the most recognised and disputed ball in the sport’s modern history.

The Jabulani consisted of eight thermally bonded panels with a textured surface (named Grip ‘n’ Groove by Adidas), which were said to improve aerodynamics. For the players in that World Cup, however, it proved to be a nightmare, with goalkeepers and outfield players alike complaining about the balls swerving uncontrollably after being kicked.

“It’s sad that such an important competition has such an important element like this ball of appalling condition,” said Iker Casillas, whose Spain side would go on to win the final, in comments reported by the BBC. According to Brazilian news outlet O Globo, meanwhile, Brazil player Julio Cesar described it as “horrible” and like “the ones sold in supermarkets”.


Casillas did not like the 2010 World Cup’s Jabulani ball (Lluis Gene/AFP via Getty Images)

One of the most vehement opposers was former Liverpool midfielder Craig Johnston, who became an expert in the appliance of science to football equipment after his playing career ended and helped design the original Adidas Predator boot. In a 12-page letter of complaint to world football governing body FIFA’s then president Sepp Blatter that was acquired by UK newspaper The Daily Telegraph, Johnston wrote, “Whoever is responsible for this should be taken out and shot for crimes against football.”

The general contemporary opinion surrounding the Jabulani was that it was not fit for purpose, but it was not universally disliked.

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Clint Dempsey, who sneaked a shot under goalkeeper Rob Green’s body to equalise in the USMNT’s 1-1 group-stage draw with England, said in a pre-tournament press conference reported by FOX Sports: “If you just hit it solid, you can get a good knuckle on the ball… you’ve just got to pay a little bit more attention when you pass the ball sometimes.”

It also provided former Uruguay and Manchester United striker Diego Forlan with his defining tournament.

His former national-team colleague Diego Abreu told Uruguayan outlet El Futbolero in 2020 that Forlan got Adidas to send him a Jabulani three months before the World Cup started, and that he would practise shooting and taking free kicks with it. As it transpired, Forlan finished as the tournament’s joint-top scorer, with his five goals helping Uruguay reach the semi-finals. Such was his mastery of the Jabulani, he also left South Africa with the Goal of the Tournament award and the Golden Ball, presented to whoever gets voted the competition’s best player.


Forlan practised extensively with a Jabulani before the 2010 World Cup (Rodrigo Arangua/AFP via Getty Images)

The Jabulani remains possibly the most extreme modern example of a football’s effect on the quality and trajectory of a shot, and it’s unlikely we will see an outlier like that again. Still, many players feel noticeable differences when switching between different makes of balls even 15 years later.

“When I went to the Premier League, and I started playing with the Nike ones compared to the Mitre balls in the Championship, I found they felt so much lighter,” says former Reading and Cardiff City striker Adam Le Fondre. “I felt like I was going to get a bit more movement with it.

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“Mitre balls were more like cannonballs. They wouldn’t move or deviate off plan — they’d act in a straight manner. As a striker, you might want to get a bit more of a wobble on it, or even if you don’t connect with it well, the Nike ball in the Premier League might still have gone in. They gave me a little bit more help.”

It’s not just in football this happens, either.

In October, Los Angeles Lakers head coach JJ Redick complained about using new basketballs instead of already broken-in ones in the NBA.

“I’m gonna send in a request for the league tomorrow that we play with worn-in basketballs,” Redick, who previously spent 15 seasons in the NBA as a player, told various outlets in a post-match press conference. “I’m not sure why we can play in real games with brand-new basketballs. Anybody who has ever touched an NBA ball brand new — it has a different feel and touch than a worn-in basketball.”


Lakers head coach Redick was unhappy at using new basketballs rather than worn-in ones (Sam Hodde/Getty Images)

At the beginning of the 2021-22 season, the NBA switched its ball manufacturer from Spalding to Wilson, which was cited as one of the reasons for a slump in shooting percentages across the league. “It’s just a different basketball. It doesn’t have the same touch and softness the Spalding ball had,” said Philadelphia 76ers forward Paul George in a post-match press conference. “You’ll see a lot of bad misses this year. You’ve seen a lot of airballs (shots that miss the hoop, net and even backboard entirely). Again, not to make an excuse or put any blame on the basketball, but it is different.”

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It wasn’t long before players became accustomed to the different feel of the Wilson balls, and shooting percentages rose again. Still, it highlights how minor differences can affect elite athletes who are familiar with a particular piece of equipment.

Arsenal used the Puma Orbita 1 in training on Monday during the short turnaround between their 1-1 Premier League draw with Brighton on Saturday and the meeting with Newcastle (who have had extra time to get used to the Puma ball, as they entered this season’s Carabao Cup one round earlier than Arsenal, due to the latter getting a bye having qualified for Europe). But, judging by his comments, Arteta must surely be wondering if he should roll them out sooner in preparation for the decisive second leg at St James’ Park on February 5.

Besides, any extra time his players get with those balls could serve as Forlan-like preparation for next season — Puma has a deal to be the official football supplier to the Premier League from 2025-26 onwards.

(Top photos: Arteta and the controversial Orbita 1; Getty Images)

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Culture

I Think This Poem Is Kind of Into You

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I Think This Poem Is Kind of Into You

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A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.

The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.

And then it bursts into flame.

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“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.

Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.

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We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.

To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.

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Louise Glück in 1975.

Gerard Malanga

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But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”

That’s the kind of poem she wrote.

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“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.

Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.

What happens next? That’s up to you.

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Can You Identify Where the Winter Scenes in These Novels Took Place?

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Can You Identify Where the Winter Scenes in These Novels Took Place?

Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

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When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.

This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.

There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.

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Their first impressions fill a nearly page-long paragraph. Here’s how it begins.

Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.

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But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.

It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.

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See the full list of the 10 Best Books of 2025 here.

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