David Stubbs – författare

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?

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.

Readable and authoritative, Understanding and Preventing Falls provides a guide to the nature and extent of the problem of falls. Drawing on the latest research, the authors outline the combination of environmental factors that commonly lead to falls and explore how to prevent them. The case is made for a multifaceted approach to falls prevention, taking account of the complex interplay that exists between individuals and the environment. Broad in scope, the book is divided into two parts. The first part examines the current state of knowledge and understanding of the causes and prevention of falls, with chapters on human ambulation and balance on level surfaces and on steps and stairs followed by chapters exploring vision and the effects of aging. Rounding out the coverage, the second part contains a series of case studies illustrating how falls occur in different circumstances and varying approaches to their prevention. While there have been reductions in the number and severity of injuries from other causes over recent decades, the incidence of injuries from falling has remained consistently high. However, many falls are preventable. This unique resource supplies a concise overview of how to minimize the occurrences of slips, trips, and falls in a variety of situations and conditions.

Readable and authoritative, Understanding and Preventing Falls provides a guide to the nature and extent of the problem of falls. Drawing on the latest research, the authors outline the combination of environmental factors that commonly lead to falls and explore how to prevent them. The case is made for a multifaceted approach to falls prevention, taking account of the complex interplay that exists between individuals and the environment. Broad in scope, the book is divided into two parts. The first part examines the current state of knowledge and understanding of the causes and prevention of falls, with chapters on human ambulation and balance on level surfaces and on steps and stairs followed by chapters exploring vision and the effects of aging. Rounding out the coverage, the second part contains a series of case studies illustrating how falls occur in different circumstances and varying approaches to their prevention. While there have been reductions in the number and severity of injuries from other causes over recent decades, the incidence of injuries from falling has remained consistently high. However, many falls are preventable. This unique resource supplies a concise overview of how to minimize the occurrences of slips, trips, and falls in a variety of situations and conditions.

West Germany following the Second World War was a country in shock: estranged from its recent history, and adrift from the rest of Europe. But this disorientating landscape proved fertile ground for a generation of musicians who, from the 1960s onwards, would develop the experimental and various sounds that became known as Krautrock. Eschewing the Anglo-American jazz/blues tradition, they took their inspiration from elsewhere: the mysticism of the East; the fractured classicism of Stockhausen; the pneumatic repetition of industry and the dense forests of the Rhineland; the endless winding of Autobahns.Faust, Neu!, Cluster, Ash Ra Tempel, Amon Düül II, Can and Kraftwerk. These may not all be household names, but the influence of their ruminative, expansive compositions upon Western popular music is incalculable. These groups were key to the development of postpunk, electronica and ambient music. Without them Bowie would not have made his Berlin trilogy, Talking Heads would have been a straight-ahead rock band, and the Pet Shop Boys would have a completely different stage act.Future Days is an in-depth study of this meditative, sometimes abstract, often very beautiful music and the groups that made it, throwing light on the social and political context that informed them. It's an indispensable book for those wanting to understand how much of today's music came about, and to discover a wealth of highly influential and pioneering musicians.

Electronic music is now ubiquitous, from mainstream pop hits to the furthest reaches of the avant garde. But how did we get here? In Mars by 1980, David Stubbs charts the evolution of synthesised tones, from the earliest mechanical experiments in the late nineteenth century, through the musique concrete of the Futurists and radical composers such as Pierre Schaeffer and Karl Stockhausen, to the gradual absorption of electronic instrumentation into the mainstream, be it through the BBC Radiophonic Workshop, grandiose prog rock or the DIY approach of electronica, house and techno.Stubbs tells a tale of mavericks and future dreamers, malfunctioning devices and sonic mayhem. But above all, he describes an essential story of authenticity: is this music? Mars by 1980 is the definitive account that answers this question.

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.

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.

Readable and authoritative, Understanding and Preventing Falls provides a guide to the nature and extent of the problem of falls. Drawing on the latest research, the authors outline the combination of environmental factors that commonly lead to falls and explore how to prevent them. The case is made for a multifaceted approach to falls prevention,

Readable and authoritative, Understanding and Preventing Falls provides a guide to the nature and extent of the problem of falls. Drawing on the latest research, the authors outline the combination of environmental factors that commonly lead to falls and explore how to prevent them. The case is made for a multifaceted approach to falls prevention,

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.

1996 . . . 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 by modern 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 70s and 80s. 1996 could be seen in the UK as a subconscious recreation of the year 1966; the England football team seeking similar glory at Wembley Stadium in euro ’96, Tony Blair representing the white heat of an incoming Labour government after many years of Tory rule a la Harold Wilson, Oasis’s absolute dominance a throwback to the monomania surrounding The Beatles.However, the author argues, this mood of retrograde optimism was a distraction, the feeling of prosperity a delusion, one compounded by the notion that now the End Of History had arrived, so had the old oppositions of Left And Right; that we were entering post-political times. They were nothing of the kind, as the future we find ourselves in today confirms.