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Flying shoes, a viral BLM speech and that leather jacket: Q+A's most memorable moments

Flying shoes, a viral BLM speech and that leather jacket: Q+A's most memorable moments

The Guardian11-06-2025

After 18 years, the national broadcasters flagship program, Q+A, is dead.
ABC confirmed the axing on Wednesday, a day after staff were warned of cuts.
The ABC's news director, Justin Stevens, said it was time for the broadcaster to 'rethink how audiences want to interact and to evolve how we can engage with the public to include as many Australians as possible in national conversations'.
The weekly discussion program was launched in 2007 by executive producer Peter McEvoy and host Tony Jones, and in its early years was highly influential, regularly making headlines and setting the news agenda.
Let's reflect on some of its most memorable moments.
Actor Meyne Wyatt's powerful monologue, in June 2020 at the height of global Black Lives Matter protests, recounted his experiences across the spectrum of racism – from micro-aggressions to outright hatred.
'Silence is violence. Complacency is complicity. I don't want to be quiet. I don't want to be humble. I don't want to sit down,' so part of his speech, pulled from his semi-autobiographical play, City of Gold, went.
It racked up more than three million views, and saw him included on 2021's Time100 Next list of emerging leaders.
'It was last minute; George Floyd had died, #BlackLivesMatter was at its height. Q+A wanted to focus on the treatment of Aboriginal people here,' Meyne told Guardian Australia in 2022. 'I was aware I was representing – I had to bring it.'
An audience member hurled his shoes at John Howard, the former prime minister who signed Australia up to the Iraq war, after demanding he defend his decision to send 2,000 troops to support the US-led 2003 invasion.
'That's for the Iraqi dead!' Peter Gray shouted as he flung the shoes during a 2010 episode of the program. Gray was then escorted from the studio.
Howard had a close relationship with George W Bush and Australia was one of the first countries to commit troops to Bush's 'coalition of the willing'.
'I thought it was justified,' Howard said during the broadcast. 'I think there were errors made after the military operation ended. I think there were too few troops and I think a mistake was made in disbanding the Iraqi army. But I will continue to defend … the original decision on the basis on which it was taken.'
At that point, Gray stood up and threw his shoes – mimicking the shoe-throwing protest against Bush in Baghdad in 2009.
A criminologist and former detective in the audience lectured politicians in 2024 for failing women and putting politics above the reality of deaths caused by domestic violence.
'How dare you! How dare you go into politics, in an environment like this, when one woman is murdered every four days, and all you … can do is immediately talk about politics? That is just disgraceful,' Vincent Hurley said to federal senators Murray Watt and Bridget McKenzie, and NSW opposition leader Mark Speakman.
'For God's sake, how long do we have to listen to politicians like you … high-horsing about?
'I went to 20 domestics in one night when I was in the police. I held a 10-year-old child in my arms who died from the stabbing from her father … You don't need a royal commission. That money needs to go into frontline services – now.'
The clip, shared on ABC's social media went viral, garnering millions of views.
Germaine Greer's 2012 crack about former prime minister Julia Gillard is infamous.
Greer was responding to an audience question about Gillard's image. She initially defended the first female prime minister as an administrator who got things done, then went on to say: 'What I want her to do is get rid of those bloody jackets! … They don't fit … You've got a big arse, Julia. Get over it.'
In a later interview with Channel Nine, Gillard said the incident made her feel 'sorry' for Greer. From 'being the feminist for our times, to end up talking like that for cheap laughs about another woman was a really sad thing,' Gillard said in 2014.
Q+A became the most complained about ABC program of 2023, with a single November episode on the war in Gaza receiving almost 1,000 complaints, most of which accused the show of pro-Israel bias.
That episode was particularly sensitive, host Patricia Karvelas had said at the start, and was recorded without a live studio audience, and with heavy police presence outside.
The tense episode featured Labor MP Tim Watts, former ambassador to Israel Dave Sharma, Israel & Jewish Affairs Council chair, Mark Leibler, Australia Palestine Advocacy Network president, Nasser Mashni, and UN special rapporteur, Francesca Albanese.
After the program, Albanese told Crikey the standard of Australia's media discourse was 'very basic'.
