Hello! I’m Helen Little, Assistant Curator of Lowry and the Painting of Modern Life.  Since the exhibition opened there have been some great reviews in the press, but I would also like to hear what you think

L.S. Lowry, Early Morning, 1954
L.S. Lowry, Early Morning, 1954

 If you have visited the show, what was it like seeing these urban scenes and industrial landscapes in person? I’d love to hear what you think about Lowry’s apocalyptic visions of the landscape or his connections to French Impressionism

Have you been able to look afresh at his best known work or have you discovered Lowry for the first time?  Let me know your views, stories and comments below. 

I hope you enjoyed this exhibition of one of Britain’s pre-eminent painters of modern life. You can read more about it on my Lowry blog, where you can also share your views. 

I look forward to hearing your thoughts soon!


I love Lowry's work, but I was disappointed by the exhibition, which consisted of a repetitive mass of crowded townscapes and bleak industrial landscapes. Where were his peaceful country scenes and coastal views and the more intimate images of people?

Wonderful exhibition. Great draftsman (spelling?). Reminded me sometimes of Dutch social scenes, but usually much more troubling - the groups larger, the individuals homogenized - sometimes trudging in a satire - sometimes just in a larger pattern swaying and moving as the artist wills. The locations for the Dutch scenes can no longer be found. Lowry's locations are still disappearing.

Having really only seen Lowry in prints or poster form, the exhibition was a revelation. How brilliant, only sad that I probably shan't have time to get back for a second look before it ends. May have to trek north before long. The pencil drawings were also super and made you realise how much draughtsmanship there was underlying the paintings. Thanks a million for this one!

My Mancunian grandparents were both born in the slum back to backs of Hume, Manchester in the late 19th century, granddad having to leave school to work relentlessly all day 6 days a week at age 12 in an iron foundry alongside his dad even though he loved books and wanted to keep learning, he was the 7th child, of many, they had to move loads of time within Hume to keep the rent situation at bay, so contemporaries of Lowry, akin to the subjects of his paintings in a way. I made a special visit to see this exhibition from the North East and am really happy that i did, it was worth it. It was a revelation for me to see so many of his paintings in real life, the scale of them, the brush marks and the texture, loved the landscapes especially because of never having seen his paintings being sinuous and curvy alongside the industrial and architectural straight lines and was amazed at the way he managed to achieve both a sense of dignity, for the most part, in his subject matter alongside the stylised feeling of the figures. Didn't find the paintings depressing, I felt they were genuinely respectful and honouring one reality of working people in their environment in those places during those times on which young people's current reality is built.

I've dropped into the exhibition as a Tate Member 4 or 5 times (I'm glad I don't have to pay the full price which seems quite steep to me). I've liked Lowry since my introduction to modern art as a teenager and at university in Manchester my friends bought me a Lowry print for my 21st (from a catalogue in the exhibition I found out they paid the sum of three shillings!)

I still like Lowry's 'naive' style rather akin to Rousseau, though the early drawings show he can draw, and I liked the representation of the industrial landscapes which are very much part of our heritage and which generally artists of his time ignored as something unpleasant.

However, I think the exhibition has led me to reasess my opinion of Lowry. I don't think he had any particular infinity with the people he painted, in fact quite the reverse, I think he disliked them - I found the Cripples particularly disturbing, and the industrial landscapes (made up from a palette of mill types and sinking terraces) became more depressing as the exhibition develops and eventually sink in a slough of despond, reflecting his personality, rather than be a celebration or a sympathetic acknowledgement of working people I remember reading in Richard Hoggart's Uses of Literacy. I think the best represention of the industrial landscape is Bargoed in Wales the last painting. Thank goodness for the seaside paintings, VE celebration and Daisy Nook Fair to relieve the depression.

Nevertheless I found the exihibition stimulating and will go back for a final time and listen to the commentary in case I have missed something

A wonderful exhibition. I cant think of a better 20th c. British Artist. He shows us something fundamental to the fabric of this country, something no one else has come close to expressing in painting - the rhythm of life around him - social/civic, the streets the buildings, the workers the families. The late landscapes, whithout people lack some of these ingredients,but solid paintings nonetheless. He has such a grasp of his subject a oneness with it - expressed with remarkable economy.

I enjoyed the exhibition and seeing some of Lowry's lesser known works.

