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David Bowie: The Return Of The Thin White Hope
Chris Roberts , January 11th, 2013 06:00

After a decade of artlessness Bowie is back. So why are so many clowns complaining, asks Chris Roberts

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Garbo talks! And suddenly 2013 has started, with the return of a thin white hope. Make no mistake: this is Picasso resurrected in a Rolf Harris era. This is not "industry hype", or another re-cooked hawking of heritage rock, or a "true return to form". This is not finding a few more unpublished Beatles photographs, or the Rolling Stones making one last snatch of the gas money from grannies' purses. This is not even the Bowie copyists coming back, which would be better than some things. This is still the exotic other. This is still different. Still art. Still dignified, in a business where dignity is not the done thing. This is class, in an age when class has acquired a bad name.

What is it the back-lashing naysayers actually wanted? His retirement confirmed? The new song is already too good and counter-intuitive for that to have been a better idea, however resonant his silence was. For us blinkered Bowie fans to not be excited? But then we would be boring and jaded, and apparently that is also wrong. For vintage stars (and Bowie was always, and remains, an idea more than just a "rock" star) to be euthanised? To leave the playpen clear for what, exactly? Radical new visionary voices like the Palma Violets? Haim? Bowie, who showed a generation or two that there was more to life than the mundane and the everyday, has earned the right to trust his own creative judgment. Past misfires like Tin Machine (ha! got there before you did!) in fact confirm this: no genius was ever reliably consistent. Yet as geniuses go, his success rate is stellar.

Yesterday, on his 66th birthday, David Bowie gave us a revelation, as he has so often done. The news that there is a new album – The Next Day – out in March came as a surprise (tinted with delight, bewilderment and relief) to almost everybody. Even unsung-hero collaborator Tony Visconti hadn't said a word. This has been announced and presented and choreographed with matchless elegance, cool and subtlety. Here is a single. Here is a (so wrong, yet so right) video. They exist. Do what you will with them. Both are understated, both offer new depths with each perusal. The delicately-sung single, 'Where Are We Now?', is not "instant", or flash. It is not a sad by-numbers attempt to recapture old glories. It is very much Bowie, but it is a quivering ghost of a Bowie song, the imprint of his fabulous past gently laid over a forlorn, elegiac yet life-affirming drape of meditations and reveries about missing the old Europe and, possibly, youth. It is becoming of the man, and of the star. And it is becoming obvious that, after all this time, he wouldn't have let it out of the house if he didn't believe it would add to his body of work and polish his mythology. It is spectral, frail, yearning without chest-beating, candid in its few, clipped phrases and sighs concerning the heart's filthy lessons. The crooning peacock is now a whispering sage.

It's been ten years. Seven since a concert. Nobody knew back then that 2003's pretty-good-if-not-great Reality, which closely followed the underrated Heathen, by turns playful and justly pompous, was going to be the last recorded music contact for a decade. An artless decade, as it turned out. David Bowie was unwell. Heart surgery. A lollipop hitting him in the eye on stage in Oslo, for freak's sake. Last year on his 65th birthday I wrote that he was by all accounts enjoying relaxing, in New York, with his wife and daughter. He'd said that he missed his son (film director Duncan Jones) growing up, and didn't want to make the same mistake with his daughter. There was the odd cameo on other people's albums, but mostly there was an atypical restraint and reclusive hush from the personification of charm. And so rumour upon rumour rushed in to fill the vacuum. Had he (finally) run out of ideas? Was he so vain that he didn't want the world commenting on his ageing? (The new video is vanity-free: if anything it wilfully amplifies his age). A couple of months ago he was photographed stepping out for a sandwich in Manhattan, resembling Tom Courtenay more than ever, and everybody had an opinion on What This Meant.

Well, he had this up his sleeve and close to his chest. If the album is as good as Heathen and Reality, it'll be better than most people's albums. If it's a masterpiece like (insert your own favourite Bowie album here) it'll rule the year. The former is, of course, more likely. Maybe he hasn't the need or desire to break new ground any more. And maybe the fact that he's damned if he does and damned if he doesn't has stemmed his flow these last few years. When he made slick shallow Eighties pop albums, he got slaughtered. He made an esoteric arthouse album, Outside, and critics were divided. He made a down-with-the-kids "jungle" album, Earthling, and critics were divided. One day those divided critics will pull themselves together and acknowledge that this man is, basically, the polar opposite of plodding Eric Clapton. His initial pop peers – Elton John, Rod Stewart – have become gurning light-entertainment clowns-as-cash-registers, rendering the high-spots of their early catalogues almost impossible to enjoy. He is everything critics say they want: a charismatic star who takes bold, unpredictable steps. And he won't be here forever. If the single is indicative, The Next Day may involve further musings on mortality: a theme touched on in Heathen and Reality and obsessed over on Hours. (Although the album cover suggests he hasn't forsaken irreverent humour).

