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It wouldn’t be a surprise to see Taylor Swift get inducted into the Rock And Roll Hall Of Fame some day, as over the years, she has proven to be one of music’s most influential figures. Swift is not joining the Hall yet, but in the meantime, she is getting ready to make her first appearance at an induction ceremony. She’s making quite the debut, too, as she’s set to both induct and perform.

Carole King is among this year’s induction class, and Swift will induct her during the October 30 broadcast. On top of that, Swift and Jennifer Hudson will also perform with King.

Meanwhile, Paul McCartney will induct Foo Fighters, and Angela Bassett will welcome Tina Turner to the Hall, a fitting choice since she played the legend in the 1993 biopic What’s Love Got To Do With It. Christina Aguilera, Mickey Guyton, HER, and Bryan Adams will pay tribute to Turner with performances.

Beyond that, Drew Barrymore will induct the Go-Gos and Lionel Richie will present the Ahmet Ertegun Award to Sussex Records founder Clarence Avant. It is not yet known who will induct Jay-Z, Todd Rundgren, Kraftwerk, Charley Patton, Gil Scott-Heron, LL Cool J, Billy Preston, and Randy Rhoads.

The passing of Colin Powell, the former chairman of the joint chiefs of staff and secretary of state to George W. Bush, has been dominating headlines today. While other outlets examine the political heavyweight’s legacy and send well wishes to his family, Fox News is employing a different tactic.

Apparently, Powell’s death is as good an excuse as any for fear-mongering social media tactics and the spreading of misinformation to ta conservative base. Earlier this morning while reporting on Powell’s death, Fox News host Will Cain raised truly erroneous suspicions about the COVID-19 vaccine. Powell had received the vaccine but he still suffered COVID complications that resulted in his death. Now, another Fox News face is being dragged for suggesting something similar.

John Roberts took to Twitter Monday to do his own hypothesizing about the effectiveness of the COVID-19 vaccine. (He’s since deleted his tweet, but everything lives forever on the internet, so here’s a screenshot of what he wrote.)

First, here’s some background on Powell’s passing and how it related to COVID-19 vaccines. Though he did get his shots, Powell was 84-years-old at the time of his death. He had been battling multiple myeloma, a blood cancer that weakens the body’s ability to fight infections. All of this is important information to share with your followers if you’re investigating the efficacy of vaccines by using this man’s tragic death. That’s just good journalism 101. But, this is Fox News, so here’s how Roberts explained his intentional gaffe.

Obviously, Twitter was not buying that.

Here’s hoping that Roberts grows a conscience sometime this year.

After two seasons competing for a playoff spot, the Memphis Grizzlies opted to shift their eyes a little closer toward the long-term view this summer, when they traded arguably their best player, Jonas Valanciunas, and the 17th pick of the 2020 NBA Draft to the New Orleans Pelicans in exchange for Steven Adams and the 10th overall selection. With that newfound focus on the future, while still balancing success in the present, it illuminates the vitality of Jaren Jackson Jr.’s development for this team’s ceiling. Using this season as a springboard to further clarify where exactly and how he thrives is paramount.

If two preseason games are any indication, Jackson will seemingly open the year alongside Adams in the frontcourt as starting power forward, but the hope should be he soon reaches a point where he becomes a two-way force and can credibly play the 5 for long stretches. Despite struggling offensively in the postseason this past spring, the dichotomy of his defensive chops between the 4 and 5 were evident. As a 4, tasking him with navigating screens, constantly playing on the perimeter and darting into help-side rotations proved challenging. Yet as a 5, his spatial awareness and mobility empowered Memphis to run an aggressive drop scheme against ball-screens.

And while he’s been less effective as a switch defender since his rookie season (which could partially be explained away by injuries), the foundation exists for some enticing coverage versatility, which is a hallmark of recent NBA champions. A defensive pick-and-roll duo of Jackson and De’Anthony Melton would be marvelous, and it’s a possibility if Jackson cleans up some holes in his arsenal.

The issue, however, is not everything about Jackson’s game is currently conducive to thriving as a center. His balance, center of gravity and underdeveloped core strength lead him to lose control of his limbs and foul. A lot. Like, all the time. For his career, he averages 5.2 fouls per 36 minutes in the regular season. Across five playoff contests, the mark stands at 5.5. It’s why he’s never averaged more than 28.5 minutes per game in a season. A starting center — or any high-minutes starter, really — cannot constantly be flirting with a sixth foul by night’s end.

