Erin Loralee

April 2024 marks more than 50 years since the release of The Blue Ridge Rangers, the debut solo album from singer and musician John Fogerty. The former leader and primary songwriter of Creedence Clearwater Revival, 

Fogerty’s solo work often (but not always) displayed a character quite similar to that of his old band. But Fogerty’s body of work also showcases the man’s facility on a wide range of instruments; his skill at composing and arranging in different styles; and (on occasion) his ability to write a hit. 

Here are five gems from John Fogerty’s still thriving post-CCR solo career.

The original release of Fogerty’s first post-CCR album didn’t even print his name on the cover. Credited to the fictitious Blue Ridge Rangers, the sounds on the albu mare all the work of John Fogerty. The songs themselves are a different matter entirely: all 12 of the album’s tracks are covers, drawn from country and traditional music. Fogerty’s reading of Hank Williams’ “Jambalaya” made it into the US. Top 20 singles chart.

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For his second long player, Fogerty served up a set mostly made of originals, joined by a pair of well-chosen covers. The Motown classic “Lonely Teardrops” might have seemed an unlikely choice, but Fogerty made the 1958 tune (popularized by Jackie Wilson) his own. His reading of Huey “Piano” Smith’s “Sea Cruise” was released as a single, but it was a Fogerty original, “Rockin’ All Over the World” that made it onto the Top 40. Until its 2021 reissue, John Fogerty had been out of print for more than 40 years.

“The Old Man Down the Road” from Centerfield (1985)

Shortly after releasing his second album, Fogerty began work on Hoodoo. By mutual agreement with his label, that album’s release was canceled; only two songs from the session have ever appeared officially (a hissy dub of the unreleased album circulates among hardcore collectors). The episode led to Fogerty stepping away from the music business for nearly a decade.

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When Fogerty returned to the music scene, it quickly became clear that he had regained the fire that informed his earlier work with CCR. Once again Fogerty played all of the instruments on the album. Centerfield was a smash, earning Double Platinum sales in the U.S. “The Old Man Down the Road” was the first single from the LP; it soared to the NO. 10 spot on the charts. A second single, “Rock and Roll Girls” followed a few months later, backed by the title track. It fared nearly as well, peaking at No. 20.

Points

• Israel has vowed to “exact a price” from Iran in retaliation for the large-scale aerial assault on the Jewish state this weekend.
• “Right now, they certainly are seriously considering direct strikes on Iran, because that is a clearest path back to deterrence,” according to Ryan Bohl, senior Middle East and North Africa analyst at risk intelligence platform Rane Network.
• But Israel will need to strike a delicate balance, he noted, highlighting that “they don’t want an overt conflict with Iran.”

Israel has vowed to “exact a price” from Iran in retaliation for the large-scale aerial assault on the Jewish state this weekend — while some analysts expect Israel to respond, the timing and extent of that retaliation remains in question.

Iran launched more than 300 drones and missiles against military targets inside Israel on Saturday, in what President Joe Biden described as “unprecedented.”

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“Right now, they certainly are seriously considering direct strikes on Iran, because that is a clearest path back to deterrence,” according to Ryan Bohl, senior Middle East and North Africa analyst at risk intelligence platform Rane Network.

But Israel will need to strike a delicate balance, he noted, highlighting that “they don’t want an overt conflict with Iran.”

The less risky tactic is a “covert escalation,” where the Israelis will be “looking for ways where they can get their shadow war back into the shadows with greater intensity,” Bohl told CNBC’s “Squawk Box Asia” on Monday.

While Biden has pledged an “ironclad” commitment to Israel’s security against Iranian threats, he has also made clear to Israeli Prime Minister Benjamin Netanyahu the U.S. will not participate in any offensive operations against Iran, a senior administration official told NBC News.

Ahead of a War Cabinet meeting on Sunday, Israel’s centrist minister, Benny Gantz, vowed to “build a regional coalition and exact the price from Iran in the fashion and timing that is right for us.”

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Iran has said the attack on Israel was in response to an Israeli strike on its embassy compound in Damascus, Syria, earlier this month. The Islamic regime has accused Israel of the April 1 attack which killed seven Iranian military personnel, including senior commanders.

Iran’s envoy to the United Nations cited self-defense for the country’s actions.

