Culture
When athletes win Olympic gold medals in Paris, they'll get a piece of the Eiffel Tower
Winning an Olympic gold medal is considered a crowning achievement for an athlete, so it’s only fitting that the physical medal represents the significance.
What’s on each gold medal is special for every Olympic Games, but Paris 2024 is particularly notable because, when athletes win gold, they will take home a piece of the Eiffel Tower, an iconic landmark of the host city.
The Eiffel Tower played a major role in the Paris 2024 opening ceremony. From beaming lights and the Olympic rings to the comeback performance of Celine Dion, “La Tour Eiffel” showcased its grandeur to the world. And now, it will be part of the athletes’ medal collections.
What else is unique about these gold medals and how are they connected to the Eiffel Tower? Here’s what to know.
How many Olympic medals are created?
Around 5,084 medals were developed for Paris 2024, per multiple reports, which note that approximately 2,600 medals have been created for the Olympics and 2,400 for the Paralympics.
How much do the Olympic gold medals weigh?
The gold medal weighs 1.17 pounds. The silver medal, by comparison, weighs 1.16 pounds while the bronze is one pound.
Who designed the Olympic gold medals?
Chaumet, the French luxury jewelry and watch brand, designed the Olympic medals. Founded in 1780, Chaumet is owned by LVMH (Moët Hennessey Louis Vuitton).
What features are on the Olympic gold medals?
The Olympic gold medal consists of three features: the hexagon, radiance and setting.
In the middle of the medal is a hexagon. It pays homage to France’s nickname “L’hexagone” given the country’s roughly six-sided shape.
The hexagon is surrounded by several strand-like shapes. This symbolizes the radiant light, as Paris is often referred to as the “city of light.”
On the six edges of the hexagon are claw settings. The shape is similar to those found in the rivets on the Eiffel Tower.
Olympic rings were illuminated on the Eiffel Tower during the opening ceremony of 2024 Games in Paris. (Photo: Ludovic Marin – Pool / Getty)
What is the Eiffel Tower connection?
The Eiffel Tower was the defining fixture of the 1889 World Fair. The original tower was made with wrought iron.
When the Eiffel Tower underwent renovations in the 20th century, they preserved pieces of the original iron and kept them in storage. Those chunks make up the hexagon figure in the middle of the Olympic gold medal.
According to multiple reports, 0.04 pounds of iron renovation pieces from the Eiffel Tower are included in each medal.
Gold, silver and bronze medals began at the 1904 St. Louis Olympic Games. It’s estimated that 1,011 medals — in terms of the Games’ medal count — will be handed out at Paris 2024 (more medals were developed to account for team events). This is the first time a piece of a city’s historic landmark is included in an Olympic medal.
How much is an Olympic gold medal worth?
According to Forbes, a Paris 2024 Olympic gold medal is worth approximately $950.
What happens at the medal ceremony?
The gold medal is placed around the winning athlete’s neck atop the podium. The athlete also receives a stuffed souvenir of the Paris 2024 mascot. Then, the national anthem of the winning athlete’s country plays — a tradition that began for gold medalists at medal ceremonies in 1932.
Required reading
More on the 2024 Paris Olympics from The Athletic…
(Photo: Thomas Samson / AFP via Getty Images)
Culture
Finding Wisdom in a Poem by Wendy Cope
Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?
How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.
Good poets know the rules and when to break them, which is something they can teach the rest of us.
To wit:
Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?
I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.
Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.
Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.
This isn’t the kind of poetry you would describe as “confessional.” And yet …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
Culture
Can You Match the Places These Authors Lived With Settings in Their Books?
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. 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 works if you’d like to do further reading.
Culture
Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
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