Similarly, those same problems inhibit his defensive rebounding. That skill can be overstated in value, but somebody needs to conclude a possession with a rebound to kickstart the offense. Jackson is routinely outmuscled on the glass. Given Ja Morant’s transition dynamism, the Grizzlies would likely prefer to avoid a gang rebounding approach and trust their center to hold down the fort, so everyone else can fly into the open floor for easier scoring chances.

Rectifying some or all of these shortcomings to allow for full-time duties at the 5 would see his offensive game shine. Having canned 37.4 percent of his career triples, he’s one of the NBA’s best stretch bigs and even displays some off-movement prowess. He’ll launch from funky angles with a quick release and is one of a select few centers to routinely draw hasty closeouts and invoke concern from the defense.

When he’s at the 4 instead of the 5, odds are higher that more mobile defenders stay attached on the perimeter and contain his off-the-dribble attacks, which he busts out by leveraging that versatile jumper. Emerging as a viable full-time center this season (or soon) would reduce those occurrences, pair Morant with a stretch 5 to amplify his slashing nature (though, an interior play finisher is still welcomed too), and provide Jackson mismatch after mismatch on the offensive end.

Last season was largely a wash for Jackson. He returned in the thick of a playoff race and then had to wrangle with the top-seeded Utah Jazz for five games. There were still signs of everything he could offer, though. The Grizzlies will be competitive this year, as they simply roster too many good players not to. But their off-season signaled long-term priorities over the interim. Jackson’s growth sits squarely near the top of those priorities and this season is precisely the opportunity to achieve some of that crucial growth.

Over the last two decades, a once solidified divide between rock purists and pop fanatics has begun to dissolve. The die-hard supporters of “indie rock,” who once caped for the genre as some sort of purist alternative to pop music, have witnessed their subculture become similarly commercialized. And the latent — or sometimes blatant — misogyny that fueled some of the most dismissive attitudes toward pop in the past has been laid bare by a new generation of critics who are themselves women, queer, or just better educated than music writers past.

But, most interesting of all, are bands like Coldplay, who fought against the binary from the very start. Yes, Parachutes and Rush Of Blood To The Head sound a bit more rock than their later albums like Viva La Vida or Head Full Of Dreams — which literally has a Beyonce feature — but even a cursory listen of their earliest hit, “Yellow,” reveals a pop sensibility that was foundational from the very beginning.

If the impetus to slowly move toward pop has been gradually building, on Music Of The Spheres, the band has picked up the pace. This record cannot be mistaken for anything that would slot into the categories of “indie,” or “rock” and even “Britpop” seems a bit of a stretch. This is dramatically a pop album, with features from massive pop artists like BTS and Selena Gomez positioned front and center. One of the biggest moves an artist can make when they want to be seen as full-on pop is work with the genre’s celebrated architect, Max Martin, and the producer is credited on every single track of this new ninth record from the British band. The band’s aesthetic has shifted a fair amount, too — in place of moody videos Coldplay has adopted an aliens-in-space and emojis approach, one that, it should be noted, is perfectly suitable for young children.

Kicking off their new album with their ambiguously spiritual lead single, “Higher Power,” the full pivot was immediately clear — as was the presence of Martin, who ensured this song will softly enter your brain and remain there for a full 24 hours. Of course, their collaboration with BTS, “My Universe,” immediately shot up to No. 1 — as most BTS songs do — but managed to feel organically like a Coldplay song, and not just an attempt to chart. What might frustrate or delight fans the most, in fact, is how expertly Coldplay have shifted to maximalist pop. In some ways, Music Of The Spheres feels like the album Chris Martin has been trying to make since Mylo Xyloto, or at least since the flop of Ghost Stories back in 2014. Making a straight-ahead pop record, instead of aiming for alt-pop or attempting to straddle the line between rock and pop seems to have unleashed a freedom for Martin and co. that’s been missing for the last few records.

Instrumental interludes are sprinkled throughout the record, mostly distinguished by their emoji titles, but the longest of these, “,” is a collaboration with Jon Hopkins that retains some of the nimble, euphoric impulses that have earned the English producer loads of critical acclaim. Another collaboration, “,” features both multi-harmony wunderkind Jacob Collier and We Are KING, a pair of Minneapolis-born sisters whose independent R&B is also buoyed by their massive harmonies. By the time Martin’s voice is doubled and tripled in with these collaborators, the song sounds more like a full choir doing an arrangement of a pop song than an original version. This isn’t necessarily a bad thing, but it’s a notable departure from the tighter, more focused tracks on the project.