“This action was in the exercise of Iran’s inherent right to self-defense as outlined in Article 51 of the Charter of the United Nations, and in response to the Israeli recurring military aggressions, particularly its armed attack on 1st April 2024 against Iranian diplomatic premises,” Iran’s U.N. ambassador, Amir Saeid Iravani, said.

‘Extreme retaliation’ later?

Israel and Iran have been at odds for decades, with Iran funding and supporting groups opposing Israel including the Palestinian militant group Hamas. The ongoing conflict in Gaza has often been referred to as a proxy war between Israel and Iran. 

Tehran has also been supporting Lebanon’s Hezbollah, Yemeni Houthis as well as the Syrian regime under President Bashar Assad.

“Strategically, I think you will get a movement from Israel within a week,” said David Roche, president and global strategist at Independent Strategy, who does not expect Israeli forces to attack Iranian oil facilities as it would “displease all of their supporters” like the United States.

Roche said Israel’s immediate response may be moderate, but he did not rule out that an “extreme retaliation” may still be in the cards in about a year or more from now.

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“If you got the most extreme form of retaliation — which I don’t think you will get now — but you will get inevitably within a year or 18 months, against Iran’s nuclear capacity, then I think you’re into a market meltdown,” he told CNBC on Monday.

In any case, what the U.S. wants is de-escalation, said Roche. “But I stress you’re de-escalating within a higher level of escalation, which is here to stay, which I think due to the nuclear threat from Iran, is destined to move higher over the next 18 months by a big jump.”

What’s next for Iran?

No matter how Israel responds, Iran is going to “try to rattle the global economy increasingly,” Bohl said — but only “just enough that the United States puts diplomatic pressure on Israel to de-escalate,” he added.

On Saturday, before the drone and missile strike against Israel, Iran seized an Israeli-linked container ship in the Strait of Hormuz, a critical trade route for oil.

“That sort of harassment and behavior is likely to continue in some fashion, what scale of it is probably going to be gauged by how hard Israel goes after Iran,” said Bohl.

Iran has indicated that its attack on Israel has ended for now.

The spring season of “Wednesdays @ One” events concludes May 1 when author, investigative journalist and educator Jerome M. O’Connor sheds light on how Americans on the homefront helped win World War II.

Presented at the historic Baker Community Center in downtown St. Charles and produced by the Norris Cultural Arts Center, “Wednesdays @ One” events are offered free of charge, thanks to the sponsorship of Colonial Café. For online registration.

O’Connor’s program, “Chicago and the homefront During World War II,” is particularly timely, as the 80th anniversary of D-Day approaches on June 6.

O’Connor takes a look back to Chicago and the homefront during World War II, and the contributions of everyday people and businesses to the war effort.

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After Pearl Harbor, American industry ended all peacetime production to become the war’s “Arsenal of Democracy.”

Chicago’s large labor pool, central location and expansive rail network made it the nation’s most important manufacturing and distribution hub.

Over 1,400 Chicago area companies converted into war production, including some odd industrial bedfellows. Radio Flyer ended production of its famous little red wagon to make fuel containers. Cretors & Co. stopped producing popcorn wagons, and started making shell casings. Galvin Manufacturing (Motorola) and Hallicrafters made half of the military’s electronic equipment. Four massive plants supplied or assembled engines, torpedoes and entire aircraft.

Victory gardens were on every vacant lot, even on rooftops. Canning kits extended the life of garden produce, contributing 40% of all manufactured foods. Every household rationed all essential goods, with ration books becoming another form of currency.

O’Connor’s program will include rare images of these same companies from then to now and describe how the homefront and the war front combined into a once-in-history, war-winning effort. Included will be insider views of the still-existing tunnels in the world’s largest war plant, now Ford City Mall.

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O’Connor is the award-winning author of “The Hidden Places of World War II.” A Chicago area resident, certified Chicago tour guide, and college continuing education instructor, he deeply researches and lectures about the little-known, overlooked, or underreported people, places and great events of modern history.

“When you hear that this is a story about a female stalker, I don’t think you would ever imagine it goes the way it does,” says Gunning, who plays said stalker on the Netflix sensation.

There’s a scene in the new Netflix series Baby Reindeer where Martha, the stalker played by Jessica Gunning, confesses something to the subject of her obsession, a bartender-comedian named Donny (Richard Gadd). It’s Martha’s dream superpower—which, on paper, sounds like a fantasy pulled straight from Silence of the Lambs. 