Many viewers accused Karvelas on social media of not questioning members of the panel – especially Mashni and Albanese – fairly, or giving them equal time to speak. An investigation by the ABC's ombudsman said the episode presented highly polarising views in a fair and balanced way.
The program as a whole received 2,100 complaints in 2023, according to ABC's ombudsman.
Audience member Duncan Storrar laid out his situation in 2016: 'You're gonna lift the tax-free threshold for rich people. If you lift my tax-free threshold, that changes my life. That means that I get to say to my little girls, 'Daddy's not broke this weekend. We can go to the pictures'.'
His question to then assistant treasurer Kelly O'Dwyer continued: 'I've got a disability and a low education, that means I've spent my whole life working for minimum wage … Rich people don't even notice their tax-free threshold lift.
'Why don't I get it? Why do they get it?'
The part-time truck driver then became the focus of savage media coverage, particularly in the Newscorp press.
ABC broadcaster Jon Faine grilled the outlet on its 'value system'.
Many rallied online in support of Storrar, who thanked them, but told ABC's Media Watch, 'I didn't want this'.
National director of lobby group GetUp!, Simon Sheikh, lost consciousness live on air in 2012.
He slumped over the desk, before sitting back up after a few seconds and being helped off stage. He later posted that he was in hospital.
Labor's climate change minister at the time, Greg Combet, rushed over to help. Liberal MP Sophie Mirabella, sitting right next to Sheikh, looked on in surprise and was criticised on social media for her reaction.
GetUp! urged people to stop criticising her. 'It was an extraordinary circumstance and everyone was shocked,' the group said in a statement shared online.
Mirabella said later: 'I thought initially he was just bent over laughing, because that's what you see, and turned around to try and get a better look and I – like everyone else on the panel – was just stunned.'
Yassmin Abdel-Magied and Jacqui Lambie clashed in 2017, after the Tasmanian senator said all Muslims who supported sharia law should be deported from Australia, in a Trump-style ban.
The author and Youth Without Borders founder responded that she was frustrated by uninformed comments about Islam, and that people were 'willing to completely negate any of my rights as a human being, a woman, as a person with agency simply because they have an idea about what my faith is about'.
Lambie said: 'There is one law in this country and it is the Australian law … it is not sharia law, not in this country. Not in my day.'
To which Abdel-Magied protested: 'You don't know anything about my religion,' adding that Islam specified the precedence of 'the law of the land that you are on'.
Then-host Tony Jones had to intervene: 'Can I say, shouting at each other does not help. So please stop.'
Lambie told Abdel-Magied to 'stop playing the victim. Your ban got lifted, get over it.'
Abdel-Magied later wrote about the furious public response to her comments, describing herself as 'the most publicly hated Muslim in Australia'.
A pro-Putin member of the audience was dramatically booted out of the studio in 2022 by then host Stan Grant after he asked a pro-Russia question.
The audience member asked: 'As someone who comes from the Russian community here in Australia, I've been pretty outraged by the narrative created by our media depicting the Ukraine as 'the good guy' and Russia as 'the bad guy'.'
'Believe it or not, there are a lot of Russians here and around the world that support what Putin is doing in the Ukraine, myself included. Since 2014, the Ukrainian government together with Nazi groups like the Azov Battalion have besieged the Russian populations in the Donbas killing an estimated 13,000 people according to the United Nations,' he went on, prompting shouts of 'lies' from the audience.
'My question is: where was your outpouring of grief and concern for those thousands of mostly Russians?'
Grant corrected the figures, noting the UN figure referred to the number of people killed in the conflict on both sides to date, and after a brief discussion the program moved on to other issues.
But a few minutes later, he brought the conversation back: 'Something has been bothering me, I have to admit … people here have been talking about family who are suffering and people who are dying. You supported what's happening, hearing that people are dying. Can I just say – I'm just not comfortable with you being here. Could you please leave?'
The audience applauded, as the audience member initially resisted, then left the studio. Grant said the question was not vetted by producers.
The pro-Russian audience member said it was 'not true' the question was unvetted, but that he had made an 'addition' when asking it.
Malcolm Turnbull's famous leather jacket made frequent appearances with the former prime minister on the Q+A panel.
When Turnbull appeared on Q+A without the jacket, it made headlines.
He later auctioned it for charity on eBay and raised $1,800 for Sydney's Wayside Chapel.

