FLORHAM PARK, N.J. (AP) — New York Jets quarterback Justin Fields returned to team drills Monday, four days after dislocating a toe on his right foot.
Fields participated in 7-on-7 drills at training camp Saturday as the team eased him back into practice. Coach Aaron Glenn had said Fields had “a ways to go” before fully returning. But after a day off Sunday, Fields ran the offense during 11-on-11 drills — and on the first day this summer the Jets wore pads.
“He was limited, but he was limited the way that we want him to be limited,” Glenn said after practice. “He made some good throws out there. And again, when Justin gets on the field, I mean, we’re going to let him be who he is."
Glenn wouldn't specify what he meant when he said Fields was “limited” and was asked if perhaps the team doesn't want him to run as much as he normally would.
“Just limit him the way we want him to be limited,” Glenn said. “I'll just keep it at that.”
Fields sent Jets fans and social media into a frenzy last Thursday when he dislocated a toe on his right foot early in practice. He was carted from the field to the facility, where he had multiple tests before the team announced the diagnosis — relieving fears that it could be an even more significant injury.
After sitting out completely on Friday, Fields threw passes in 7-on-7 drills Saturday and showed no signs of his injured foot ailing him. His first pass in team drills Monday was batted down at the line of scrimmage by Byron Cowart, but Fields had an otherwise solid practice session.
“There are some things that he did today that I was very pleased with," Glenn said. "But there’s also some things he’s got to get better at, too. He knows that.”
Rookie center Gus Hartwig left late in practice with what Glenn said was a knee injury that was being evaluated.
Hartwig, signed as an undrafted free agent out of Purdue, went down during team drills and stayed down for several minutes as he was examined on the field. Several teammates took a knee around him before he was able to get up and gingerly walk under his own power to the injury tent.
Byron Cowart is in his seventh NFL season and now with his seventh team after signing with the Jets as a free agent in March. After stops with New England, Indianapolis, Kansas City, Houston, Miami and Chicago, the 29-year-old Cowart is excited about his defensive linemates in New York.
He looks around at the likes of Quinnen Williams, Will McDonald and Micheal Clemons and can't help but think of a group of superheroes.
“I feel like I'm in ‘The Avengers’ right now,” a smiling Cowart said. "I've got Will to my left, I've got Quinnen, Mike and there's a lot of guys around me. The guys in the secondary, the linebackers behind me.
“You've seen the new ‘Superman’ movie? There's a new villain, he was trying to figure out his powers and what is he good at? So I said that's what I'm trying to figure out — how can I help you guys? It's dope being around everybody flying around.”
AP NFL: https://apnews.com/NFL
New York Jets quarterback Justin Fields (7) runs drills during practice at the team's NFL football training camp, Saturday, July 26, 2025, in Florham Park, N.J. (AP Photo/Angelina Katsanis)
New York Jets quarterback Justin Fields (7) throws a pass as he takes part in drills at the NFL football team's training camp Thursday, July 24, 2025, in Florham Park, N.J. (AP Photo/Frank Franklin II)
NEW YORK (AP) — Ten years ago, Kim Gordon — a revolutionary force in the alternative rock band Sonic Youth, the ’80s New York no wave scene and the space between art and noise — debuted solo music. At the time, she was already decades into a celebrated, mixed-medium creative career.
The midtempo “Murdered Out” was her first single, where clangorous, overdubbed guitars met the unmistakable rasp of her deadpan intonations. It was a surprise from an experimentalist well-versed in the unexpected: The song took inspiration from Los Angeles car culture, and its main collaborator was the producer Justin Raisen, then best known for his pop work with Sky Ferreira and Charli XCX. Their partnership has continued in the decade since, and on March 13, Gordon will drop her third solo album, “Play Me,” announced Wednesday alongside the release of a hazy, transcendent single, “Not Today.”
“It was a happy accident,” she says of her continued work with Raisen. “In the beginning, I was somewhat skeptical of working with a producer and collaborator, really. But it’s turned out to be incredibly freeing.”
“Play Me” follows Gordon's critically lauded, beat-heavy 2024 album “The Collective,” a noisy body of work that featured oddball trap blasts. It earned her two Grammy nominations — a career first — for alternative music album and alternative music performance. Those were for the song “Bye Bye,” with its eerie, dissonant beat originally written for rapper Playboi Carti. For “Play Me,” Gordon reimagined the track for the closer, “Bye Bye 25!” She says it was the result of her thinking about the rap world, where revisiting and remixing is commonplace.
“I came up with the idea of using these words that Trump had sort of ‘banned’ in his mind,” she says of the new song's lyrics. (An example: “Injustice / Opportunity / Dietary guidelines / Housing for the future.” President Donald Trump’s administration associates the terms with diversity, equity and inclusion initiatives, which it has vowed to root out across the government.) For Gordon, because it became “more conceptual … the remake doesn’t seem as anxiety-provoking as the original.”
There is a connective spirit between “The Collective” and “Play Me” — a shared confrontation, propulsive production and songs that possess a keen ability to process and reflect the world around Gordon. “It does feel kind of like an evolution,” she says of this album next to her last. “It’s sort of a more focused record, and immediate.” The songs are shorter and attentive.
Or, to put it more simply: “I like beats and that inspires me more than melodies,” she says. “Beats and space.”
That palette drives “Play Me,” a foundation in which staccato lyricism transforms and offers astute criticism. Consider the title track, which challenges passive listening and the devaluation of music in the age of streaming. She names Spotify playlist titles, imagined genres defined by mood rather than music. “Rich popular girl / Villain mode” she speak-sings, “Jazz and background / Chillin' after work.”
“It's just representative of, you know, this era we're in, this culture of convenience,” she says. “Music always represented a certain amount of freedom to me, and it feels like that’s kind of been blanketed over.”
Sonically, it is a message delivered atop a '70s groove, placing it in conversation with an era unshackled from these digital technologies.
The title, too, “is playing off the sort of passive nature of listening to music,” she says, “But also it could be seen as defiant. Like, I dare you to play me.”
There's also the blown-out “Subcon,” which examines the world's growing billionaire class and their fascination with space colonialization in a period of economic insecurity. In the song, Gordon's lyrical abstractions highlight the absurdity, taking aim at technocrats.
“I find reality inspirational, no matter how bad it is,” she says. Where some artists might veer away from the news, Gordon tackles truth. “I’m not sure what music is supposed to be. So, I’m just doing my version of it.”
In the end, she hopes listeners are “somewhat thrilled by” the album.
“'This is the music that I’ve wanted to hear,’ kind of feeling. Does that sound egotistical? I don’t know,” she laughs. If it is, it is earned.
1. “Play Me”
2. “Girl with a Look”
3. “No Hands”
4. “Black Out”
5. “Dirty Tech”
6. “Not Today”
7. “Busy Bee”
8. “Square Jaw”
9. “Subcon”
10. “Post Empire”
11. “Nail Bitter”
12. “Bye Bye 25!”
Kim Gordon poses for a portrait in New York on Tuesday, Dec. 9, 2025. (Photo by Taylor Jewell/Invision/AP)
Kim Gordon poses for a portrait in New York on Tuesday, Dec. 9, 2025. (Photo by Taylor Jewell/Invision/AP)
Kim Gordon poses for a portrait on Tuesday, Dec. 9, 2025, in New York (Photo by Taylor Jewell/Invision/AP)