“Did you ever want to, like, unzip people, and climb inside them?” Martha asks. “I wish humans had a chin zip, and it would go all the way to their bellies…[I’d] just unzip them and tuck myself away.” 

Most actors who auditioned to play Martha interpreted the character as evil, and underscored these lines with ominousness. But Gunning, a British actor perhaps best known to US audiences for the Amazon ensemble comedy The Outlaws, played Martha as soft, not sociopathic. Like a person so profoundly alone that she wished she could live life cozied up inside somebody special. 

In a phone call with Vanity Fair, Gunning explains, “If I ever tried to play the stalker side of Martha, you’d lose her completely because she isn’t a villain. She’s not scary in that sense. I mean, her actions might be received as that, but she never intends it that way. I never, ever saw her like that.” In a separate phone call, Gadd says that’s what made her right for the role. “The thing Jess got straight away was the fact that Martha was a bit cute and a bit odd and a bit empathetic and a bit weird.”

The thing about Baby Reindeer is that Gadd did not only create and star in the series: He also lived it. During a particularly dark time in his life, Gadd really was stalked by a customer to whom he had offered a free drink; his ordeal lasted about five years. Though the specifics have been changed—and Gadd cannot legally discuss details of the real-life situation—the compelling series seems to parallel Gadd’s life down to the more than 40,000 emails that Martha sends Donny. (When I ask Gadd if “Baby Reindeer” is the nickname his real-life stalker gave him, he tells me, “I don’t think I can talk about that.”) 

Like his character in the show, Gadd did initially feel sorry for the real Martha—and acknowledges his complicity in their relationship. Reeling from the impact of severe sexual abuse, Gadd was trapped in such a cycle of self-hatred that he initially appreciated getting attention from someone who saw him as a better version of himself. He fed into it, sometimes indulging her flirtations. 

On the phone, Gunning defends Martha: “The truth of it, for Martha, is this is the first time in a long time she connects to somebody who compliments her, who’s nice to her, who spends time with her. I think he got out of it as much as she did.”

Though Martha crosses several legal lines in her pursuit of Donny, and has no understanding of the word “boundary,” Donny still finds himself magnetically drawn toward her. The show unravels like a psychological mystery into the depths of Donny and Martha, finally pinpointing the past wounds that set them on such emotionally intense, intersecting paths.

“I think they bond over shared trauma,” Gunning says. “I think it’s such an interesting, almost a love story in a way—how these two lost souls find each other at this time of their lives. Both of them are kind of unseen before they see each other.”

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Gunning had a slight head start with the Baby Reindeer material before auditioning; she had seen Gadd’s Edinburgh Comedy Award–winning, semi-autobiographical 2016 show Monkey See Monkey Do, about the same severe sexual abuse that Donny contends with. When Baby Reindeer originally premiered as a semi-autobiographical play in 2019—and immediately blew up—Gunning couldn’t get into the sold-out show. So instead, she bought the play when it was published as a book and devoured it. “I was absolutely hooked,” the actor says. 

When she heard about the audition to play Martha on the Netflix adaptation, she pushed harder than usual to be cast. “Usually I kind of leave it up to the universe—‘If I’m right for this part, I’m right for this part,’” says Gunning. “But I had such a strong response.”

At one point, she even had a makeup artist friend age her up so that she could convince the show’s creators that she could play credibly older. (In the play, Martha is about two decades older than Donny—an age gap that the Netflix series ended up shrinking.) “It must have been a five pound wig that sat on her head all weird,” laughs Gadd. “I’d always seen Jess in shows and thought she was criminally underutilized—always playing the comic relief character. There was an essence of something there that I could tell was bursting to get out. I fought for her against the tide, but then one day she just came in and knocked everyone away.”

In Gunning’s performance, Gadd saw the same cocktail of qualities his stalker possessed. The fictional version of Martha can veer wildly from vulnerable to overconfident to threatening to adorable to damaged, sometimes all in a single scene. “The show hinges on her abilities to do every emotion at once,” Gadd says. “I felt like Jess believed the reality of Martha in a way, rather than playing a character.”

Though Gunning knew Martha was based on a real person, the actor says she made a conscious decision to learn as little about that woman as possible. So she didn’t ask Gadd much. “We’d occasionally have conversations about how he felt during certain moments [of the story], but a lot of it was from the text,” she says. “He’s managed to capture so many different sides to her…It’s clear that they knew each other quite well  and got to know each other through the course of this story. When you hear that this is a story about a female stalker, I don’t think you would ever imagine it goes the way it does.”