One thing the quiet decade has given him is added, Dietrich-esque mystique. Lifelong fans pined, but significantly even those who'd preferred red meat to shimmering ether twigged that his presence on the cultural map was sorely missed. The generation primarily influenced by Bowie now found style and post-modern deconstruction hard to pitch. Sixties-based, blues-spawned retro-music slouched back into "fashion" for a second humdrumming. Intelligence, flair, durable glamour and any sense of "rock" music as something more than rock music were stuck on the back burner. The "youth" may not consciously have had their lives changed by Bowie, but like characters in 'Drive-In Saturday' they stare at the old footage and hear the old songs and know this is from another place, another dimension, and is deathlessly cool, offering gateways to something more. For example, 2012 demonstrated that you could abuse and misuse the song 'Heroes' in a thousand different ways and it would still retain the strength to shudder the foundations of the places where your heart and your brain lived.

So the comeback is subtle, yes, but it is huge. Not commercially, probably, and it's very doubtful he'll play live, but in the sense that Atlantis is back on the atlas. Few would ever accuse Bowie of being stupid, and in the new song's references to Berlin there is perhaps a shimmy of evocation, to remind us that this man wasn't just Ziggy Stardust and Aladdin Sane and the plastic soul man who fell to Earth; he was the mind behind the chronically influential Low and "Heroes" and Lodger, the so-called "Berlin triptych" (though partly recorded in France), the aesthetic stock of which remains untouchably high among the critical establishment. If he has always cross-referenced, alluded to earlier pieces, he has done so with the air and grace that a writer interested in internal excavation does. This is not the same as, say, touring the 40th anniversary of an old album. As ever, he recognises and values the imprecise power of suggestion, the nectar of knowingness, the haiku of hauntedness that is a hint, not a holler.

There's old music, there's new music, and there's David Bowie. If you are not jubilant, or at least mildly intrigued, by his return from behind the curtain, you are making your cosmos smaller than it needs to be.

Wyndham Wallace
Jan 9, 2013 11:09am

Part of the magic of this new song - however good or not the album turns out to be - is that it exists in a vacuum. No interviews. No tours. No explanation. Just music, lyrics and a video, reminding us what it felt like when we first fell in love with music and had none of the distractions that the industry now insists accompany every new parp and fart their musicians emit.

'Where Are We Now?' offers genuine mystery, and, perhaps more importantly, the sound of a man allowed to focus on the very things he does best - write, sing and BE DAVID BOWIE - instead of being forced to make as loud a noise as he can to rise above the clamour elsewhere. By giving us so little, and by refusing to front-load a campaign (and consequently raise unrealistic expectations), he's reminded us just how much he still potentially has to give, and has already given us. Take note, world. Less is more. It so often is.

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Jan 9, 2013 11:37am

New (really rather lovely) Bowie and then a suitably chastening report from the fantastic Chris Roberts. And we're not even into double figures in January yet. Maybe 2013 will be a great year after all

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Jan 9, 2013 11:43am

Beautifully written and passionate piece, but come on - it's a bit excessively canonical, no? It's possible and entirely OK not to like Bowie's work. Writing an article based on the fact that some people aren't celebrating his return just smacks of the Q/Mojo/dadrock mindset that treats those who don't like the Beatles as apostates.

I don't deny Bowie's influence and status, but this hysterical attitude that everyone MUST be interested in – and applaud, even - his new work is ridiculous, and likely to put off anyone who does find themselves 'mildly intrigued'.

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Julianne Regan
Jan 9, 2013 12:38pm

I read this article without noting who the writer was... halfway through I thought, 'This must be Chris Roberts'. Beautiful, thoughtful and knowledgeable review.

