Culture
The Paris Olympics wanted a fast track and it got one – this is how it was made
There were two requirements for the Stade de France track for the 2024 Paris Olympics: make it purple and make it fast.
The colour was, in fittingly Parisian fashion, about creating a unique stage for athletes to perform. A lighter hue than the typical red tracks, following in the footsteps of the 2016 Olympics in Rio de Janeiro, where the track was navy blue and not red for the first time.
Making it faster is not as straightforward as a design choice. In fact, a ‘fast track’ has become the most hackneyed of athletics sayings — no host city is going to ask for a slow one, are they?
But Paris was fast: seven Olympic records and three track and field world records were set at the Games. This excludes world-best decathlon performances and field events (hammer throw, shot put), which do not use a runway or the track.
Combined, the number of Olympic/world records has trended upwards at recent Games: five in London (2012); six in Rio; 10 in Tokyo (2020) and the same again in Paris. It is an oversimplification that athletes are getting bigger, faster and stronger. Humans are also getting smarter and technology is getting better.
T&F Olympic/World records, Paris 2024
Athlete(s) | Event | Nation | Record |
---|---|---|---|
Team USA |
4x400m mixed relay |
USA |
World record |
Joshua Cheptegei |
10000m |
Uganda |
Olympic record |
Mondo Duplantis |
Pole vault |
Sweden |
World record |
Cole Hocker |
1500m |
USA |
Olympic record |
Winfred Yavi |
3000m steeplechase |
Bahrain |
Olympic record |
Arshad Nadeem |
Javelin |
Pakistan |
Olympic record |
Sydney McLaughlin-Levrone |
400m hurdles |
USA |
World record |
Marileidy Paulino |
400m |
Dominican Republic |
Olympic record |
Faith Kipyegon |
1500m |
Kenya |
Olympic record |
USA men |
4x400m |
USA |
Olympic record |
It was not just that records went in Paris, but how. Thirteen men ran quicker than Kenenisa Bekele’s 10,000m Olympic record from 2008 (27:01), with Uganda’s Joshua Cheptegei winning in 26:43.
Four men broke Jakob Ingebrigtsen’s 1500m Olympic record from Tokyo, including Ingebrigtsen, only for him to not medal. Four women broke Faith Kipyegon’s 1500m Olympic record, also from Tokyo, with Kipyegon winning in 3:51.
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The women’s 400m final was the fastest ever, with all nine athletes going under 50 seconds. The men’s 100m final was the hardest to qualify for in Olympic history. Never before had a sub-10 second semi-final not guaranteed a spot.
The final itself was the deepest of all time, the only instance of all nine men going sub-10 in a wind-legal race, and the smallest first-to-eighth gap in a global final — 0.12 seconds separated Noah Lyles’ gold and Oblique Seville.
Similarly, the men’s 800m final was the first instance of four men running under 1:42 in the same race and that was a race where the Olympic record wasn’t broken.
Maurizio Stroppiana is the vice president of Mondo, an Italian company that produces synthetic athletics tracks. Mondo first made an Olympics track for Moscow in 1980, 12 years and three Games after they were first introduced at Mexico City in 1968. Mondo have manufactured every track since Barcelona in 1992.
“Mondo tracks are known to be the fastest in the world, with 300-plus records to date and over 70 per cent of all current records,” says Stroppiana.
If you think numbers like that mean Mondo have cracked the science of making quick tracks, they kind of have, but the science is less perfect than you might expect. Mondo’s tracks are made from “vulcanised rubber”, says Stroppiana.
When Paris hosted the Olympics in 1924, it was on a cinder track. “It was like dirt,” explains Stroppiana. “So, apart from getting dirty, it was more like running in a field as opposed to running on a 400m (synthetic) track”.
‘Fast tracks’ is something of a misnomer. The athlete is fast (or not), it is about making a track efficient. “We are trying to minimise the energy that is lost. The track compresses (as the foot hits the track) and it will then return that energy in the most efficient way, although a part of it will certainly be lost,” says Stroppiana.
Athletes produce around three times their body weight in vertical force when running. How much of that is translated into horizontal force — them moving forwards — depends on the “braking and propulsive forces”, Stroppiana says.
Mondo implemented “elliptical air cells within the base layer of the track”, which they found to have a double benefit: a 2.6 per cent increase in net horizontal energy return, and a 1.9 per cent improvement in shock absorption.
It is about protecting athletes while trying to maximise performance, though those things are interrelated. “The track has to provide a certain level of comfort and cushion,” says Stroppiana.