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The actor did do some research on the subject of stalking—particularly limerence, a form of obsession with someone that is usually one-sided. “It’s when somebody takes the smallest thing that someone might say and loads it up in their imagination,” Gunning says. “With Martha, Donny would compliment her, and she would go home and inflate that moment into something hugely romantic that means they’re meant to be together forever.”

Gunning loved that Martha had some spice to her too—she wasn’t some stalker who adulated her subject. “The thing that fascinates me about Martha is that she’s quite critical of Donnie,” laughs Gunning. “She says that his comedy is a bit shit. She’s his number one fan, but his biggest critic.”

Gunning combed the script for clues about the core truth of Martha and Donny’s relationship. The actor tells me about stage directions Gadd wrote for a scene in which Donny and Martha sit across from each other in a courtroom. It’s the end of the stalking saga, which has been horrible for each person, and Martha is finally being held accountable for her actions. Both characters look forlorn.

In the script, Gunning says, Gadd wrote, “They lock eyes and this isn’t a jump scare moment. This is just two lost people looking at each other.”

Says Gunning, “I think that’s the crux of her, in a sense. Martha was a big brain and, as Donny later learned, did have a law degree and was quite a lot of the things she said she was. There’s a part of Martha that feels misunderstood and maybe undiscovered. Not to sound too cheesy, but I think they do connect. And it’s really clear they did have a bond. Then that went wrong.”

Xabi Alonso was doused in beer by his players on Sunday in celebration of leading Bayer Leverkusen to its first Bundesliga title.

Leverkusen clinched the German league title with a 5-0 victory over Werder Bremen, a win which put the club 16 points ahead of second-placed Bayern Munich with five games remaining.

Dethroning Bayern Munich, winners of the Bundesliga for the past 11 seasons and the dominant soccer team in the country for decades, is a remarkable feat.

Thanks to prolific scoring, dramatic comebacks and breakout players, Leverkusen has gone 43 games unbeaten in all competitions this season and has now won its first trophy since 1993.

The momentous occasion sparked jubilant scenes inside the packed-out BayArena stadium, with fans rushing onto the pitch to celebrate with players. Alonso led the celebrations.

“We wanted to play games with a good mentality this season and the players quickly started working well together. After the first few matches, we saw this team can play really good football,” Alonso told reporters afterwards, per Reuters.

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“But to achieve this in such a way was a top performance. Finally, it is an honor to say that Leverkusen are champions. It is totally deserved for the team, fans and the club.”

Leverkusen’s triumphant run to the league came out of the blue, with the club in dire straits when Alonso joined in October 2022.

It was second-bottom of the Bundesliga and in disarray. But in the space of 18 months, Alonso has revolutionized the club, turning it into a title-winning side with his possession-based style of play and canny signings.

In the summer, Switzerland captain Granit Xhaka, defender Alejandro Grimaldo and forward Victor Boniface joined and proved instrumental to the team’s success.

Xhaka has provided leadership in midfield, Grimaldo has added goals and assists from left back and Nigeria striker Boniface has been a threat in attack.

Leverkusen romped home to the title on Sunday, with Boniface and Xhaka both scoring before a hat-trick from Florian Wirtz.

It caps off an extraordinary season, and goes someway to banishing the demons that have long plagued the club.

The team has earned the moniker ‘Neverkusen’ through its propensity to suffer heartbreaking defeats in cup finals and throw away leads in the league.

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Alonso’s transformative effect has meant he has attracted interest from other top clubs around Europe – most notably, Bayern Munich, Liverpool and Real Madrid – but announced last month he would be returning to Leverkusen next season.

Leverkusen also holds a two-goal advantage over West Ham in its Europa League quarterfinal tie, with the second leg to come on Thursday, and so could be in line for even more success.

“We did not talk much about the title in the changing room but it was in our heads that this year we could be champions,” Alonso said. “Now we must enjoy the moment. It has been a totally intense season so far and it is not yet over. We cannot forget it.

“Now this is behind us and we still have big goals this season.”

