Kirjahaku

The book "Numbers" is the fourth book of the Bible. It is so named because it contains a record of the numbering of the people of Israel in the wilderness of Sinai and later on the plain of Moab. This commentary, like each in the series, is designed to serve readers by demonstrating the continuing intellectual and practical viability of theological interpretation of the Bible.

West Germany after the Second World War was a country in shock: estranged from its recent history, and adrift from the rest of Europe. This proved to be fertile ground for a generation of musicians who, from the 1960s onwards, would develop the experimental sounds that became known as Krautrock.Faust, Neu!, Cluster, Ash Ra Tempel, Amon Düül II, Can, Kraftwerk - the influence of these groups upon popular music is incalculable. Future Days is an in-depth study of the music and the groups who made it.

In Mars By 1980, David Stubbs charts the evolution of electronic music from the earliest mechanical experiments in the late nineteenth century, through to the familiar sounds of electronica, house and techno that we know today. It's a tale of mavericks and future dreamers overcoming Luddite resistance, malfunctioning devices, and sonic mayhem. The beginnings may be in the world of avant-classical composition, but it continues on through the cosmic funk of Stevie Wonder and Giorgio Moroder, via the astonishing sounds of the BBC Radiophonic Workshop, through unforgettable eighties electropop by the likes of Depeche Mode, the Pet Shop Boys and Laurie Anderson, and right up to present-day innovators on the underground scene.

They don't make comedy like they used to . . .From the slapstick comedy of Charlie Chaplin and Stan Laurel, the surrealism of Spike Milligan and Monty Python, and the golden age of political incorrectness helmed by Benny Hill, to the alternative scene that burst forth following the punk movement, the hedonistic joy of Absolutely Fabulous, the lacerating scorn of Jimmy Carr, Ricky Gervais, and Jo Brand and the meteoric rise of socially conscious stand up today: comedy can be many things, and it is a cultural phenomenon has come to define Britain like few others. In Different Times, David Stubbs charts the superstars that were in on the gags, the unsung heroes hiding in the wings and the people who ended up being the butt of the joke. Comedians and their work speak to and of their time, drawing upon and moulding Britons' relationship with their national history, reflecting us as a people, and, simply, providing raucous laughs for millions of people around the world. Different Times is a joyous, witty and insightful paean to British comedy.

In Jimi Hendrix: The Stories Behind the Songs, music journalist and author David Stubbs provides the definitive companion to Hendrix's recorded output, from the early years, including 'Hey Joe' and 'Purple Haze' through to his posthumously released trilogy that concluded with Both Sides Of The Sky. Quite possibly the greatest solo rock artist of all time, Jimi Hendrix was the supreme physical and musical emblem of rock music. And although he was an immense guitarist, he also connected with audiences as a performer and a songwriter. Songs like 'Voodoo Chile' and 'Third Stone From The Sun' were the brilliant products of a dazed yet expanded consciousness, full of casual epithets which illuminated the era: 'May you never hear surf music again'; ''Scuse me while I kiss the sky'; 'Gonna raise my freak flag high'. Each one of them is explored, dissected and celebrated.

Modern art is a mass phenomenon. Conceptual artists like Damien Hirst enjoy celebrity status. Works by 20th century abstract artists like Mark Rothko are selling for record breaking sums, while the millions commanded by works by Andy Warhol and Francis Bacon make headline news. However, while the general public has no trouble embracing avant garde and experimental art, there is, by contrast, mass resistance to avant garde and experimental music, although both were born at the same time under similar circumstances - and despite the fact that from Schoenberg and Kandinsky onwards, musicians and artists have made repeated efforts to establish a "synaesthesia" between their two media. Fear of Music examines the parallel histories of modern art and modern music and examines why one is embraced and understood and the other ignored, derided or regarded with bewilderment, as noisy, random nonsense perpetrated by, and listened to by the inexplicably crazed. It draws on interviews and often highly amusing anecdotal evidence in order to find answers to the question: Why do people get Rothko and not Stockhausen?

Since 2006, under the guise of the Wing Commander, a somewhat xenophobic veteran of numerous campaigns including the Boer War, David Stubbs has written reports on every major England fixture. These lay stress just not on the inestimable virtues of the England team, who merely by being English hold an advantage over the opposition, but on the shabby deficiencies of their hapless foreign opponents. They're larded with historical reference and cultural speculation as to the frightfulness of the swarthy foe. England, as ever, expects in the run-up to the 2010 World Cup. These reports capture the essence of fervent, St George cross flag waving optimism as footballing fever grips the nation. These reports are interspersed with a brace of other football-based characters conceived by Stubbs, including Hartley Sebag-Ffiennes, pompous aesthete and Arsenal supporter, Hugh McLaughton, the broadsheet correspondent nostalgic for football's golden age of voluminous shorts and lace up balls, Self Righteous Liverpool fan and the appallingly sleazy Inappropriate Championship Manager. They amount to an unrivalled compendium of satire on the febrile and fervent world of modern football.

1996 And The End of History examines the year as it panned out in the UK not just in politics but in music, light entertainment and sport. It was the zenith of a decade which will go down as remarkably untroubled bymodern standards; following the collapse of the Berlin Wall, prior to 9/11, in which political conditions of peace and apparent economic prosperity created an overall mood of frivolity, postmodern anti-seriousness and a desire to get back to sunnier times before the grim onset of the strife-ridden 70's and 80's.