He outlines that the determinants of maximal energy return are the “type of material, the elasticity of the material. We have these aerosols on the bottom of the track. That helps the cushioning effect and how that energy is returning as equally as possible”.
“What we noticed in the previous track (Tokyo) is that, depending on where the athlete stepped (with the foot), you get different results. We modified the shape to provide a more uniform response and to increase the area of depression of the track,” says Stroppiana.
“This makes the track better because they will not feel any difference, the elastic response is exactly the same throughout the track to guarantee that the rhythm of the athlete (will) be maintained.”
If that sounds straightforward and simple, it isn’t. Stroppiana says “it took us about two years to fine-tune this new solution. We developed this mathematical model at the University of Milan”. It lets them run simulations and test new combinations faster. The four-year Olympic cycle gives ideal preparation time.
One myth Stroppiana is keen to bust is track hardness. “These narratives started in the 1996 (Atlanta) Olympic Games because they had some great record times,” he says. “They started saying, ‘Yes it’s fast, it’s fast because it’s hard’. And since then we haven’t been able to change that point of view.”
How hard is the Paris track? “It’s softer than before,” says Stroppiana. “We really came to realise that is not a good solution making the track hard. And also, (it) doesn’t necessarily translate into faster times. In fact, it can actually lead to injury. So we have changed that in the last, six, seven years.”
They use a lower-carbon production method and more sustainable materials now than before, including calcium carbonate from mussel shells.
Unsurprisingly, it isn’t cheap. Stroppiana prices the Paris track at “anywhere from two to three million”, explaining that the top synthetic part “is only 14 millimetres thick. It’s quite thin”. He says that tracks tend to last around 15 years before needing replacement or relaying.
Decades of academic research detail the impact of altitude (positively for sprints, with the reduced air resistance; negatively for distance running, with the reduced oxygen) and wind.
The 1968 Olympics had the added impact of being the highest-altitude summer Games ever, at over 2,000m (7,000 feet). Sprinting and jumping records were smashed to pieces. Of the 12 sprint events, only the women’s 400m did not see an Olympic or world record, but distance races were slow.
Sprint performances over 1,000 metres are not considered legal and ‘altitude-assisted’, with a following wind of up to two metres the threshold for wind-legal sprint performances.
It means a good track needs the right location to be optimal for (legal) records. Saint-Denis, where Stade de France is situated in northern Paris, is within 50 metres of sea level. Stroppiana talks about the stadium creating a “microclimate” to “provide more favourable (performance) conditions”.
He explains that “the stadium’s architecture, including its oval shape and partially covered roof, helps to reduce wind interference. The stadium’s seating arrangement and the height of the stands contribute to shielding the track”.
Looking ahead, the 2028 Games in Los Angeles, USA, and the 2032 Games in Brisbane, Australia, are both in coastal cities.
For Stroppiana, the future of track-making lies in Mondo working with shoe/spike brands, who are notoriously “secretive about their own knowledge. Now there is this movement toward open innovation, which means collaborating within an industry, but not through competing brands”.
“I think the next evolution of the track surfaces is to make adjustments for these different (field) disciplines — an area of improvement for all the runways,” says Stroppiana.
He went on to say that Mondo works with Adidas, Nike, Asics, ON and Puma, among others, and collaborated with the latter for Paris.
“Before Tokyo, we worked with Asics because they gave us some insight. We installed our track at their research laboratory and they were testing different types, different solutions, to see which one (track) would be best.
“They do their own evaluation and they try to make sure that the (track/spike) interaction is as good as possible, concerned about how the spike will grab onto the surface, which is critical.”
Different events require different length spikes. Stroppiana speaks of 400m spikes having “different properties on the right-hand side” to aid bend running (as the outside of the foot hits the track first on landing and athletes run around to the left).
There is a trade-off to be achieved: Mondo “want to guarantee the proper traction but minimise the friction. So if the spikes were to penetrate too much on the surface, then it slows the athletes down”, says Stroppiana. “This is one of the characteristics of the top wear layer: it has to be spike resistant.”
Exceptions from that are pole vault and javelin because athletes are moving with so much force that the spike needs to penetrate the surface to avoid injury.
“In Paris, if you look closely at the javelin runway, the last portion is slightly different in colour (to the track)” says Stroppiana. “Why? Because that section has been specifically engineered for javelin throwers. We worked with the German team and the Finnish team to test different solutions”. He says they wanted a runway with “more spike resistance and to have a better grip.