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"Father's plan" worked. Islam Makhachev is the new lightweight champion after defeating Charles Oliveria by second-round submission (arm triangle) to win the vacant belt at UFC 280 in Abu Dhabi, United Arab Emirates, on Saturday. Makhachev entered the fight on a 10-fight winning streak and was set to finalize the plan of his coach and longtime teammate Khabib Nurmagomedov, the former UFC lightweight champion: To win the belt.

For Oliveira, who lost the belt on the scales back in May, this was his first defeat in 11 fights.

Earlier on the card, the bantamweight division took center stage. Champion Aljamain Sterling dominated TJ Dillashaw with a TKO victory, while Sean O'Malley escaped with a split decision over Petr Yan. Should the winners fight each other? And how about the losers? A fight between either pair would be must-see.

So what should come next? Let's take a look at what fights could be ahead in 2023.

Who should be next: Alexander Volkanovski

Well, Makhachev, Nurmagomedov, Volkanovski and the UFC made this one pretty easy. Everything is lined up. Makhachev gets to defend his belt against the No. 1 pound-for-pound fighter in the world. And Volkanovski gets a shot at a second title -- in his home country of Australia.

Send the contracts. Print the fight posters. We're going to Perth, Australia, on Feb. 12 for UFC 284 and this is the main event.

Wild card: Beneil Dariush

Dariush is so, so, so deserving of a title fight, but even he seems to know it isn't in the cards -- yet. There are just too many big fights ahead of him right now. One would think he'll have to get his chance if he continues to win, but it won't be right now.

Charles Oliveira (lost by second-round submission to Makhachev)

Who should be next: Conor McGregor

Oliveira is a perfect foe for McGregor, if and when McGregor ever returns. He keeps saying he will, but it feels like we're never any closer to him doing so.

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If he does come back though, this is the one. Oliveira has arguably the most exciting style in the sport right now. He's already beaten a lot of the obvious opponents you'd book him against next. He deserves the attention a megafight against McGregor would bring him. And I bet he'd even take the fight at 170 pounds, if that's what McGregor demanded.

Wild card: Dariush

If Dariush doesn't get a title shot, which doesn't feel likely, this would be a big fight for him, and one Dariush deserves.

From a rankings standpoint, it makes perfect sense. Would love to see Oliveira in the biggest fight possible. This probably isn't that, but it's a quality, quality matchup.

Aljamain Sterling, men's bantamweight champion (defeated TJ Dillashaw by second-round TKO)

Sean O'Malley, middleweight (defeated Petr Yan by split decision)

What should be next: Sterling vs. O'Malley

UFC president Dana White said the two winners of these fights would square off, and there's no reason to deviate from that after watching them play out.

Whether you agree with the scoring of O'Malley's split decision over Yan or not, there's no doubting he proved himself to be elite. He just beat the No. 1-ranked contender and a former champion. And Sterling feels even more like an undisputed champion now, getting the better of one of the best bantamweights of all time.

Convincingly. Sterling wants big fights, because big fights equal big money. O'Malley is instantly the biggest fight for him, and the rankings justify it. This should be the next title fight at 135 pounds.

Wild card for Sterling: Henry Cejudo

This would feel out of place, and I don't see it happening, but we still don't know what is going to be next for Cejudo. He's coming back and obviously wants a shot at the belt. Again, Sterling wants big fights, and this would be one that's easy to sell. There would be a storyline behind it. Cejudo walked away a couple years ago as the champ, on a dominant run that included two divisions. He's a character in this story, but it's hard to see him getting a shot ahead of O'Malley.

What should be next: Dillashaw vs. Yan

You've got to feel a little bit for Yan. That's back-to-back fights that plenty of observers believed he won. Sometimes, the margins in this sport can be cruel. The difference between two massive wins and two stinging losses comes down to fine details.

Yan is still considered one of the best, as is Dillashaw. Stylistically, this is a sick fight. Both of these guys hit hard, incorporate kicks, switch stances. It's a Fight-of-the-Night candidate on paper, and the obvious next move for both, depending how Dillashaw's health is coming off what appeared to be yet another shoulder injury.

Belal Muhammad, welterweight (defeated Sean Brady by second-round TKO)

What should be next: wait

Wait for what? I'm honestly not sure. Something to open up. Right now, you're looking at Leon Edwards vs. Kamaru Usman III next. And the UFC is going to try to book Khamzat Chimaev against Colby Covington. That only leaves Gilbert Burns as far as a welterweight ranked higher than Muhammad, but the UFC wants to book Burns against Jorge Masvidal.

