“There remains a woeful lack of critical analysis of capitalism here.”
Book owned and notes by Graham Bottrill

“NOT”
The Book of Common Prayer
On long-term loan from Christ Church Hanham, to Anja Thomson
Note-maker unknown

“1857″
The Poetical Works of Lord Byron – owned by Anja Thomson
Previously owned by her mother

- Lines -
Book owned by Anja Thomson
Previously owned by her mother

“98989898″
Book owned by Anja Thomson
Previously owned by her mother

“X 60″
Book owned by Anja Thomson
Previously owned by her mother

- Dedication – 1892 -
Book owned by Anja Thomson
Previously owned by her mother

- leaf -
Book owned by Anja Thomson
Previously owned by her mother

=============

The photographs of the books above owned by Anja Thomson are
dedicated to the memory of her mother, a classical actress who previously owned the books. Aged almost 92, she passed away on the same day I was taking and editing these photographs. 

Anja told me, “The significance of this is that they weren’t just nice books, but they meant the world to her as a stage actress.” 

Rest in peace. X

=============

All photography by Shawn Sobers – All copyright remains, 2012

My current photography series is interested in marginalia – notes in the margins of books – and the other markings they carry that weren’t there when new.  Many see writing in books as a kind of sacrilege, but those who do it (including me), say they do it for their love of books, not from their disrespect.  Writers as respected as Virginia Woolf, Alexander Pope, Charles Darwin, Samuel Johnson, William Blake, James Joyce, Vladimir Nabokov, Sir Arthur Conan Doyle and many others carried out marginalia in books they owned.  Evidence of having a conversation with the books they engaged with, physical remnants of their thought processes in process.

Digital platforms such as the Kindle allow notes to be made in texts, seemingly legitimizing marginalia practice which has been frowned upon in physical book formats.  With the advance of digital technology as it is, with 3-dimensional books being processed into E-books and experienced through devices such as the Kindle and iPad, we easily forget that the physical book as we have known it for centuries, is also a form of technology (known as a Codex format of binding paper together).  Before the codex, a popular technology for written language was the papyrus scroll, and before that texts were carved into stone, bark, and other materials able to hold markings.  Digital devices are another technology in that literary delivery lineage, not the first.  If history is our guide then digital platforms will supersede and eradicate the codex format, as scrolls and tablets of stone are no longer formats of choice, not even by underground niche movements.  However this revolution of book technology is significantly different, as for the first time it will be a transition from physical to virtual, rather than from one form of physical substance to another.

Over the coming weeks/months, I’ll be presenting photographs and writing on the subject, ranging from the challenge of cultural inheritance in the digital age, through to analyzing notes in books more specifically, reflecting on marginalia as; autobiography, meta-reference, memory, sign-post, deconstruction, pedagogy, toolkit, review, fixed book-mark, affirmation, and as a hint.

Other observations on marginalia and related markings will be made, and different approaches to the photography explored.

Here I present images exploring a combination of marginalia, dedications and library markings – interested in the line between stigmatized and non-stigmatized forms of writing in books.

Dr Shawn Sobers – January 2012

=====

Civil Society

Notes by the photographer
Reason: Studying for PhD
Published 2008, notes in same year

=====

Pedagogy of the Oppressed

Notes by photographer
Reason: Studying for PhD, logging quotes
Book purchased second hand, already contained some notes (not shown)

=====

Of Mice and Men

Inscription: ‘From Wendy, Christmas 1963′ (unknown)
Published 1963
Book owned by photographer
Found in parents’ house, presumed purchased second-hand

=====

Social Problems: A Modern Approach

Highlighted by unknown person
Published 1967
Book owned by photographer
Purchased second-hand circa 2004

=====

Alice in Wonderland / Through the Looking Glass

Inscription – 50p and 3/12
Book owned by photographer
Purchased in second-hand shop for 50p
Published 1963, purchased circa 2001

=====

The Doodle Book: Draw! Colour! Create!