“Normally the track has to be the same. You cannot have different properties for different areas. But for javelin, they (World Athletics) accepted these changes.” It worked: Pakistan’s Arshad Nadeem smashed the Olympic record by over 2.5m, throwing 92.97m, to earn Pakistan’s first athletics gold.
Stroppiana is optimistic about a future with more adjustments. “For the long distance, you could create a section where it’s specifically made,” he says, suggesting an inside lane. “In fact, we have done some tracks like this — only for training, not for competition — where you have a differentiated elastic response”.
There’s no doubt the 2028 LA track will be even more efficient. Mondo have four years to test and re-test new combinations and spike brands to work with. The main question that remains is: what colour will it be?
(Top photo: Nathan Laine/Bloomberg via Getty Images)
Culture
The Books We’re Excited About in Early 2025
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A new year means new books to look forward to, and 2025 already promises a bounty — from the first volume of Bill Gates’s memoirs to a new novel by the reigning Nobel laureate, Han Kang, to a biography of Rosemary Woodruff Leary, the wife and psychedelic collaborator of the counterculture pioneer Timothy Leary.
On this week’s episode, Gilbert Cruz and Joumana Khatib talk about some of the upcoming books they’re most anticipating over the next several months.
Books discussed:
“Stone Yard Devotional,” by Charlotte Wood
“Silence,” by Pico Iyer
“Onyx Storm,” by Rebecca Yarros
“Gliff,” by Ali Smith
“The Dream Hotel,” by Laila Lalami
“The Colony,” by Annika Norlin
“We Do Not Part,” by Han Kang
“Playworld,” by Adam Ross
“Death of the Author,” by Nnedi Okorafor
“The Acid Queen: The Psychedelic Life and Counterculture Rebellion of Rosemary Woodruff Leary,” by Susannah Cahalan
“Tilt,” by Emma Pattee
“Dream Count,” by Chimamanda Ngozi Adichie
“Hope: The Autobiography,” by Pope Francis
“Jesus Wept: Seven Popes and the Battle for the Soul of the Catholic Church,” by Philip Shenon
“The Antidote,” by Karen Russell
“Source Code,” by Bill Gates
“Great Big Beautiful Life,” by Emily Henry
“Sunrise on the Reaping,” by Suzanne Collins
We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to books@nytimes.com.
Culture
Grand Slam prize money is enormous. The economics of tennis tournaments is complicated
Four times a year, one of the biggest and most important tennis tournaments in the world sends out an announcement full of dollar signs and zeroes with the words “record prize money” scattered liberally.
The four Grand Slams, the first of which begins Sunday in Melbourne, are the high points of the tennis calendar. Players at the 2025 Australian Open will compete for $59million (£47m) this year — over $6.2m more than last year. In 2024, the four tournaments paid out over $250m between them, while their leaders spent the year aligning themselves with the players who make their events unmissable, whose gravity pulls in the broadcast deals and sponsorships, with their own dollar signs and zeroes.
Led by Australian Open chief Craig Tiley, the Grand Slams led the movement for a so-called premium tour which would pare down the overloaded tennis calendar and guarantee top players always being in the same events, let alone time zones. It would also lock swaths of the globe out of the worldwide spectacle that tennis represents.
The great irony is that despite the largesse and the cozy relationship, the players get a smaller cut of the money at the Grand Slams than they do in most of the rest of the rest of that hectic, endless season — and a fraction of what the best athletes in other sports collect from their events. The Australian Open’s prize pool amounts to about a 15-20 percent cut of the overall revenues of Tennis Australia, the organization that owns and stages the tournament, which accounts for nearly all of its annual revenue. The exact numbers at the French Open, Wimbledon and U.S. Open vary, but that essential split is roughly a constant. The 2023 U.S. Open had a prize pool of $65m against earned revenue from the tournament that came out at just over $514m, putting the cut at about 12 percent. The U.S. Open accounted for just under 90 percent of USTA revenues that year.
The explanations from the Grand Slams, which collectively generate over $1.5bn (£1.2bn) a year, run the gamut. They need to dedicate hundreds of millions of dollars each year to fund junior tennis development and other, less profitable tournaments in their respective nations — an obligation pro sports leagues don’t have. There is a constant need to upgrade their facilities, in the silent race for prestige and primacy of which the constant prize money one-upmanship is just one element.
That dynamic is not lost on players — least of all Novak Djokovic, the top men’s player of the modern era and a co-founder of the five-year-old Professional Tennis Players Association (PTPA).