The only answer is to wait. He's officially unbeaten in his past eight contests so, if Muhammad refuses to fight anyone else, you can't blame him. Maybe Covington refuses to fight Chimaev. Maybe Masvidal refuses to fight Burns. My guess is Muhammad will be in no rush to book any other fight and let those scenarios play out.

Rakhmonov is looking a little like a boogeyman at 170 pounds, and Neal is back on track with two consecutive wins after suffering a pair of losses. Whoever wins this fight on Jan. 14 will be looking up the rankings, and Muhammad will make for an obvious target.

If all of the names ahead of Muhammad are booked, don't be surprised if the UFC asks Muhammad to stay active and accept a fight against one of these two. We'll have to see where things stand by Jan. 14, but this figures to be a real option for Muhammad come early 2023.

New York: The tennis world was left shocked at the start of the weekend when Former World No.1 and two-time Grand Slam champion Simona Halep of Romania announced that she has tested positive for a prohibited substance and was provisionally suspended.

Halep, who won the 2018 French Open and 2019 Wimbledon women’s singles titles, tested positive for a substance called Roxadustat in extremely low quantity in a sample provided at the U.S Open 2022.

“Today begins the hardest match of my life: a fight for the truth. I have been notified that I have tested positive for a substance called Roxadustat in an extremely low quantity, which came as the biggest shock of my life,” Halep informed in a statement on her social media handles.

“Throughout my whole career, the idea of cheating never even crossed my mind once, as it is totally against all the values I have been educated with. Facing such an unfair situation, I feel completely confused and betrayed,” the 31-year-old Romanian star said in the statement.

Halep professed her innocence and pledged to “fight until the end” to prove that she has not taken the substance knowingly.

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“I will fight until the end to prove that I never knowingly took any prohibited substance and I have faith that sooner or later, the truth will come out,” she said.

“It’s not about the titles or the money. It’s about honour, and the love story I have developed with the game of tennis over the last 25 years,” she added.

The International Tennis Integrity Agency (ITIA), the delegated third party, under the World Anti-Doping Code of the International Tennis Federation that is responsible for the management and administration of anti-doping across professional tennis, has confirmed that her ‘B’ Sample too has tested positive for the same prohibited substance.

“The International Tennis Integrity Agency (ITIA) has confirmed that Simona Halep, a 31-year-old Romanian tennis player, has been provisionally suspended under Article 7.12.1 of the 2022 Tennis Anti-Doping Programme (TADP),” the ITIA informed in a release on its website.

The rule governs the use of a prohibited substance without a valid TUE (Therapeutic Use Exemption).

“Halep, who has a WTA ranking of 9, provided a sample whilst competing at the US Open in August 2022…the subsequent analysis found that the A sample contained FG-4592 (Roxadustat), which is a prohibited substance listed in the 2022 World Anti-Doping Agency (WADA) Prohibited List. Adverse Analytical Findings for non-specified substances carry a mandatory provisional suspension,” the ITIA said.

Halep exercised her “right to request that the B sample was analysed, which confirmed the finding in the A sample”, the ITIA said.

It informed that while provisionally suspended, the player is ineligible to compete in or attend any sanctioned tennis events organised by the governing bodies of the sport.

–IANS

Taylor Swift is not an artist made for sex playlists. That’s fine! Not everybody needs to be. Heartbroken? “Teardrops on My Guitar” is your girl. Feeling a little flirty? You can’t do better than “I Think He Knows.” And if you’re angry over a breakup, please listen to “Dear John.” But horny? That’s not really her bag. That’s partly because her songwriting, at its best, tends toward an emotional acuity that isn’t quite right for sexiness. There’s also the issue of her voice, which is a light, pleasant, occasionally slight instrument that has trouble conveying the oomph needed for a true sex jam.

Still, Taylor’s human. Although horny may not be her thing, that doesn’t mean it can’t affect her songwriting in some ways. Yes, horniness is well documented within the Taylor Swift Musical Universe, and while she doesn’t normally address it head on, her horniest songs share some symbols she clearly sees as valuable. In order to understand Swift’s career path, we thought it could be valuable to isolate some of her lustiest moments to see how she’s developed as a songwriter and when she felt comfortable giving in to her inner hormone monster.