BUT please put the information panels next to the pictures at eye level not waist level and use a clearer layout. Black on grey is not a good idea. Why not even try to look at the pictures at a time when we proles are peering through and round other viewers. You may then become aware of the problem. I suspect you only look at them before the public are let in.

Malcolm Cedar

This was my first time to see Lowry's work and I went with an open mind: I was surprised to find that instead of the emphasised "French" inspiration, the Dutch Pieter Brueghel the elder came to my mind (Hunters In The Snow), and stayed there very firmly indeed. I did find Lowry's work a bit two dimensional, sort of theatrical and lacking emotions somehow, a firm distance from the subject, but still - or maybe because of it - the paintings evoked a very real anxiety. One could feel the impact of the industrialisation on their own skin. It was like seeing a Tin Tin cartoon from hell. (Sorry for the analogy, I didn't mean this in a degrading way, quite the opposite: a very realistic news-relay of the era made bearable by the caricature like expressions. ) So I could relate to the subject and see it without feeling guilty. Also, I see why the pictures are still important (and moving), the parallel: our generation is trying to solve the problems (of global warming, rubbish and re-usable energy) partially caused by, or triggered by the very industrialisation Lowry depicts, a landscape that might still reappear. A thought I find intriguing to say the least. So all in all, I was really happy to see the show and although I still don't think Lowry was the best artist of his generation (strictly and technically speaking), he certainly was a visionary and a great 'historian' of his era with a very distinctive voice and I loved the show. The Tate display tells his story very well indeed. Thank you.

I know many of the Lowry paintings from the permanent gallery in Salford, so was not expecting much from my visit but I ended up drawn in to the paintings. It is accepted that they are not accurate representations of particular scenes (the painting called Ashton-under-Lyne reminds me more of Stockport as seen from the railway viaduct), so once I started viewing the paintings as arrangements of colour, movement and a set of shapes then I appreciated more his skill and understood where their aesthetic pleasure came from. The inclusion of his sea paintings would have added to the pleasure but I can see that they would have diluted the overall effect and certainly seeing room after room of variations on the forms and shapes of the industrial building prototypes that he uses, allowed me to see Lowry from a different angle. Well worth the time spent.

Ann W

I really appreciated the members' early session and the chance to view the pictures properly. I was fascinated that Lowry had spent many years doing life classes, and then appears to reduce his figures to stick figures. For him, it seems the human person is always in a crowd or group and always seen within the social and economic context. And yet often he gives each of his figures a touch of individuality. I love the careful -- almost photographic -- composition of each of the scenes, and the way the action fills the canvasses to the edges. And I admired his commitment to his subject. Nothing beats a straight retrospective!

I picked a busy time to visit meaning I was n't able to follow the exhibition in a linear fashion but, in a way, that made it more interesting (and, fortunately I'd not gone for an audio guide.)

The wide range of pictures was impressive and, in places, a lot more colourful than I'd expected. I was fascinated by "The Cripples" in particular the way in which the able-bodied people mirror the viewer by staring, more out of curiosity than anything else, at the those after whom the picture was titled.

Thoroughly enjoyable insight into Lowery's work.

Was Lowry making a political point? Did he paint his sloping little people to demonstrate how they were cowed by and dominated by and dwarfed the enormous factories and mills behind them? No - I don't think so. I think he recorded what he saw. We may choose to put a political slant on the way he made that record but I'm not sure that that was his intention. I do wonder whether he was anti-clerical or, at least, anti-established church. The churches he painted were enormously overbearing and black - look at his St Augustines, Pendlebury. Its huge looming blackness would intimidate anyone. And another one - St Simon's. No comforting refuge there. He recorded everyday life - work, football, the eviction, the suicide, the fever van, the funeral (Oh, how I love that one - with its small - but still bible-black - church, its knot of mourners and the few curious passers-by.) We put the political spin on it. I came up to London from Somerset specifically to see this exhibition and the Mass-Observation photo exhib. at the Photographers' Gallery. They complemented each other in a way that I had not expected. The Mass-Observation one had a series of photos of 'Worktown' ( actually Bolton) taken in 1937/8. So same period as Lowry and same territory. And similar images, tho' captured in a different medium. The photos DO have cars, lorries and corporation buses in them but do they add anything, or just get in the way? I've always admired Lowry and I loved the exhibition - even the George Formby record scratching away in the background (am I the only visitor old enough to recognise the music as George Formby's?), In fact, I enjoyed the exhibition so much I bought the book !