Drawing by Mahalia Sobers, aged circa 3 years old
Reason: Fun

=====

Westward with Columbus

Scribble by unknown child
Published 1906
Owned by photographer
Purchased second-hand for 5p, circa 2002

=====

The Big Questions in Science and Religion

Underlined by Anja Thomson
Reason: Studying for Ordination
Underlined using pencil and ruler
Book owned by note-maker

=====

The Modern Theme

Markings by Newport College Library
Library location: 196.1 GAS
Book owned by photographer
Purchased second-hand circa – 1993 – 1996

=====

Being Anglican

Ticks by Anja Thomson
Reason: Studying for Ordination
Book owned by note-maker

=====

Behind the Dream: The Making Of The Speech That Transformed A Nation

Inscription by the author, Clarence B. Jones, dedicated to the photographer’s children
Published, purchased and inscribed in 2011
Book sale included presentation and Q&A with the author

=====

Universal English Dictionary

Inscription by unknown person
Published 1957
Book owned by photographer
Found in parents’ house
Reason and meaning of inscription: Unknown

=====

Marxism and Form

Notes by Graham Bottrill
Date: tbc
Reason: tbc
Book owned by note-maker

=====

The Aim of Education and Other Essays

Inscription presumed by John Lucas (unknown)
Sixth edition: 1966
Book owned by photographer
Purchase circa 2004 (Book Barn – £1)

=====

The Relentless Revolution: A History of Capitalism

Notes by Graham Bottrill
Retractable pencil and biro
Year: tbc
Reason: tbc
Book owned by note maker

=====

The Relevance of Sociology

Markings by Salford University Library
Last withdrawal: 18 Jan 1991
Book owned by photographer
Purchase and Location – unknown

=====

The New Dragon Book of Verse

Notes by Sharon Townson
Reason: Drama A-Level
Grade achieved: tbc
Book owned by note-maker

===============

This work is being produced through the HUSK staff photography forum, and the Visual Culture Research Group at the University of the west of England.

All photography in this series is the original work of Shawn Sobers – All Rights Reserved.

It is this idea, of challenging superficial assumptions of others, that informs
the work of Kiri Tierney, who has two displays in the exhibition.  “Breaking the Stereotype” is a series of twelve symmetrically arranged images of a young man, seen in the first image dressed smart casual, then seen in the subsequent images with his body exposing a multiple array of tattoos.  Rather than being purely decorative, his tattoos are all codes of his personal philosophies and beliefs.  The work challenges the audience to consider, what do you see, and what do you imagine you see?  Tierney’s second display, ‘Facial Awareness’, is a montage of a face consisting of parts from different people, speaking to the paradoxical notion that humans are all the same and at the same time all different – which ultimately makes us all the same in our difference.

Kiri Tierney – Breaking the Stereotype

Sabrina Chowdhury’s exhibit, ‘The Truth About Youth’, challenges the sitters of her portraits directly with the task of summing up young people in a single word,
writing their answers on a held up piece of paper in a style reminiscent of the
artist Gillian Wearing.  The fascinating element of the results Chowdhury elicited is how all the young she photographed contained words which were predominantly honest and self-aware, (carefree, fun, lost, naughty and rude), whilst the older people she asked wrote words of encouragement and idealism, (potential, inspiring, future and (again) potential).  This is not to say that the
words provided by the adults are not also true (the word ‘potential’ hides a
multitude of contrasting meanings), but the straight forward honesty of the
young people’s quotes strike as refreshing – saying to the world, no we are not
perfect, but neither are you, and neither is the world.

Sabrina Chowdhury – The Truth About Youth

The theme of teenage parenting is the subject of two bodies of work in the
exhibition, that of Lucy Fulford and Callen Hale (the accompanying text tells
the viewer that Hale himself is a teenage father, which interestingly is a
demographic we don’t hear much about).  Both photographers take different approaches to representing the girls (only girls are included, none of the dads).  Fulford presents a sensitive and upbeat set of environmental portraits, representing the girls as friendships groups, as mothers with their children, and importantly, also as individuals, which is an aspect of their identity often forgotten.  The series presents a positive and fun representation, in very natural and casual poses in real life locations, working as a counterbalance to the more problematized representations often seen in mainstream press.  Hale’s work is
equally as optimistic and upbeat, presenting a set of accomplished portraits of
the young mothers with their children in a studio setting, in the style of high
street commercial photography, which he has achieved in a convincing way.

Lucy Fulford – Teenage Parents Project

Callen Hale – Teenage Parents Project

The work of Rachael Heapey turn the lens onto a senior citizens dance group rather than young people, and has captured a beautiful and sensitive set of portraits and documentary images. Simply presented, with large formal portraits of the dance partners together, and smaller documentary photographs of dancing in action underneath, the series is heart-warming, fun and energetic, showing there is plenty of life and high spirits left in the elders of our communities.  Heapey’s work compliments the teenage mums images well, spanning ages and experiences, both showing life is to be lived to the full in the face of any challenges that may arise.