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Jan 9, 2013 12:43pm

"Picasso resurrected in a Rolf Harris era" - excellent, I hope they quote that when the LP drops! :)

Your "damned if he does..." dictum is spot-on, of course... If The Next Day sounds like Hunky Dory or Heathen it'll be immediately dismissed as a back-pedaling spin on former glories by a faded maestro, & if it sounds like Bish Bosch (unlikely, but I have my fingers crossed!) he'll be accused of rampant pretension & wanton inaccessibility.

Personally, if it's as good as Reality I'll be happy.

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gary chaplin
Jan 9, 2013 12:46pm

Bowie ~ Magpie like always but never the copyist gave us all a nice birthday gift yesterday.

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Jan 9, 2013 12:46pm

(The new video is vanity-free: if anything it wilfully amplifies his age).

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Jan 9, 2013 2:26pm

Only 9 days into 2013 and I find it difficult to believe I'll read a better sentence than this: "they stare at the old footage and hear the old songs and know this is from another place, another dimension, and is deathlessly cool, offering gateways to something more."

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Jan 9, 2013 4:20pm

I never thought there would be a day when I could wake up and hear music news which would make me feel like a teenager again, especially in this x-factor world of personality over substance. It may not be the greatest song ever, but it's charming and subtle and best of all it arrived out of a clear sky, and I could not be more delighted.

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Jan 9, 2013 5:10pm

Brilliant writing, Chris, esp. the opening paragraph.

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Jan 9, 2013 5:30pm

Everybody forgets about the song he did for Spongebob...
This is growing on me more with each successive listen. A wonderful return. I had given up hope on Him ever making another record. The world has been missing something throughout His quiet years.

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Jan 9, 2013 7:12pm

Enjoyed that. I also decided to write something on the comeback, I hope it's better than what Ross wrote:

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J. Smith
Jan 9, 2013 10:54pm

In reply to mrg:

This is awful writing and reminds me why I'm glad 'rock criticism' no longer exists.

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Johnny Nothing
Jan 9, 2013 11:49pm

In reply to J. Smith:

Come again?

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Jan 10, 2013 5:14am

In reply to mrg:

Agree completely. It is nonsense to cultivate this myth that Bowie somehow stands outside of popular music. Bowie never produced a single note of music that didn't scream out loud the exact year it was committed to tape. Which is great during the heyday of Kraftwerk and Eno; less so during Trent Reznor's moment in the sun.

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angus durer
Jan 10, 2013 9:18am

Excellent piece. Thank you.
Great to see Chris Roberts back in the fray too. A fine writer...

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Jan 10, 2013 10:56am

Fanboy gushing still doesn't make the single any better.
Problem is the song is just not that good.
Still it will pump up the shares in Bowie inc. (he too grabs the money from the grannies purses...)

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Jan 10, 2013 11:10am

I'm sure you don't actually mean a decade of 'artlessness'. Artless means 'lacking art, knowledge, or skill : uncultured'. You mean a decade without new art, surely?

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Jan 10, 2013 12:50pm

In reply to Joe :

Jo, I assume you are a qualified in some sense to be able to say the son 'is not that good' (but I'm guessing not). If not then you really mean that it's not to your taste. There are lots of things I don't like in life but I wouldn't use terminlology intimating that I have a respected judgement on the matter.

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Jan 10, 2013 1:35pm


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Jan 10, 2013 1:40pm

In reply to Johnny Nothing:

I agree, this writing makes me want to vomit. I fucking love bowie yeah, but the guy essentially knelt upon other peoples ideas with every record he made. This isnt a bad thing, I just don't think it merits gushings like this yak spit.

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Jan 10, 2013 3:03pm

Such a well written piece. As an amateur writer and Bowie fandroid, I can only hope to aspire to match this insightful article.

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Mark Northey
Jan 10, 2013 3:35pm

This is a very well written, heartfelt and honest article, exceptional to read, thank you. I believe Tin Machine sold over 2.25 million cd units - not too shabby when you consider the other 3 band members!

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Jan 10, 2013 5:37pm

Thank You! Brilliant.

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francis dacey
Jan 10, 2013 7:11pm

fact is if db were to go on tour right now to perform postman pats greatest hits followed by an encore of doris days best dittys, he1d pack every music hall in the world. so all you knockers out there DEAL with it. he's fucking DAVID BOWIE!

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Johnny Nothing
Jan 10, 2013 11:29pm

In reply to Sam:

I have no issue with the piece. I was wondering when rock criticism ended. No one informed me.