“I’m just going to state a fact,” Djokovic said during a post-match news conference in Brisbane last week. “The pie split between the governing bodies in major sports, all major American sports, like NFL, NBA, baseball, NHL, is 50 percent. Maybe more, maybe less, but around 50 percent.
“Ours is way lower than that.”
Since 1968, the first year in which the four majors offered prize money as part of the Open Era’s embrace of professional tennis players, the purses have only grown. The 1968 French Open was the first to offer prize money, with Ken Rosewall earning just over $3,000 for beating Rod Laver in the final. The women’s singles champion, Nancy Richey, was still an amateur player, so could not claim her $1,000 prize. By 1973, lobbying from Billie Jean King helped convince the U.S. Open to make prize money equal for men and women through the draws; it took another 28 years for the Australian Open to do so year in, year out. Venus Williams’ intervention helped force the French Open and Wimbledon to follow suit in 2007.
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Fifty years after Rosewall’s triumph in Paris, the 2018 men’s champion Rafael Nadal took home $2.35million, an increase of over 73,000 percent. The year-on-year increases at each major are more modest, usually between 10 and 12 percent, but that percentage of tournament revenue remains steadfast, if not entirely immovable.
The Grand Slams argue that there are plenty of hungry mouths at their table, many more than just the 128 players that enter each singles draw each year.
“Tennis Australia is a not-for-profit and a business model built on significant investment into delivering the event and promoting the sport to drive momentum on revenue and deliver consistently increasing prize money,” Darren Pearce, the organization’s chief spokesperson, said in a statement this week.
Money from the Australian Open also helps fund tournaments in Brisbane, Adelaide and Hobart, as well as the United Cup, the combined men’s and women’s event in Perth and Sydney. Pearce said the prize money increases outpace the revenue growth.
The Grand Slams also point to the millions of dollars they spend on player travel, housing, transportation and meals during tournaments, though team sport athletes receive those as well. Eloise Tyson, a spokesperson for the All England Lawn Tennis Club, which stages Wimbledon, noted that overall Grand Slam prize money had risen from $209million in 2022 to $254m last year, a 22 percent increase.
“Alongside increasing our player compensation year-on-year, we continue to make significant investment into the facilities and services available for players and their teams at The Championships,” Tyson wrote in an email.
Officials with France’s tennis federation, the FFT, which owns the French Open, did not respond to a request for comment.
Brendan McIntyre, a spokesman for the United States Tennis Association, which owns the U.S. Open, released a statement this week touting the USTA’s pride in its leadership on player compensation, including offering equal prize money and the largest combined purse in tennis history at the 2024 US Open. A first-round exit earned $100,000, up 72 percent from 2019. Just making the qualifying draw was good for $25,000.
“As the national governing body for tennis in the U.S, we have a broader financial obligation to the sport as a whole,” the organization said.
“The USTA’s mission is to grow tennis at all levels, both in the U.S. and globally, and to make the sport accessible to all individuals in order to inspire healthier people and communities.”
None of the organizations outlined a specific formula for determining the amount of prize money they offered each year, which is roughly the same as a percentage of their parent organizations overall revenues. That may be a coincidence, though the Grand Slams also have the benefit of not facing any threat to their primacy.
The USTA’s statement gestures at how the structure of tennis contributes to this financial irony. In soccer, countries and cities bid to host the Champions League and World Cup finals; the Olympics changes every four years and even the Super Bowl in the NFL moves around the United States, with cities and franchises trying to one-up one another.
The four Grand Slams, though, are the four Grand Slams. There are good reasons for this beyond prestige: the infrastructure, both physical and learned, required to host a two- or three-week event at the scale of a major year in, year out is available to a vanishingly small number of tennis facilities around the world. There is no opportunity for another organization or event to bid to replace one of the Grand Slams by offering a richer purse or other amenities.
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This dynamic has been in place for years and has become more important in recent months. The PTPA has hired a group of antitrust lawyers to evaluate the structure of tennis. The lawyers are compiling a report on whether the the sport includes elements that are anti-competitive, preparing for a possible litigation with the potential to remake the sport.
The ATP and WTA Tours, which sanction 250-, 500- and 1000-level events as well as the end-of-season Tour Finals, give players a larger share of revenue. There is some disagreement between players and officials over how much it is and the methods of accounting; some player estimates hover around 25 percent, while tour estimates can be in the range of 40 percent. Both remain short of the team equivalents in the United States.