I enjoyed the Lowry exhibition as it provided examples of the influences on his work, of which I'd previously not been aware. I also found I really liked his paintings of interiors, offering an insight into the social conditions of the times.

Just been to see Lowry's exhibition. Very impressed with the depiction of industrial Britain, could almost taste the dirty air. Would have liked to have a bit more on the artist's background on audio guide to help understand the grim portrayal - there are no smiles even when at the fun fair or sea side. Found a book about Lowry, maybe I'll get my answers there.

Hi Sonia and thank you for your suggestion. I will pass your comments on to our Interpretation team who are always looking for ways to improve audio guide content. I'm also really glad to see you found our selection of books helpful and I hope you find the answer to your question. Justine, Information team

Hi Sonia and thank you for your suggestion. I will pass your comments on to our Interpretation team who are always looking for ways to improve audio guide content. I'm also really glad to see you found our selection of books helpful and I hope you find the answer to your question. Justine, Information team

Just visited the exhibition for the second time. The first time it evoked in me a deeper understanding of society in the industrial north and the hard and grim life my grandparents had. The second time I was much more aware of Lowry's ability to observe and depict the ordinary life of ordinary people. A thought provoking exhibition well chosen and curated. Congratulations

I went to the exhibition with the popular prejudice of Lowry as a sentimental cartoonist of northern industrial stereotypes, reinforced by the 1970's "Matchstalk Men" song. That prejudice vanished immediately and I was struck by the evocation (but not realistic depiction of ) a social reality related to my own family background. My mother's family was rehoused from the slums of Ardwick to the Northern Moor area of the Wythenshawe council estate in 1938. I remember in the late 1950's and early 1960's visiting Manchester as a child and seeing the remnants of the earlier factories and terraced housing, separated by large areas of rubble-strewn wasteland - communities destroyed and transplanted. Caroline Aherne grew up in Northern Moor and it was the inspiration for her depiction of Manchester working class life in "The Royle Family", coincidentally my own surname and one quite common in South Manchester. Did Lowry ever use the imagery of a council estate? That's where most of the people in his earlier paintings ended up, and during his lifetime.

What struck me most about the works themselves was Lowry's observational representation of crowds. He seems to "hover" from what I would suggest are mostly imaginary viewing points, physically close, but emotionally detached, aware of the crowd's dynamic structure and menacing potential.

So for me, a rewarding and thought-provoking experience!

Such an amazing show. With great surprise you discover the many different aspects of Lowry's sense of beauty. May its the urban life of the period but you still get the feeling of an artist who's dream was in his life coming from the working class even from grave stones...still the most amazing was how the student separated from his teacher Valette. The con of the experience. Just one; the rude staff in the entrance. But yet not enough to destroy the whole idea of the show.

Having been to the Lowry Gallery in Salford a couple of weeks ago and really enjoyed the experience, I wanted to see some of the pictures that had been loaned to the Tate for their own exhibition here in London. I wasn't disappointed. The show at Tate Britain is a joy and I'm so glad that I have now had the full Lowry "experience". The number of works on show at the Tate greatly exceeds what there is in Salford (because Salford has loaned so many of course) and the larger industrial landscapes in particular are really worth seeing. While the Tate exhibition lacks the breadth of Lowry's work, with little of his pre-matchstick men style and none of his later fetishistic work, the number of larger pictures, especially for me the ones of the Welsh Valleys, were well worth the visit. I would strongly recommend a visit to this show before it closes and if you are in Manchester a visit to Salford Quays and the Lowry is a must - and its free!!

Far too many people were allowed in. It was almost impossible to see anything. It makes the idea of timed entry ridiculous and the whole experience was unpleasant, despite it being a Monday afternoon. I would not pay to see an exhibition here agin.