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Jan 11, 2013 1:09am

Here is an interesting Bowie related cartoon.

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Jan 11, 2013 6:08am

Beautifully written.

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Jan 11, 2013 11:01am

love the mystique, the class of still remaining so secretive and all the rest of it, but the song isnt that great. it lacks meat. the frailty seems a bit affected. bowie affecting the elder statesman 'im ageing' sentiments of heathen again. this could have been recorded a decade back. and while yes, talking about the berlin years is a certain addition to the mounting stacks of bowie mythology, it seems a bit sad that this album is likely to be something of a footnote to the berlin years than something in its own right. but hes 66, hes been doing this for decades, theres only so much you can expect after this long doing it. that said, i wouldnt mind bowie going down the scott walker route. im surprised he hasnt already done it. why hasnt he? that would be far more interesting. part of me suspects he is bored.

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Jan 11, 2013 12:06pm

Best article I've ever read. I've read the whole article. That never happens to me.

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Jan 11, 2013 1:59pm

What a beautifully written and perfectly executed article. Captures exactly the way this news made me feel... After realizing it was true, and allowing my heartbeat to normalize, I listened to the song in solitude and just sat back and let it all sink in. Bowie is back and that "thin white hope" is what is so energizing - the prospect of what Bowie feels is worthy of breaking this silence is almost too much to wait for... I love the new song and the more I listen to it, the more I love it. There are lyrics that stay in my head, melody that repeats in my ears... and something to ponder and think about here. And, for me, that is more than I can say for anything on Heathen and Reality. I have great hopes for this new material. Some live dates would be nice, but what I want more is some interviews... I want to hear from the man himself.

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Tim Lloydsmith
Jan 11, 2013 2:17pm

Brilliantly put :-)

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Jan 11, 2013 2:33pm

was baby universe not a good belong in rock...heaven in here ad sic hock

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simon sebastian
Jan 11, 2013 3:36pm

i have loved him since i was 14 years old ( now 46) i look forward to the new album with alacrity.

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Jan 11, 2013 4:06pm

Spot on review. Thank you !!

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C. Roberts
Jan 11, 2013 4:15pm

Thankyou for all the kind words.

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dot cotton
Jan 11, 2013 4:51pm

His voice is still strong, although, apparently, it's an octave deeper, and this is confirmed by Visconti's recent comments. I don't think he's deliberately putting on an old man's voice for this song. That's just daft! He is singing a slow, sombre ballad, he's not going to be belting it out is he! Why some people have a problem with a 66 year old man ruminating about age, death and, yes, indulging in a bit of nostalgia is beyond me! Of course he is going to be doing that and it's only natural for someone at that stage in his life to do that. I don't expect the new album to rival Low or Heroes etc. It's ridiculous to expect that but I know it will be a damn sight better than some of the music put out by his peers. Chris Roberts is spot on about Bowie being damned if does try to do something 'edgy' and damned if he doesn't, not just by the critics but also by his fans. The new single is gorgeous, simple but also cryptic. There's more than just nostalgia going, especially with the little details in the video. You don't get this with the fucking Mumfords or Lady Gaga. As for the suggestion that he should go down the Scott Walker route, no way!! Walker's 'art' albums are bloody unlistenable! Bowie has too much 'pop' sensibility anyway. A good thing in my opinion, although others will disagree. I'm glad he's back and can't wait for the album. The fuss and the coverage there has been over the last couple of days shows how much love and respect there is for him. We should cherish him while we've still got him because as we all know there will never be another artist like Bowie.

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Jan 11, 2013 6:54pm

all i know or can say is...i was 18 in 1969 and had seen every classic rock group that is in the so-called rock 'n roll hall of fame...up-close standing at stage level---(beatles,stones,hendrix,who,kinks,joplin,yardbirds,dead, airplane, cream,seeds,beck, just to name a chosen few)---so i feel justified in saying that when we played Bowie's first album circa 1972...we all just looked at each other with our mouths open in amazement thinking..that this guy truly was....from Mars.'s good to read he has landed again on earth to leave some more gifts.

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Jan 11, 2013 7:45pm

I am SOOOOO excited!