Skipping right past the innocence of her debut, self-titled album, I would argue that the first truly horny Swift song appears on Fearless. “The Way I Loved You” starts by describing some nice guy Swift is dating, which is pretty par for the course, before descending into a description of her sizzling relationship with her previous boyfriend, which was way hotter. “I miss screaming and fighting and kissing in the rain / And it’s 2 a.m., and I’m cursing your name” she sings on the chorus. “It’s a roller-coaster kind of rush / And I never knew I could feel that much / And that’s the way I loved you.” Swift is giving full-on lust in this one. It’s also probably the only Swift song from this era that could be handed over to the Pussycat Dolls without too many lyrical changes. It sets the tone for a lot of her horniest work, which is less about being in the sexual moment than it is about remembering the heat of the moment.

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Here’s one that takes on a different color (heyo) in the wake of Midnights. In Swift’s pre-Reputation period, the horniness is mostly told through the lens of regret: “The Way I Loved You” and “Red” are prime examples. “Red” may not seem like a super-horny song at first, but it’s a lot lustier than a first glance would indicate. She doesn’t portray the love they had as a “masterpiece,” like on “All Too Well,” but as “red” hot. “But moving on from him is impossible / When I still see it all in my head / In burning red”? Burning red cannot be construed as a lustless descriptor. Again, she manages the feat of bringing horniness into her music without going full lust by looking at the torrid relationship in the past. “Loving you was red” (emphasis mine) allows her to keep a certain tempered image of her sexuality while acknowledging the extent of her previous feelings.

Ooh, baby. This is really the first song Swift put out that is a full-on turn into sex. In “Style,” the icons of attraction change from old Taylor’s fantastical princes into movie stars with leather. When she describes how he’s “taking off his coat,” you can feel the sexual energy. It’s hot! The song is about being entranced by someone not because of who they are but because of how you look together. She sets the stage: “Midnight / You come and pick me up, no headlights.” The secrecy implied is clearly a turn on, and that will recur as she delves further into her sexuality in future eras. While her next album, Reputation, marks her first period with an outward shift toward sex, Swift’s iconography changed with “Style” and 1989, allowing that shift to feel natural. She’s no longer fantasizing about true love; she’s fantasizing about short skirts and glamour.

This is the big one. It’s about the tension when you can’t touch someone yet before exploding into the release of a steamy connection. “All of this silence and patience, pining in anticipation,” she says in the pre-chorus before revealing, “Only bought this dress so you could take it off.” That’s still the most sexually explicit Swift lyric we’ve gotten in her career. Yet it’s notable that she uses the same markers of sexuality she established in “Style.” With Swift, it’s all about sexuality told through longing and sensuous friction, and the establishing symbols are clothing and Hollywood glamour. On “Dress,” she introduces another of her favorite sexy symbols: being wine-drunk. “I’m spilling wine in the bathtub, you kiss my face and we’re both drunk.”

While “Dress” is Reputation’s crown jewel of horniness, it’s not the only horny song on there. In fact, “Gorgeous,” one of her most underratedly risky songs, is entirely driven by lust. “Gorgeous” is about cheating on your boyfriend (gasp) because the other guy is too hot not too. She’s so in lust that she simply must betray her (older) partner. In this way, “Gorgeous” fits in with the rest of Reputation in that Swift is finally allowing herself to play the villain. Still, though, she tempers it with instrumentation — it’s all major chords and little dings. Her symbols of sexuality are mostly gone, too. There’s no wine, no red, no Hollywood. There’s tension in the lyrics, but the melody mostly cuts through that. She doesn’t fully commit to being the seductive villainess in the way someone like Lorde does on a song like “Magnets.” Shockingly horny in lyrical content, shockingly unhorny musically.

Lover is, in terms of horniness, a post-“Dress” album. Swift allows herself to be horny whenever she wants to be — it’s a part of being in love! The peak horniness, though, is on “Cruel Summer.” Other songs, including “False God” and “Miss Americana and the Heartbreak Prince,” certainly have horny content, but “Summer” really captures the tension and release. She employs some images she’s used previously (the lack of headlights returns) and repositions her man as a “bad, bad boy” in a way that marks this song as distinctly not fantastical. But the horniest moment is, for once, in her vocal performance. The crack in her voice when she sings, “He looks up grinning like a devil,” is just about the biggest sexual release Swift’s ever brought out of herself vocally. I imagine him as the grinning-devil emoji, and that means she’s done her job.