Hi meladams_23. Thanks for taking the time to comment. I'm sorry to hear that the exhibition felt overcrowded during your visit. Whilst we do employ timed entry and limitations on numbers to try and minimize this, the popularity of the show means that sometimes, it is unavoidable. Additionally, we are always happy to advise about any quieter exhibition slots at the point of booking. I will pass your comments on to the relevant departments and I do hope you choose to visit Tate again in the future. Justine, Information team

I went up to University in Manchester in 1966 and my future wife went up in 1967. At that time you could still see some scenery just like Lowry painted and it made us realise that Manchester was a very different place to London. I bought one of the cheap Lowry prints and it hung in my flat for a number of years. This exhibition gave a broad view of Lowry's work with great explanations and background on the audio guide. We loved the energy and the mood of Lowry's pictures back then and we loved this exhibition. Thank you.

This is one thing I have noticed lately. The cost of the exhibition catalogues do seem to be a bit steep.

We spent two hours with Lowry and for his work it was worth every minute of concentration on the notes as well as the works. Well crafted exhibition which we both enjoyed: the link to French painters was welcomed though the 1930s American 'industrial' paintings could have enhanced this even more.The inclusion of a little known Van Gogh caused a gasp of delight. As a concesssionary the £13.50 ticket was just about value but my companion at the higher price, was not so impressed what with travel costs and restricted time entry, it bordered on the excessive. The price of books and prints too was a bit beyond the pale. Careful Tate do not price yourself out of a willing market.

Absolutely love Lowry and all his work - particularly the two Daisy Nooks you had on display, as I used to play there as a child (granted in the 80s!). Was also inspired by his panoramas of landscapes and disturbed by 'the Cripples'. One criticism that I must raise, that did spoil the experience, was the sheer volume of patrons viewing he exhibition at the same time. I had to buy tickets for a specific time yet the rooms were crammed and it was very difficult to see most of the paintings. Surely the point of timed viewings is to avoid this?

Hi Katherine and thanks for your comments. I am sorry to hear that the exhibition felt crowded during your visit. We do have timed entry and limitations on numbers to try and prevent this but occasionally it is unavoidable due to the popularity of the show. For future exhibitions please don't hesitate to contact us in advance either by email/phone where we will be happy to advise on any quieter entry times. However, I will pass you comments on to the Visitor Experience team who are always looking for ways to improve your visit. Thanks again for taking time to contact us, Justine. Information team.

This was a wonderful exhibition. I had never seen any of Lowry's paintings "in the flesh" before and was amazed to see how bright and vibrant some of them were.

Thoroughly enjoyed this exhibition. Such a rich display of Lowry's work interspersed with impressionists such as Van Gogh - a great surprise!

Enjoyed it, of course - very worthy and all that - but I'm not entirely convinced. Some of the technical side was interesting - the use of so much white in picutres that were so much about 'grime', and the light - but he really didn't do composition, did he?

I was curious that for a painter obsessed with industrialisation, mechanised transport was almost entirely absent from the paintings. There was the one painting of Piccadilly Circus, and a few trains in the distance in some paintings, a reasonable number of horse-drawn carts (although not all that many even of them) but virtually no cars. Not even very many bikes (which I admit would have been more frequently within the purchasing power of the people he was painting). That seems to me odd. Anyone know why?

As I have never seen anyone from Tate actually replying (that's something to talk about at the annual meeting), I'll take the liberty to offer a suggestion.

Lowry was studying the CROWD (just like in the psychology of crowds, but in paintings) and its behaviour in the environment it built for itself. The crowd was alive and kicking, the environment a ruin of nature, beautiful in its own way. Cars, lorries, trucks, etc. become irrelevant in this context (unless they have a part in the conflict shown in the painting). If you study fish, you tend to consider birds as something irrelevant until one of them birds picks up the fish you're studying and carries it away ))

Overall, I thought it was an excellent collection of Lowry works! I will visit again before it closes

I greatly enjoyed the exhibition but could you please take more care in making Tate exhibitions user friendly? Firstly, the captions are too low and need to be in a larger font so they are easy to read from a distance. Secondly, please indicate which way one is supposed to go round Tate exhibitions? With captions at the left of the pictures, one may assume that clockwise is the preferred direction but people go round in both directions and cause a traffic jam.

I liked the small illustrated booklet supplied. It is a useful souvenir of the exhibition.