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Jan 11, 2013 8:05pm

Oh my TVC15.....oh..ohh....TVC15....yea yea yea

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Ted G
Jan 12, 2013 12:53am

Emphatic journalism. Is this to divert us from the fact the single is a teeny weeny bit boring? Heh. As Paul Morley always tells us about Johnny Rotten 'he's earnt the right to do exactly as he pleases' and the same is true for Bowie, who has even greater stake to this claim.

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Lisa Engelsman
Jan 12, 2013 1:38am

I believe in Bowie and his creative journey. Perhaps its just the beginning and not the end...

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Jan 12, 2013 3:23am

I wish I could write like you. All of your thoughts were in my head but weren't dressed and accessorized quite like this.

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Jan 12, 2013 8:19am

Of course Bowie's voice sounds good. His voice's ability to seduce listeners is his greatest asset (when he isn't shrieking like a nitwit as on the insufferable Ziggy Stardust album). It's Bowie's voice that allows listeners to forget that the terrible Pin Ups album is on par with Guitarzan as a serious statement. It's his voice that almost makes the turgid Diamond Dogs album worth listening to. He's almost as good as Al Bowley. And almost as relevant.

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Nicole P
Jan 12, 2013 8:20am

Thank you. Well written...nice to see some like minded thoughts. He has been missed and i can't wait for the album.

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Jan 12, 2013 8:28am

think it,s great that he,s working on new projects,but why mention the rolling stones in the first pace,if david is back with a straight face,somethings happening and in among the gem stones,another diamond is born..yah an mick ,ronneee,keef,chaz, you rock

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Adrian Wright
Jan 12, 2013 2:32pm

So much has been written by genuine fans and ill-informed hacks about this surprise release - a comeback that caught everyone off guard following his no-show at the Olympic ceremonies. But nothing crystallizes the genuine love, respect and pure elation that he is alive and well and making relevant music again better than this article.

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Jan 12, 2013 2:51pm

I do admire lots of people and artists too. But db is my hero and I'm one his fans.
After 36 years I'm still his fan. When it started I never ever would have expected it would be forever.
But now I can say it will be, until the end. I needed this past few years to truly understand the void he left behind. He gave so much, it's insane. Most of last weeks buzz is rifraf to me. When i was young I probably took him for granted to much as well, I needed to get older myself to see what an exceptional human being he is and I'm happy to love his work and the respect I feel for him only gets stronger. When I was a very young DB fan I wanted to believe that he was not from this planet,
and that maybe I, even I, could be a part of his magical Universe. A true lesson in escapism. Later on I learned from him, years before the hype, it's about NOW. That's all we have or had, a few days after his grand BDay surprise , this beautiful song, is questioning 'NOW' . But lucky me It doesn't matter anymore, even our own Universe will end someday I only feel gratitude to hear once again his beautiful voice in a new song again. Thank You

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Jan 13, 2013 1:05pm

Thin White Hope
- how many people are going to twig that pun ?

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Jan 14, 2013 12:35am

With the above photo, the video/single and what you know is going to be a deluge of articles like this, the 'comeback' ain't huge no, but his fans will ensure that it ain't subtle either.

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Jan 14, 2013 1:21pm

Enjoyed reading the article a lot, but I think Heathen is a wonderful album. On retrospect I'd lost one or 2 of the covers and make it a solid 10 track piece of work, but that aside I would be over the moon if we got an album this good, and from what "where are we now?" promises I think we will if not better!

I find Bowie's (later) output is better when he is more considered than spontaneous. Reality v Heathen proves this I think. His early career was different, 6 months to Bowie in 1971 probably felt like 5 years to him. So I think his trick these days is to take his time and make the right choices. I think with Heathen he took longer to make the album (partly enforced with the rejection of 'Toy') but it worked. Sounds like he's very much done this (to an even further extent) with "the next day" and I'm incredibly excited to hear the full thing.

Heathen and Outside are his finest pieces of work in the last 20 years in my view, and I am trying VERY hard not to expect TND to better them, but I love the new song enough to think it could be.

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Jan 14, 2013 2:59pm

In reply to Marc:

New song is great

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Mike Coulter
Jan 15, 2013 7:02am

When is music just music?Is enough enough

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Mr Agreeable
Jan 15, 2013 11:54am

As for David Bowie, well, you f***ing knew that desperate old twat would have got his f***ing yellowing, vampiric f***ing fangs involved in a f***ing project like this! Ah. Yes. TV On The Radio. Marvellous. Yes, I'm very up to date with the modern scene. Bright new labels like 4AD. Young music. Young blood. The blood of the young. Blood! Blood! Must have blood! Come hither, my young ones. Chateau owning c***!