In that realm, “Humankind” and the Gomez collab, “Let Somebody Go” hew closer to the record’s overall theme — also echoed in “” — that our connections hold us together more than our differences tear us apart. Of course, this isn’t a new subject, any more than bringing in Max Martin to massage your songs into perfect pop is a new strategy, but, both remain common for a reason — no matter how many times they’re employed, they still work. As the human race begins to seriously contemplate life on another planet, perhaps it’s more important than ever to remember what qualities we want to bring with us into outer space. For a record that’s mesmerized with science-fiction plotlines, the songs stick with simple subject matter, and don’t venture into any Wellsian plotlines or three-part epics that unfold against the cosmos.

There’s a bit of a misstep on “Biutyful,” where Martin sings a duet with an “alien,” but every album is allowed at least one clunker, especially when dealing with the slippery subject of sci-fi. Music Of The Spheres might be the ninth album from a band who has been in the game for 25 years, but in plenty of ways it feels like a new beginning. Chris Martin keeps hinting that the band might be wrapping up their run, but if they’re this good at being a pop stars, why stop now? There’s a whole universe out there.

Coldplay is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

After failing to move the needle in both the 2020 Democratic primaries and a run for New York City mayor, Andrew Yang has formed his own political party, and the logo has children of the ’80s doing double takes.

Dubbed “The Forward Party,” Yang hopes to become a viable alternative to America’s current two-party system, which historically, has been an uphill battle with minimal signs of success. However, that’s not stopping Yang from coming out swinging. Although, he should probably hire a new marketing team because the new logo for his Forward Party looks a heck of a lot like the logo for Top Gun. Within moments of its reveal on social media, people were quick to point out this hilarious similarity.

But the Top Gun jokes weren’t the only thing flying after the Forward Party logo reveal. Other users picked up some strong G.I. Joe vibes, and they were sure to let Yang know about it.

During a recent interview with The Donlon Report on Friday, Yang cited the growing polarization in America as his reason for starting a new third party. However, he does recognize that his chance of success exist mostly with smaller ballot initiatives instead of aiming directly for the White House as other third parties have tried. More importantly, he feels that something needs to be done before things get out of hand.

“This country is heading towards political violence, that’s real,” Yang said. “And the only way out is for us to have a genuinely more multipolar system where it’s not just two sides, clashing and clashing and getting nothing done.”

How ripping off logos from the ’80s will accomplish that goal remains to be seen, but best of luck.

(Via WJHL)

In Maggie Gyllenhaal’s directorial debut, The Lost Daughter, Olivia Colman stars as Leda, a woman on a vacation who becomes consumed by a mother, played by Dakota Johnson, and her young daughter. She’s soon forced to “confront the secrets of her past,” as the official plot description reads. The Lost Daughter premiered at the Venice International Film Festival, where it was greeted with overwhelming positive reviews — and Oscar buzz for Colman.

“I asked to direct it and to adapt it,” Gyllenhaal explained to Screen Daily about why she wanted to turn Elena Ferrante’s novel into a movie. “To be completely honest, there was a part of me that was afraid. I had never directed before. I hadn’t adapted a book before either. She almost sensed my fear and said, ‘I will give you the rights to adapt it. But all of this will be null and void unless you direct it.’ There was no going to her saying, ‘Could Jane Campion do it? Could Lucrecia Martel do it?’ She said it has to be me, which I took as a real vote of confidence. I needed that at the time.”

The Lost Daughter, which also stars Jessie Buckley, Peter Sarsgaard, Oliver Jackson-Cohen, Paul Mescal, and Ed Harris, premieres on Netflix on December 31.

Jack White has been full of surprises lately. In April, White, who is famously old-fashioned, decided to get into NFTs. Then, this summer, he went ahead and unveiled his new blue-hair look. Now, White’s latest unexpected move is his first solo single since 2018, called “Taking Me Back.”

The guitar-driven rocker is right in White’s usual wheelhouse, although not his technological one, as it debuted in a new Call Of Duty: Vanguard trailer. White recorded the song at his Third Man Studios in Nashville, and impressively, instead of making use of a band, he recorded all the vocals and instruments himself.