I enjoyed the exhibition of L S Lowry’s art, he who created distinctive artistic paintings from the distinctly unromantic subject matter of industrial towns. His style is unique and instantly recognisable. Lowry was a good painter using composition, colour and perspective all to good effect. His childlike representation of buildings and almost cartoonish people lends to his work a sort of folk art quality. The effective impression of depth in his paintings is achieved through the very light representation of the background, a visual effect caused by the smog from the smoking chimneys which are everywhere. His artworks are a social commentary and historical record of his homeland of rather grim, grimy, industrial northern towns and the people within going about their lives. The large panoramic industrial landscape canvasses in the final room are impressive not just for their size. The painting ‘Industrial landscape, Wigan’ 1925, is Impressionistic in style and impressive to look at. A test of whether you really like a particular painting/artist is if you would be prepared to have it hanging on a wall in your house and I would a Lowry. I recommend the exhibition but apart from some of the caricatures it is not a barrel of laughs but more a sobering, thought provoking image of living amongst heavy industry.

When I walked into the first room in the Lowry exhibition I saw the painting 'Good Friday Daisy Nook'. This brought back powerful and nostalgic memories for me. It was the first painting I ever saw. I was born in Audenshaw and our family GP, Dr Gordon Laing, who lived in nearby Droylsden, was one of Lowry's early patrons. I can recall seeing the painting on several occasions. When my mother went to the surgery I often accompanied her and when she went in to see the doctor I was put in what I think was the dining room. There were several paintings on the walls, one of which was 'Good Friday Daisy Nook'. I was fascinated by it. Even then, as a small child, I thought the elongated figures in the foreground were odd, unlike how I saw people. I was also taken with the overall orange and red warmth of the painting. It took me aback when I saw it in the Tate show. It also prompted a further memory. In 1967, when I was 17 years old, I was in the sixth form at Glossop Grammar School. One day L.S Lowry visited the school to select the art prizes that year. I did not win a prize, but a friend and fellow pupil, Pamela Middleton, did. Lowry admired a ceramic pot she had made and awarded Pamela a prize. Pamela told me that Lowry asked her what the pot was for and before she could answer he jokingly said that the little hole in the top meant that it could perhaps be used as a 'piss pot'! He then asked Pamela if he could buy it - of course she said yes, she was 'over the moon'. He offered her 'ten bob' - the equivalent of fifty pence today. Apparently when Lowry put his hand in his pocket he found he had not brought any money with him but he promised Pamela that if she would let him take the pot home to Mottram, she could visit him some time and he would give her a small art work of his in exchange! Tragically Pamela never did get to visit Lowry in his house in Mottram - she died in a car accident a week or two after his visit to the school.

Later, I went on to study Fine Art at Camberwell and the RCA. At Camberwell I had the pleasure and reward of being taught Art History by T.J. Clark. In my role as a Fine Art and Art History tutor I regularly refer to his remarkable book, 'The Painting of Modern Life'. And yes, I very much agree that L. S. Lowry is also a true painter of modern life. For me this is a remarkable, beautiful and deeply moving exhibition. Thankyou.

Great exhibition. what a wonderful artist and draughtsperson. Also enjoyed Turner, Constable, Blake and the David Hockney painting.

I was introduced to Lowry at school many years ago - we had a poster or two up on the walls. I was not a massive fan then and never really explored his work as I have got older. I went to the exhibition expecting to be underwhelmed in line with my expectations driven by my early experience. What a revelation!! While still not a fan of his work post 1945, especially the big 'colourful' work he did for the Festival of Britain I have fallen in love with his early paintings. He has absolutely caught the bleakness of pre-WW2 northern life as described by Orwell and done it in a way that has beauty in the depiction of bleakness.

I am very pleased I went. Thank you.

I thoroughly enjoyed this exhibition and it broadened my view imof his wonderful works. It was great having a friend with me to discuss aspects of some if his pictures. Overall a most pleasant and informative experience.

Being Manchester born and bred, I have been familiar with some of Lowry's work since my student days, and approached this exhibition with preconceptions. But I was amazed and entranced by the sheer scale of the show - comprehensive even without the portraits, its breadth in both time and subject, and the excellent commentary. The Welsh landscapes were entirely new to me, and although I was aware of Adolph Valette, I was fascinated by the linking of Lowry to Valette and to Pisarro and Utrillo. A splendid exhibition. Pity about the labelling though - too small, too low, too dark.

