The epic story of legendary band Yothu Yindi and 'Treaty', the song that gave voice to a movement WITH INTRODUCTIONS BY YALMAY YUNUPINGU & WITIYANA MARIKA Sometimes a musical revolution can erupt from the most unlikely of places. Long before they were ARIA Hall of Fame inductees, Yothu Yindi were a bunch of Yolngu (Aboriginal people of East Arnhem Land) and balanda (non-Indigenous) mates rocking out in the remote Top End. Soon they were creating some of the coolest new music in the country, splicing traditional sounds with electric, and spreading a message of unity. Then, after singer Mandawuy Yunupiu penned the hit song 'Treaty' with Paul Kelly and Peter Garrett, and a remix dropped in 1991, Yothu Yindi shot out of Arnhem Land and into the hearts of music lovers across Australia and the world. Writing in the Sand, by Yothu Yindi's authorised biographer, Matt Garrick, is the epic story of one of Australia's most original bands and how 'Treaty' gave voice to Indigenous Australia's hard-fought struggle for recognition. Featuring photos from the band's archives never previously published, the book is based on extensive interviews with current and former band members, including mainstays Witiyana Marika, Stu Kellaway and Jodie Cockatoo, as well as family members such as Yalmay Yunupiu, Mandawuy's widow, and collaborators and fellow artists like Garrett, Kelly, Neil Finn, Joy McKean, Bart Willoughby and Andrew Farriss. Funny, poetic, heartfelt and steeped in the sights, smells and unique rhythms of East Arnhem Land, Writing in the Sand is a must-read for anyone who cares about Australian music, and Aboriginal culture and recognition, all of which were brilliantly woven together by one of the most exciting bands of our time.

A “groundbreaking reinterpretation of the Gospels” that “shines a new light on the profound teachings of Jesus,” recasting him as a spiritual visionary with a radical vision for humanity (Deepak Chopra) This highly original take on the Gospels offers a fresh, new way of imagining human life and society. It presents Jesus not as the founder of a religion but as a world reformer offering a spiritual path to everyone, from every background. It offers a personal spirituality fit for the twenty-first century, where the individual bears responsibility for meaning and for a creative, convivial way of life. In his examination of the original Greek texts, author Thomas Moore dismisses the cautionary voice of tradition and explores the deeper significance of language, stressing the origins of words and the many levels of meaning in stories and imagery. Through his study, Moore shows that the teachings of Jesus are challenging in a far different way than the moralism often associated with them. Based on being open to life, deepening your understanding, and giving up all defensiveness around your convictions, the Gospels can be the source of a new kind of certainty and stability that cannot be codified and enshrined in a list of rules. Writing in the Sand presents the essence of Jesus’ teachings and offers a way of understanding them intelligently and devotedly in the twenty-first century.

Examines the original Greek texts of the Gospels to offer an reinterpretation of Jesus' teachings.

Sixteen-year-old Amy is used to keeping secrets: Mum's illness, her runaway sister, her ex-boyfriend. But she has one secret that can't be kept. Now she has two choices: tell the truth about the abandoned baby left on her doorstep, or keep quiet - for ever.

The San/Bushmen are one of the most studied people in anthropology, subjects of research going back one hundred years, of documentaries, and even of popular movies (The Gods Must Be Crazy). This intriguing new work on the San is a team-based ethnography, collaborative (one of the writers is married to a member of the community), reflexive (the authors become characters in the book themselves), and literary (with poetry, dialogue, interviews, photography, and first person accounts, as well as traditional ethnographic description). In this book, South Africans are studying other South Africans, in a new environment in which many San are no longer hunter gatherers, but are activist and engaged in cultural tourism. It will be an exciting counterpoint to traditional ethnographies and stories about the San people, for anthropologists and Africanists.

Why does poetry appeal to music? Can music be said to communicate, as language does? What, between music and poetry, is it possible to translate? These fundamental questions have remained obstinately difficult, despite the recent burgeoning of word and music studies. Peter Dayan contends that the reasons for this difficulty were worked out with extraordinary rigour and consistency in a French literary tradition, echoed by composers such as Berlioz and Debussy, which stretches from Sand to Derrida. Their writing shows how it is both necessary and futile to look for music in poetry, or for poetry in music.

This is an anthology of prose, poetry, fiction, journalism, photography, and art on the San Diego/Tijuana region. This is a 10th anniversary project of City Works Press and is a follow up to our first book, Sunshine/Noir.