For those who might prefer a softer version of the song, White has provided one: He also released “Taking Me Back (Gently),” which has stripped back instrumentation and a jaunty rhythm.

Meanwhile, when White offered the first look at his blue hair in July, it was less about his dyed locks and more about his new website to showcase his art and design work. The About page of the site notes that White is “an interdisciplinary artist, equally as conversant in sculpture and upholstery as he is in music and songwriting.”

Listen to “Taking Me Back” and “Taking Me Back (Gently)” above, and watch the Call Of Duty: Vanguard trailer below.

Although its premise has long since been disproven, Nas’ album Hip-Hop Is Dead was one of his most successful albums commercially and remains in the upper half of his catalog in fan esteem — except for one song, the 1930s gangster movie-influence “Who Killed It?” While it’s technically a creative and innovative approach to the storytelling tracks for which Nas is known and loved, the song does find the Queens icon employing a cartoonish, film-noir detective voice that still puts off hip-hop fans to this day.

On Sunday night’s episode of Desus & Mero on Showtime, the two New York natives finally confronted the rap legend to find out why he chose to go with such an eyebrow-raising technique. Surprisingly, Nas is game; he’s probably far too deep in his career to be defensive about 15-year-old albums, but he still has a pretty good sense of humor about it as he admits, “I wilded out. I was bingeing on James Cagney movies at the time… It was like a joke to do that record and then I left it on the album — it happens.”

This leads to a broader discussion about the importance of details in Nas’ storytelling over the years, as well as a light flex about Nas having time to watch Regis And Kathy Lee in the morning. Also discussed during the interview: Nas’ relationship with DMX, his restaurant chain Sweet Chick, and his latest endeavor, a brand of cigars.

Watch Nas’ interview with Desus & Mero above.

Chris Myers has done it all in his two decades at Fox Sports. From hosting studio shows to play-by-play to sideline reporting, he’s become one of the network’s most valuable assets for the versatility he provides and his ability to seem comfortable in any role he’s given – and in just about any sport.

For Myers, whose background prior to Fox Sports was chiefly in reporting, the first step in taking on new broadcast roles was learning the differences in each and what was most important to those jobs.

“I had to learn right away was when you’re hosting the studio show, there’s the sport, but it really is about you and the personality and the people you’re talking to and that’s kind of where it starts,” Myers told Uproxx Sports. “As a reporter, it’s about it’s about the story, the event, the news, the information, and then you get to the game. And calling play by play, it’s almost like a pilot. I had to learn a checklist before you take off.”

For Myers, it wasn’t just the event itself, or interacting with the talent – things that happen naturally over the course of the game — but instead about the basics. What’s the down and distance? How can he set up his analysts? And once that’s established, all the prepwork and the research can come out naturally when it’s necessary.

At first, you’re dialing back a lot of the information and words you had, even though it seems like you have the space to use it,” Myers said. “You don’t have to fill it all because you have, we talked about, you have the crowd, you have scenery, you have pictures and you have an analyst. So let that breathe a little, and then decide where you’re going to go and the play and the game will lead you to a story.”

After initially separating each, now that he’s been doing all of this for years, he’s found the ways those different skillsets required by each role can help him be better at the others.

Currently, Myers is in the midst of another season calling NFL games, doing play-by-play alongside Daryl Johnston and Jennifer Hale every Sunday, and while play-by-play requires its own unique approach, he feels his time as a host and reporter help him bring a more well-rounded approach to the booth.

Myers’ hosting duties have taught him how to have more fun in the booth to keep the viewers more comfortable, and also setting the table for Johnston to provide insight as the analyst. He also can’t turn off the part of his brain from being a reporter, which leads him to diving deeper into background on players and coaches in weekly prep, knowing he’ll have far more information than he could ever use, but ensuring that if the opportunity presents itself, he’ll be ready to offer something to the viewer that they likely didn’t know before.

“Daryl Johnston and I had a game recently where the Panthers were dominating the Saints and the game was pretty much over in the fourth quarter. So we were able to go back a little bit about Matt Rhule and more of his college roots,” Myers said. “Sometimes you don’t have time for that, but in a game like that you can get deeper in storytelling and talk about how he drafted a player in the fourth round because that player ran well against his team in college, and his wife had seen him do that and texted him during the draft and said ‘We should pick this guy, remember he dominated you when you were coaching it at Baylor.’ So having those kinds of stories ready goes back into the preparation from reporting and you use it in that kind of way.”