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Labor eyes ambitious tax reform but it must be ready for vicious backlash from vested interests
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  • The Guardian

Labor eyes ambitious tax reform but it must be ready for vicious backlash from vested interests

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Yolngu power: how a small Indigenous community in the Top End came to dominate Australian art
Yolngu power: how a small Indigenous community in the Top End came to dominate Australian art

The Guardian

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  • The Guardian

Yolngu power: how a small Indigenous community in the Top End came to dominate Australian art

It starts with panoramic views of a small town in high-noon heat: a widescreen wrap-around video, cycling slowly from streetscapes to the town's perimeter, with glimpses of the Arafura sea and red dirt vistas. 'Slow down … walk with us,' wall text invites us. Nearby hangs a series of rusty and battered road signs etched with coruscating designs. 'Road closed due to ceremony' reads one; 'You are on the Arnhem Land Aboriginal Land Trust' reads another. This is Yirrkala: a small community in the north-eastern tip of the Top End and a huge presence in contemporary Australian art. Yolŋu artists working with Yirrkala's arts centre have been constant fixtures at the National Aboriginal and Torres Strait Islander art awards (Natsiaa) for the last three decades and have been the subject of surveys at the Art Gallery of South Australia (AGSA), NGV, Australian National Maritime Museum and National Museum of Australia, as well as major international touring exhibitions. 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Even just breezing through Yolŋu Power, you get a sense of the vast richness of this culture and cosmology, across almost 300 works in a kaleidoscope of styles, mediums and subjects – from ochred bark paintings of creation stories and intricately decorated larrakitj (hollow poles) to digital projections, detailed depictions of plant life and minimalist abstractions evoking the Milky Way and the estuaries where fresh and saltwater meet. But if you take the time to really read the wall text and look at the detail of the artwork, an even richer story unfolds. It's the story of a people for whom art is inextricably enmeshed with their understanding of the universe and themselves; a community who, since the 1930s, have used art as a tool of cultural diplomacy with outsiders; and a constellation of individuals who have found ways to maintain millennia-old cultural practices, while boldly innovating for changing times. Past the panoramic video and etched road signs at the exhibition entrance, you pass through a darkened curvilinear chamber hung with a series of Rumbal (body) paintings in ochre on bark, depicting ceremonial designs from the 16 clans around Yirrkala. These designs – or miny'tji – are more than decorative: they express identity, ancestral connections, spiritual beliefs and Country itself. They are sacred and ancient. But these works were painted within the last few years, a statement that the cultural foundations and connections remain strong and vital. These miny'tji are the root of what audiences will see in the next rooms. Sometimes the patterns are in plain sight: the shimmering strings of diamonds in works by artists from Maḏarrpa and Gumatj clans, or the striations of straight and curved lines in works by Marrakulu and Rirratjiŋu artists. Sometimes they're merely hinted at – and even when they're not visible in the artwork, they're essential; the indelible cultural DNA of each maker. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion Beyond the Rumbal chamber, the exhibition proceeds more or less chronologically, starting with the frontrunners who first painted these body designs on bark, adopting art as a form of cultural diplomacy with balanda/ŋäpaki (non-Yolŋu people). The exhibition closes with an explosion of dazzling innovation, including bark paintings using magenta printer-toner (by Noŋgirrŋa Marawili) and electric blue acrylic (Dhambit Munuŋgurr), and intricately etched sculptures made from mining detritus such as rubber conveyor belts and aluminium signs (by artists including Gunybi Ganambarr). Highlights include detailed and meticulous bark paintings by pioneering artist and activist Narritjin Maymuru, who contributed to the Näku Dhäruk (Yirrkala bark petitions) of 1963, which asserted Yolŋu sovereignty over land leased by the government to mining companies; and shimmering bark paintings by Djambawa Marrawili, including one from the Saltwater series that was successfully used by clans of the Blue Mud Bay area to assert sea rights in the federal court. As the exhibition proceeds, works by women proliferate, the visible shift of senior men permitting their daughters to paint their clans' miny'tji. Other women opted for everyday subjects. An entire room is given over to exquisite secular works on bark, canvas and larrakitj by female artists, including major figures such as Nyapanyapa Yunupiŋu and Gulumbu Yunupiŋu. Plant life is strongly represented, with Malaluba Gumana's mesmerising paintings of dhatam (water lilies) and Djirrirra Wunuŋmurra's delicate depiction of wild yams. Mulkun Wirrpanda's illustrations of flowering vines are animated and projected over a termite-mound sculpture, in a luminous installation at the exhibition's centre. Yolŋu Power is best appreciated with a calm mind and careful attention. For best effect, start in the gallery's cavernous, subterranean Tank, where Buku's digital unit, The Mulka Project, has created an immersive installation evoking Yirrkala's changing seasons. Over 19 minutes, via a soundtrack featuring ancestral songs and field recordings from Country, and a shifting lighting palette, Yalu (Yolŋu for nest, signifying sanctuary) takes viewers through a seasonal cycle in the landscape from which Yirrkala's art flows. Slow down, breathe deeply – and then head upstairs to take a walk with this extraordinary community of artists. Yolŋu power: the art of Yirrkala is at Art Gallery of NSW's Naala Badu building until 6 October.

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