Now skipping right past Swift’s NPR-core era (I’ve had people argue with me that “August” is horny, but sorry, that’s just wistful; things can mention sex without being horny), “Maroon” is one of Swift’s horniest songs. She uses a lot of her previous references, too: The song is set at the end of a wine night, for one. She again uses red as the lens through which she sees her own lust, singing, “The burgundy on my T-shirt / When you splashed your wine into me / And how the blood rushed into my cheeks / So scarlet, it was.” She’s back to contrasting romantic fantasy with the reality of lust, bringing up images of “carnations you had thought were roses, that’s us.” She breaks new horny ground in the chorus: “The mark they saw on my collarbone,” which means that adult Taylor still gets hickeys (love). But perhaps the horniest lyric of all is on the bridge: “I wake with your memory over me / That’s a real fucking legacy to leave.” Swift’s version of horniness is all about that tension: It’s the sensual impact he’s left on her, observed after the fact, played out in red, remembered wine nights.

MINNEAPOLIS (AP) — Rudy Gobert grabbed the pass from Karl-Anthony Towns in the paint and soared to a wide-open basket for what would’ve given Minnesota the tying dunk with 34 seconds left in overtime.

Mike Conley stopped his close friend and former teammate short of the rim, producing another promising sequence for the upstart Utah Jazz.

Jordan Clarkson scored 29 points on 7-for-12 shooting from 3-point range to lead the rally, and the Jazz outlasted Gobert and the Timberwolves 132-126 on Friday night.

Lauri Markkanen had 24 points and 13 rebounds and got a leaner in the lane to fall with 12 seconds left in the extra period to put the Jazz up by four.

Conley gave the Jazz the lead for good with a 3-pointer with 1:01 left. Then he foiled Gobert’s dunk, and Gobert — who finished with nine points and 23 rebounds — missed both free throws to leave the Jazz lead at 128-126.

“That’s Mike. He wants to win. He’s willing to put his body on the line when he has to,” Hardy said.

Anthony Edwards scored 30 points for Minnesota, Karl-Anthony Towns had 27 points and D’Angelo Russell added 23 points including the tying jumper with 4.4 seconds left in the fourth quarter. Jaylen Nowell had 18 points for the Timberwolves, who led by as many as 17 points in the first half.

“We’ve got to do a better job of just making it more difficult on them,” Towns said.

Clarkson and Kelly Olynyk — who had 21 points — made a pair of 3-pointers apiece during a 12-2 spurt that gave the Jazz a 120-113 lead with 1:54 left in regulation.

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Gobert’s three-point play with 44 seconds to go brought the Timberwolves within two, when he grabbed his own miss, drew the foul on Olynyk and let out a primal scream from the flex pose.

When Markkanen missed a jumper on the other end, Olynyk was called for a foul in the rebound tangle with Towns. Russell faked Conley to the floor with a killer crossover to set up his pull-up bank shot that tied the game.

But the Jazz followed their 21-point victory over Denver with another steely performance against a 2022 playoff team.

“They understand that based on what certain people say about them that we are sort of an underdog, and I like that our team has a chip on their shoulder,” Jazz coach Will Hardy said.

The Timberwolves turned a 16-point lead into a six-point deficit during the third quarter in their season-opening win over Oklahoma City, and they came out of halftime with another janky performance against the Jazz with unforced errors and awkward shots that killed their fast break.

RUDY REUNION

The trade that sent Gobert to Minnesota for four players and five first-round draft picks was only part of the offseason makeover for the Jazz.

Gobert’s good friends, Clarkson, Conley and Rudy Gay, remained — he met them for dinner the night before — but the rest of the roster was unrecognizable to the 7-foot-1 native of France whose first nine seasons in the NBA were with Utah.

“On the scoreboard it was a little weird, but it was better than I thought. At no time, I thought I was on the other team,” Gobert said.

TIP-INS

Jazz: Jarred Vanderbilt (14 rebounds) and Malik Beasley (15 points) played valuable roles against their former team. Both players got a welcome from the public address announcer during pregame introductions along with rookie Walker Kessler, who spent barely a week on Minnesota’s roster between the draft and the trade.

Timberwolves: Towns is 11 for 27 from the floor in two games. … Sixth man Kyle Anderson left with back spasms in the first quarter after playing just 38 seconds. He did not return to the bench.