For Johnston, working with Myers allows him to do what he does best, which is focus on the game itself and trying to provide insight and information about scheme and the actual football. Myers’ focus on the people and stories, along with Hale, provides a balance to their broadcast team that, for Johnston, is refreshing.

“He adds elements that I don’t bring to the broadcast,” Johnston told Uproxx Sports. “You know, I’m more about football and what’s happening on the field. Chris has a really good balance with history and some interesting nuggets of information about the past, contacts, connections, and it’s really impressive to see how detailed he is. It’s an element that I’m not really focused on, but also one that I don’t have to worry about because I know that Chris is going to have all those angles covered.”

While each role influences the others, each sport requires a different approach. Myers has done football, baseball, NASCAR, boxing, and even dog shows with Fox, and he’s learned the importance of finding the different cadences and rhythms of each. He wants to bring the same energy to every broadcast – he says he tries to say “every night’s the Super Bowl,” which his family makes fun of him for – but where you fit information in and when you lay out as a broadcaster is different in every sport.

“I think that’s really, really important you don’t generalize and you don’t assume [as a broadcaster],” Myers said. “For football, it’s the snap of the football. There’s this aggressive feel, this contact, this, you know, violence within the rules. For baseball, it’s a little more relaxed so but make sure you don’t speak over the pitch, because you don’t know what could happen. It could be a home run, it could be fouled off and a great play by the ball boy, or it hits the umpire. So I think that kind of really separating each sport is kind of the first thing I’ve always done over the years.”

That ability to bounce back and forth, from sport to sport and from studio to booth to field, makes him an incredibly valuable piece for Fox Sports, and with over 20 years at the network, he’s built the requisite trust with producers and directors across Fox’s various sports properties, which allows him to drop in for big games and seamlessly integrate into the broadcast.

“The biggest thing that we have in our business is trust, and trust goes both ways between the truck and the talent, and the talent in the truck,” Richie Zyontz, who produces Fox’s Super Bowl broadcasts, told Uproxx Sports. “When you develop an element of trust, it just eliminates a lot of the nonsense that gets in the way. So, when Chris comes out for the playoffs and basically I haven’t seen him all year, he now transitions from play-by-play to sideline reporting on the biggest games of the year including Super Bowls, I have complete trust in him. I’ve been blessed to work with great sideline people like Pam Oliver and Erin Andrews, and Chris, like them, you can just trust them. You know that if Chris says, ‘Hey I got something,’ I don’t need to waste 30 seconds asking “what do you got?’ because our business is just split-second decisions, and a second in our business is a long time.”

For Myers, the opportunity to do different sports and take on different roles was what drew him to Fox in the first place. He had a background in football and baseball, but with Fox adding NASCAR when he arrived at the company, he got to truly dive into something wholly new to him.

“I grew up on football, baseball, basketball those sports, and NASCAR — I wasn’t the car guy my brothers were, and they would always try to get me out to go to the races,” Myers said. “So I did have to kind of grow in it, and in a way it was kind of refreshing for me. I will say that the fans and people in the sport really took me in and it was kind of a warm feeling that you know, to kind of get into something new.”

Part of Fox’s overall push for their NASCAR coverage was to find the balance between offering the nuanced insight diehard fans wanted, while also making the broadcast accessible for those who were new to the sport. Myers, being part of that latter group, felt his job was to do what he does best, which is keep things light and try to let fans get to know the drivers and people in the sport better. Maybe better than any other sport, Fox has been able to find that balance between giving detail while also defining things for a casual viewer, and for Myers it has opened his eyes to how that can be important on sports like football, where it can be easy to assume the viewers are well versed in terminology and scheme, when that isn’t necessarily the case.

“The NASCAR experience reminded me in doing NFL, we hear terms that were acceptable to us, but I have to have the view that the person watching it could be a 10 year old or an 80-year-old grandmother, along with the die hard football fan,” Myers said. “So I gotta make sure if [Daryl] says, ‘Hey they’re in a Cover 2,’ I’ve heard it a lot, I have seen it and know what it is, but a lot of people, they’ve heard it but they don’t really know what it is or how it affects the game. So I have made an effort to when they say the Z receiver, I’m like well, Daryl, who is the Z receiver and why is he the Z receiver? Some of them are obvious, like the slot receiver, so I don’t want to sound so elementary that you’re offending the die-hard football audience, but I might just tap him and say why did the cover 2 work on this play?”