Rachael Heapey – Young at Heart

Not all of the work in the exhibition looks at the subject of age in a direct
way.  Matt Green, Tom Hawkins and Mateo Ocasta each exhibit more abstract and impressionist work, pointing their cameras out into the fabric of the world, rather than concentrating so much on other people.  Green presents a highly accomplished series of photographs titled ‘Different Light’, offering fleeting glimpses into life, fragmentary views of time passing – traffic, texture of tree trunks, abstract light trails, and cloud formations, amongst other things.  The photographs are all confidently produced and evidence that Green has good technical control of his chosen medium, to make the ordinary extraordinary to the eye.

Matt Green – Different Light

Tom Hawkins is also a photographer fascinated with the visual interest in his everyday surroundings, concentrating for his series on broken windows and the glass protection of a local community centre.  The beauty of dereliction has long been a fascination for photographers and Hawkins’ work falls within that tradition.  Close-ups of fractured glass, peering through the rippled patterns of re-enforced glass onto the outside world, and abstract views of twigs and branches intermeshed with security fencing, offers a subtle comment on the often unseen dynamics within community spaces neighbourhood living, and the reality that any system, whether it be a physical building or human relationships, requires constant maintenance.

Tom Hawkins – Untitled

Maseo Ocasta presents a pair of urban landscape documentary
photographs, showing people going about their everyday lives in the shadow of
their concrete surroundings – one of the back of a group of people walking past
a wall of graffiti, and the other of a Muslim woman on her phone stood in front
of a derelict shop next to a massage parlour.  The diptych is titled ‘Not my Property’, offering perhaps the suggestion that, in city life especially, people just get on and make do living their daily lives, even if they have no control or influence over their environment.  Ocasta’s work is deceptive in appearing at first glance to be straightforward slices of life, though offering more hints and details of narrative on closer inspection.  The work would benefit from being printed much larger to draw some of the nuances out of the images for audiences to fully appreciate.

Maseo Ocasta – Not my Property

Lewis Saunders explores the idea of narrative in a more direct way, presenting the most mixed media body of work in the exhibition with the creation of a comic
strip, employing dramatised photography techniques along with creative writing,
graphic design and post-production image manipulation.  Titled ‘Beware of the Giantess Kate’, the storyline follows the fortunes of the title character who, when accidently drinks a magic potion, turns into a 200ft woman.  Going on a rampage through the now tiny city of Bristol, Kate uses her new found power to wreck havoc and destruction, before eventually returning back to normal size, with very little remorse of her actions. The comic strip is a good fun dramatic romp, in the surreal tradition of the b-movie Hollywood classics from the 1950s, (the subtitle of comic strip is ‘The Attack of the 200ft Woman from Earth’).  In that same tradition, Saunders’ work has a healthy refusal of trying to communicate a moral or serious message, which is as refreshing to see in a young people’s exhibition as more serious subjects.  Both light and shade are needed in successful exhibitions to provide surprises and a sense of journey, and this inject of humour creates an effective balance celebrating unashamed imaginative creativity and youthful playfulness, which still needs to be celebrated.

Lewis Saunders – Beware of the Giantess Kate (The Attack of the 200ft Woman from Earth)

The final body of work in the exhibition is from Liam Charlton, who presents a
thoughtful series of portraits titled ‘Hopes and Dreams’.  The work shows people of all generations – from a teenager through to an elder gentleman – all holding props which hint at their aspirations for their futures.  The work speaks to the idea that ambitions never die and people should not write off their lives or give up their aspirations, that there is always more to strive for in life.  Charlton offers only the photographs to the audience and no text detailing what exactly the aspiration was for each sitter and what the props mean, which was an excellent curatorial decision.  Not knowing exactly what props are alluding to, (though admittedly some are more obvious that others), allows the audience to make up their own minds, encouraging us to look closer at the people in the images and making connections with the props as visual hints, rather than having to rely on accompanying text interpretation to do all of the work for us.  Making the audience look closer at the images, at the people represented in them, encourages us to work it out for ourselves, which is just as it should be, rather than having information spoon fed to us with no effort.  This is what Barthes
had in mind when speaking of photography’s quiet subversive nature, encouraging the audience to leave the room thinking a little more about certain aspects of life than before they entered, the photography working its magic on us in a subconscious fashion.