On the ATP Tour, the nine 1000-level tournaments have a profit-sharing agreement that, in addition to prize money, gives players 50 percent of the profits under an agreed-upon accounting formula that sets aside certain revenues and subtracts certain costs, including investments the tournaments make in their facilities. The WTA does not have such an agreement. It outlines a complex prize money formula in its rule book with pages of exceptions, not based on a guaranteed share of overall tour revenues.
The tours have argued that because media rights payments constitute a lower percentage of revenues than at the Grand Slams, and because the costs of putting on tournaments are so high, a 50-50 revenue share would simply turn some tournaments into loss-making entities and make tennis unsustainable as a sport.
James Quinn, one of the antitrust lawyers hired by the PTPA, said he saw serious problems with the model, describing a structure that prevents competition from rival tournaments.
Some events outside the 52-week program of tournaments — which see players earn ranking points as well as money — have official status (the Laver Cup is sanctioned by the ATP). But the remainder, such as the Six Kings Slam in Riyadh, which debuted this year and offered record prize money of over $6million to the winner, are not sanctioned, for now providing only a peripheral form of competition to ruling bodies’ control of the sport.
The Grand Slams, ATP and WTA insist this is for the best. They see themselves as caretakers of global sport trying to bring some order where chaos might otherwise reign.
Djokovic doesn’t totally disagree. He understands tennis is different from the NBA. He’s led the Player Council at the ATP, which represents male professionals, and he has seen how the sausage gets made and how complicated it is with so many tournaments of all shapes and sizes in so many countries. At the end of the day, he still thinks players deserve more than a 20-percent cut, especially since the Grand Slams don’t make the kinds of contributions to player pension plans or end-of-the-year bonus pools that the ATP does, nor do they provide the year-round support of the WTA.
“It’s not easy to get everybody in the same room and say, ‘OK, let’s agree on a certain percentage,’” he said of the leaders of tournaments.
“We want more money, (but) they maybe don’t want to give us as much money when we talk about the prize money. There are so many different layers of the prize money that you have to look into. It’s not that simple.”
(Photos: Kelly Delfina / Getty Images, Steven / PA via Getty Images; design: Dan Goldfarb)
Culture
6 New Books We Recommend This Week
Our recommended books this week tilt heavily toward European culture and history, with a new history of the Vikings, a group biography of the Tudor queens’ ladies-in-waiting, a collection of letters from the Romanian-born French poet Paul Celan and a biography of the great German writer Johann Wolfgang von Goethe. We also recommend a fascinating true-crime memoir (written by the criminal in question) and, in fiction, Rebecca Kauffman’s warmhearted new novel about a complicated family. Happy reading. — Gregory Cowles
One of Europe’s most important postwar poets, Celan remains as intriguing as he is perplexing more than 50 years after his death. The autobiographical underpinnings of his work were beyond the reach of general readers until the 1990s, when the thousands of pages of Celan’s letters began to appear. The scholar Bertrand Badiou compiled the poet’s correspondence with his wife, the French graphic artist Gisèle Lestrange-Celan, and that collection is now available for the first time in English, translated by Jason Kavett.
NYRB Poets | Paperback, $28
Wilson’s biography of the German polymath Johann Wolfgang von Goethe (1749-1832) approaches its subject through his masterpiece and life’s work, the verse drama “Faust” — widely considered perhaps the single greatest work of German literature, stuffed to its limits with philosophical and earthy meditations on human existence.
Bloomsbury Continuum | $35
Through a series of vignettes, Kauffman’s fifth novel centers on a woman determined to spend Christmas with her extended family, including her future grandchild and ex-husband, and swivels to take in the perspectives of each family member in turn.
People love the blood-soaked sagas that chronicle the deeds of Viking raiders. But Barraclough, a British historian and broadcaster, looks beyond those soap-opera stories to uncover lesser-known details of Old Norse civilization beginning in A.D. 750 or so.
Norton | $29
Fifteen years ago, Ferrell gained a dubious fame after The New York Observer identified her as the “hipster grifter” who had prowled the Brooklyn bar scene scamming unsuspecting men even as she was wanted in Utah on felony fraud charges. Now older, wiser and released from jail, Ferrell emerges in this captivating, sharp and very funny memoir to detail her path from internet notoriety to self-knowledge.
St. Martin’s | $29
In her lively and vivid group biography of the women who served Henry VIII’s queens, Clarke, a British author and historian, finds a compelling side entrance into the Tudor industrial complex, showing that behind all the grandeur the royal court was human-size and small.
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