Myers’ career is a testament to his ability to draw influence and inspiration from all of the different roles he takes on and sports he covers, while also recognizing how separate and different each is and respecting that. It’s a fine line, but one he’s managed to live and thrive in at Fox.

“They allowed me to do different types of things. To be the network’s sideline reporter on a Super Bowl and to call an NFL game or a Major League Baseball game and then to be in the studio or be on the pre-show for NASCAR. So I think doing all of those things helps you in the next thing because there’s always a live TV situation that you don’t expect.”

One of the most memorable of those live TV moments from Myers’ career is that he was the sideline reporter for the Fiesta Bowl between Oklahoma-Boise State, and was interviewing Ian Johnson during his now-famous proposal to his girlfriend after scoring the game-winning two-point conversion, which Myers played an unwitting role in.

“The real story is when I said, ‘Ian do you have a minute to go live on national TV?’ And he goes ‘Live? National TV? Yeah, I’ll do it.’ But he said ‘I want to propose,’ and I thought he wanted to propose a playoff system or something because they didn’t have it in place,” Myers recalled. “So, I’m doing the interview and they’re wrapping me, it was a great game so there are a lot of questions, but I got to finish up because the producer doesn’t know what I had heard, and I’m thinking propose he hasn’t proposed the playoffs yet, he just keeps talking about Boise State. So then I knew he had been going out with a cheerleader from the team, just from our study, our prep that week, and she comes running over and she’s standing by him and he looks at so I said, ‘Are you gonna propose or what?’ or something like that he goes, ‘Oh yeah, yeah. I don’t have the ring, but this is my girlfriend, will you marry me?’ And he kneels down. So I took a lot of heat for, ‘Ah, Myers blew the surprise,’ but he later thanked me and said he kind of froze in the moment because he got caught up in the game. That was one of those off-the-radar kind of moments.”

It’s a moment Myers won’t forget, and it’s all part of a career that’s taken him all over to some of the biggest stages in all of sports. He is Fox Sports’ chameleon, someone adaptable to just about any situation, able to bring both lightness and professionalism to whatever role or sport he’s dropped into.

Ted Cruz’s managed to be likable for about two seconds with his recent reaction to the Zodiac Killer’s (reportedly) unearthed identity, but the goodwill didn’t last. Rather, Ted’s busy racking up enemies as usual and getting roundly thrashed in the process. That would include Patton Oswalt’s response when the senator from Texas unwisely fired off a shot, and Ellen Barkin coming for him over Texas’ insane new abortion law. Now, Ted’s irritating government officials Down Under, and more specifically, that would be Australian Northern Territory Chief Minister Michael Gunner.

The Northern Territory is not messing around with the persistent Delta variant, and so, they’ve thrown down a sweeping vaccine mandate that involves fines as high as $5000 for workers who refuse to get the jab. Ted Cruz, who probably is not an expert on Australia (although he did, uh, compare Rand Paul to Crocodile Dundee back in 2011), decided to tweet his disapproval of the mandate.

“I love the Aussies. Their history of rugged independence is legendary; I’ve always said Australia is the Texas of the Pacific,” he tweeted. “The Covid tyranny of their current government is disgraceful & sad. Individual liberty matters. I stand with the people of #Australia.”

Well, Gunner fired right back. He whipped out a ‘G’Day,” and then he fired off a “mate,” so you know he means business. Did he mean these words in the same way that southerners use “bless your heart”? One can only hope. He tweeted out a statement, in which Gunner expressed respect for Texas but not for Ted Cruz:

“We don’t need your lectures, thanks mate… Nearly 70,000 Texans have tragically died from Covid. There have been zero deaths in the Territory. Did you know that? We’ve done whatever it takes to protect the Territory. That’s kept us safe and free. We have been in lock down for just eight days in 18 months. Our businesses and school are all open. Did you know that?

“You know nothing about us. And if you stand against a life-saving vaccine, then you sure as hell don’t stand with Australia.

“I love Texas (go Longhorns), but when it comes to Covid, I’m glad we are nothing like you.”

Read Gunner’s full message to Cruz below.