Liam Charlton – Hopes and Dreams

This marriage of photography and young people is interesting, happening at a time (in digitally active societies) when photographic technologies are ubiquitous in daily life, unquantifiably more ubiquitous than photography in advertising and print media that we have been used to for generations.  Easily captured on mobile phones and games consoles, and as equally easy to exhibit and distribute using social network platforms, photography exists in every corner of our existence, as common as the material texture of our surroundings; we no longer even notice them. (How often do you actually look at adverts on the internet?)  Young people are at the cutting edge of technological photographic revolutions without even realising it.  This exhibition is a timely reminder that good photography, no matter how technologically advanced, resonates deeper with an audience when the thing that the camera has been pointed at has been thought
about and considered, even if thought about after the split second act of actually taking the photograph, which may have been purely by instinct.  This exhibition contains good work of that nature, and is part of Barthes’ quiet encouragement of subversive photography, that which is and makes one pensive, rather than merely mirroring life, also asking questions of life, in a quiet subtle way.

The exhibition is open until Christmas 2011.  Click here for further details or visit www.kwmc.org.uk

Review by Dr Shawn Sobers, Senior Lecturer – Photography and Media, University of the West of England
31 October 2011

Photos of exhibition taken by my 10 year old daughter Mahalia! 

My first suggestion for Looters reading is ‘No Logo’ by Naomi Klein.  You’ll then realise you’re only puppets (consumer slaves) of the designer goods you are stealing and wearing.  Wikipedia says, “The book discusses how brand names such as Nike expanded beyond the mere products which bore their names, and how these names and logos began to appear everywhere. As this happened, the brands’ obsession with the youth market drove them to further associate themselves with whatever the youth considered ‘cool’.”

Wise up!!!

Here’s the headlines;

The Times– “Forced Out”

The Independent – “Hacking: Stephenson quits, Brooks arrested” – Same story as The Times, added with information about Rebekyah Brooks, the most powerful woman in British media, being arrested over the same scandal.

i – “Hacking scandal topples Britain’s top policeman”

The Daily Telegraph – “Scotland yard chief quits with parting shot at Cameron” – same story, with details of how Stephenson in his resignation speech hinted at Prime Minister David Cameron being in the same compromising situation, as he hired Andy Coulson as the Conservative Party’s Director of Communications.  Coulson was arrested last week over the scandal.

The Mirror – “Copped It”

The Guardian – “Met chief quits over hacking”

The Sun – “Picture of Happiness: Becks & daughter” – The front page dominated by a huge photograph of David Beckham and his new baby daughter. On the side there is a tokenistic tiny column of a few lines with the caption, “Top cop quits over hacking”.

Here’s Billy Bragg, to explian everything else you need to know about The Sun, which is too dirty to be used even as toilet paper.

Nuff said!

The first thing that always springs to mind when I hear the term ‘Behaviour management’, is the sad vision of children being contained and restrained -
their movements being limited so as not to affect anyone else. The problem with
that is the root problem or cause isn’t being addressed, it is merely being
‘managed’ until the school bell goes, and same again the next day, until they
eventually leave or get kicked out.

When a child is disruptive, the onus is put on them and they are told how
irresponsible they have been, and maybe punishment handed out. Fair enough, but what is often missing is a proper conversation with them about root causes and feelings. Conversation doesn’t happen for perhaps good reason, 1) the child
won’t/can’t speak or open up, 2) takes too long, 3) seen as being soft, 4)
you’re not a therapist, and many other reasons. But still to really change disruptive behaviour those stages have to be worked through, maybe calling in support workers etc. But the battle ground will still be with the teachers on the front line, so trust has to be built up there, and not all devolved to additional
support workers at a distance.

Staff that have key responsibility for pastoral care have the tension of
idealism vs everyday school pressures & perceptions. Often when you take a
naughty child, and allow them the space to find their own voice and confidence,
allowing them to set the agenda and doing activities they enjoy, their
behaviour improves dramatically. But the whisperers will say they have been
rewarded for their bad behaviour, rather than seeing they have been working
through a process to be able to transfer that self-agenda setting back into the
main classroom, when integrated back in. Naughtiness is often a sign of
boredom, but very difficult to tell that to a teacher without looking like
you’re undermining them and really pissing them off! But the truth is it’s usually
nothing to do with the teachers personally or a comment on their teaching
ability or style, it’s the institution of school itself that repels these
children and often the idea of authority in general, and it often goes a lot
deeper than their immediate environment.

Though on the question of the teaching style and environment, on a couple of occasions I’ve had teachers ask me how bad such & such must have been that I’ve had in media projects, and I’ve had to tell them honestly that they were often the best behaved and most productive in the group. But working in the informal
education sector, or on a specific project as an external coming into a school,
is obviously very different from the constraints and bureaucracy teachers are
faced with every single day.  Teachers often don’t have the time anymore to be able to effectively channel the energy of their challenging children, and they merely get to discipline them instead.