We enjoyed and appreciated the exhibition tremendously, particularly the juxtaposition with paintings by Van Gogh and others. Only criticism - Although I appreciate the theme was his painting of modern life, surely at least one seascape could have been included? Lowrey was "the greatest seascape painter of the 20th century" (Robert Clarke, Guardian Newspaper), yet not even a mention (that I noticed) was made of this fairly prolific element of his work. This allowed a rather one dimensional and repetitive impression of his capabilities, when your declared ambition was to foster a wider acceptance of Lowrey's rightful place in the established art world.

I enjoyed the show - especially the earlier work with richer texture and colour I know there was a specific them being laid out but it would have been stronger with more of the "empty" landscapes and seascapes Also his drawings and paintings of female models It would have given a fuller picture of his work and contradictions as it is all so subject driven - maybe helped to resolve some of them?

Fantastic exhibition with a wide range and large number of paintings well presented and explained. A credit to the Tate.

The commentary and explanations enabled a better understanding of Lowry's work, and its social and economic context.

Only two minor negatives - the number of people in the exhibtion hall, whilst an indication of the popularity of the exhibition, sadly restricted comfortable viewing; and the halls were very warm. The positives far outweighed the negatives.

Thank you.

Hi John and thanks for your comments. I will make sure they are passed on to the relevant teams. Whilst we do have some quieter times, the popularity of the exhibition meant that we were often busy and I am sorry if this impacted your viewing. This may have also contributed to the temperature, although, due to the nature of some of the works, we do have to maintain some environmental controls. Overall, I am pleased to hear that you enjoyed the exhibition and we look forward to you visiting again soon. Justine, Information team

Really enjoyed the exhibition. Disappointed that the picture of Burton was not included, but that it no reflection of those shown, just my interest in seeing it. I was struck by the lack the lack of 'green' used and the whiteness of the backgrounds - brilliantly reflecting the drabness and smokiness of the landscape. very thought provoking and changed my view of Lowry from interesting to genius.

Really enjoyed the exhibition. Disappointed that the picture of Burton was not included, but that it no reflection of those shown, just my interest in seeing it. I was struck by the lack the lack of 'green' used and the whiteness of the backgrounds - brilliantly reflecting the drabness and smokiness of the landscape. very thought provoking and changed my view of Lowry from interesting to genius.

Really enjoyed the exhibition. Disappointed that the picture of Burton was not included, but that it no reflection of those shown, just my interest in seeing it. I was struck by the lack the lack of 'green' used and the whiteness of the backgrounds - brilliantly reflecting the drabness and smokiness of the landscape. very thought provoking and changed my view of Lowry from interesting to genius.

Really enjoyed the exhibition. Disappointed that the picture of Burton was not included, but that it no reflection of those shown, just my interest in seeing it. I was struck by the lack the lack of 'green' used and the whiteness of the backgrounds - brilliantly reflecting the drabness and smokiness of the landscape. very thought provoking and changed my view of Lowry from interesting to genius.

Going to see a Lowry exhibition was not a priority. I write a blog on work by living artists which you do not have to pay to see. But as I crossed the road from the Chelsea School of Art and found myself facing Tate Britain with my Membership card in my pocket, I thought I’d take a peek. I’d never rated Lowry, with his comic figures and endless chimneys. But the first thing I saw was Flowers in a Window, stripped bare, making the mundane, the quotidian mysterious in ‘the empty packed spaces of the street’. It reminded me of George Shaw’s work, paintings like The Passion No 57 which tell us so much more than the eye can see. Then to discover Lowry’s work alongside that of Utrillo and Pissaro was a revelation: and to learn that he showed earlier and more often in Paris than London in the late 20s and early 30s. The rooms showing the later works were more familiar but were studded with sparkling comments large enough and long enough to read while enjoying the paintings. I particularly liked John Berger’s comment – and that of Jessica Stephens who in 1928 wrote ‘The work of Mr M. S. Lowry has qualities which make it difficult to forget. It is penetrative, incisive, stinging and maybe even sarcastic’.

All I can say is that the beauty of Tate membership is that it allows you to see exhibitions you wouldn't normally bother with.

The Lowry exhibition is a fine example of this for me. It's not my cup of tea and found it monotonous. I'm all for an artist fully examining a theme but this, for me just went on and on. Funnily the same point could be levelled at Lichtenstein and the recent exhibition, but I found that intriguing, even though I knew most of the works. I thought the Lowry drawings and preparatory work were of most interest.

One man's meat is another man's poison..... onto the next one!