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Danny D
Jan 17, 2013 5:58pm

The thing I love about Bowie is that he alternates 'timeless' with 'ground breaking' in a way nobody else in popular music does.

This is timeless. I look forward to the album which will almost certainly have at least a few great tunes on it. If it's a classic Bowie album to boot we'll all be truly gifted this year.

And, I've got a final track for the ultimate Bowie compilation (80s / MOR heavy so haters or pseuds can fuck off) -

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Mia d'Bruzzi
Jan 18, 2013 10:26pm

Excellent read. Welcome back David- we missed you indeed!

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andres calamar
Jan 18, 2013 10:37pm

We must not forget that Clapton actually DID dip his toes into drum n bass. Of course he didn't have the balls to release it under his real name. See "Retail Therapy" by T.D.F. (1997).

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Jason Barlow
Jan 19, 2013 7:11pm

The best comment on Bowie's return I've read. He made six of the greatest albums in pop history in six years, so he's entitled to a decade-long hiatus. 'Where Are We Now?' may not be the best Bowie song ever. But I doubt if there will be anything better in 2013, not least because it has a phantom-like quality

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Janie Dare
Jan 20, 2013 10:38am

Why does everyone go on about Tin Machine being a 'misfire'. I loved the Tin Machine era, it was just great rock music, but everyone seemed to be into putting Bowie down at that point (maybe tall poppy syndrome?). Anyway, I played Tin Machine II to a bunch of students one night and didn't tell them who it was and they f***ing LOVED it. So piss off you Tin Machine detractors ... it's just a 'thing to say' like to pretend you have a clue at all.

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Jan 22, 2013 12:02pm

"Where Are We Now?" serves as a timely reminder to the X-Factor generation that when it comes to communicating real emotions, subtlety and ambiguity will trounce hollering and grandstanding every time. It's a masterpiece. Welcome back David Bowie - "I absolutely love you"!

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Adrian Ramsden
Jan 24, 2013 6:28pm

Like all the best works , it grows on you . I thought it a little slow at first but again when seen with the video it makes more sense . What has amazed me is how nobody seems to have picked up on the sense of humour , see the phew he gives at the end of the vocal . It is like "Im back , what do you think?"

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Leather Messiah
Jan 28, 2013 12:56pm

In reply to Jack:

dunno about that. Sound & Vision (for example) does not sound like a song recorded in 1976. The noises and production used on that track didn't become commonplace till the 80s. Plus it had the 'Soul II Soul" drumbeat, 13 years early.

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Michael Needleman
Jan 30, 2013 10:37am

Great piece! A desperately beautiful song out of the blue - like uncorking of a fine wine. What treats may come. BTW, totally on board with the Tin Machine reapraisal. I was privileged to see them at the Kilburn National ballroom and they took the roof off that sucka! I spent a fair chunk of the 80's wondering why it was so cool to diss them.

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Jan 31, 2013 9:54pm

"Where Are We Now" is cryptic. Is he literally showing us that the bottle is empty?

This is my interpretation:

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Feb 15, 2013 8:34am

Oh! some lovely words here

weird, coolness, taste are some own (and old) distinctive-ness yet still craved in this post-modern-deconstruction-cliche culture. Sadly i never want to play any glam, rock, indie groupie over and over just like my good ol' Bowie vinyl

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Mar 2, 2013 4:35pm

Sharing a poem by an old lost friend that fits so well here (helping out with the theme of questing for meaning about the return of Bowie).


he is coming
he is coming in his suit of lights
over the moons and mountains
over parking lots and fountains
toward your silky side

he is coming
he has a coat of many colors and all the major credit cards
and he is striding to meet you
and culminate your foggy dreams
in an explosion of blood and soil

at the end of the mechanical age

he will come
preceded by fifty running men with spears
and fifty dancing ladies throwing leaf spinach
out of little baskets in his path
he perceives himself perfect and sighs out loud

he is full of interesting tragic flaws
even his socks are ironed
and he is also right down in the mud
with the rest of us

he markets that mud at high prices
for specialized industrial applications
and he is striding striding striding
toward your waiting heart

he is coming
watch out
look out

of course you may not like him
some people are awfully picky
at the end of this mechanical age, that is

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