Schools have a culture of telling children off, because adults are supposed to know best and children are meant to follow. That’s an effective strategy for the
mostly good, average and mildly naughty children, who needs to be kept within a
formal set of boundaries and be reminded of “accepted behaviour”, but that
strategy falls apart for the much more challenging children, who are incredibly
disruptive, unmanageable, wilfully rude, almost seemingly feral.

Those types of children are not only really badly behaved, they are usually
damaged – psychologically, emotionally, socially, and dare I say spiritually.  Scratch the surface of a really disruptive “bad” child, and usually they have a different set of issues they are dealing with, whether at home or in their head. Their badness is just a facade for their vulnerability. But put those children in areas of responsibility, and they will often take it seriously and do the job well, as they have been trusted with an important task.

Often the disruptive children are actually the highly intelligent, even if
they’ve NEVER proved it, as they’re using a different bit of their brain. They
don’t see the use in school lessons as according to them it has no bearing on
their real life, it’s too abstract. But give them something practical to do,
even on the same theme, and they love it. Not because they are using their
hands, but because they can see the learning applied in a real world context.
It’s no longer just playing schools, but they can imagine it in a real grown up
world, (and often disruptive kinds think they’re more grown up than they are).

With I think all of these issues, it comes back to their sense of self-identity. Being secure and confident in their own skin means they wouldn’t feel the need to show off or have to prove themselves to other people.  To be effective behaviour management policy has to be holistic, as there isn’t a set of answers or off the shelf framework that will work for all the contexts teachers need. It has to be ‘working with’ the pupils, rather than ‘doing to’.

There’s an interesting book by Tony Jeffs & Mark Smith called, ‘Informal
Education: Conversation, democracy and learning’, that is useful for dealing
with this. Even though it is about working in informal education, it is those
sensibilities that are needed when working for formal institutions with
challenging children. It talks about the importance of conversation, and the
link with self-worth to learning.

Pastoral conscious teachers will always be walking that line of some teachers
thinking they are being are too soft, and bending over backwards to help
disruptive children, but the important thing is to know your school and your
children.  You can be holistic, and still be tough when you need to be. But children can often feel like they’re living in an oppressive police state, when actually the ability to express themselves in a safe environment is really important.  Not only important, but vital.

Shawn – 13.7.11

Image produced by Shawn Sobers for Once a Week News Pic series.
Original copyright remains on image details.

Tougher targets for schools is not the answer to problems in education. The problem is too much top down agenda setting and interfering.  New Labour were bad enough with this, and in a record short space of time the ConDems have exceeded even Blair.  At least New Labour’s endless initiatives had an air of raising aspirations of children and staff.  The ConDems are just living up to their name, and depressing everybody if they don’t meet reactively set arbitrary targets.  Beating up teachers will only make them more demoralised and stressed, which is not good for our children.  You’re getting it seriously wrong Gove.  Painful to witness.

Responding to these stories;
http://www.guardian.co.uk/education/2011/jun/14/schools-told-raise-bar-gcse-results
http://www.bbc.co.uk/news/education-13788724

“All that is necessary for the triumph of evil is that good men do nothing.”
Edmund Burke

Note:

I think this BBC Panorama documentary and reporter Joe Casey should go down in history, not only for raising awareness of the evil actions it witnessed, but also to highlight the reasons why serious investigative journalism should never die out.  How will these investigations be supported in the blog, social media and citizen journalism news landscape?  Some digital & alternative media activists call for the overthrow of the traditional media regimes, but it seems to me that “old media” still serves an important function in society.  It has always been my view that in the UK alternative/community media platforms should co-exist with, but not overthrow, traditional media networks.  Alternative media activists in different countries will have different arguments as to whether this is the same for them.

Shawn Sobers

See video direct at – http://www.youtube.com/watch?v=f3hCQcrfg28&feature=share

Lyrics to Message To The Messengers :

Hey, yeah, we the same brothas from a long time ago
We was talkin’ about television and doin’ it on the radio
What we did was to help our generation realize
They had to get out there and get busy cause it wasn’t gonna be televised
We got respect for you rappers and the way they be free-weighin’
But if you’re gon’ be teachin’ folks things, make sure you know what you’re sayin’

Older folks in our neighborhood got plenty of know-how
Remember if it wasn’t for them, you wouldn’t be out here now
And I ain’t comin’ at you with no disrespect
All I’m sayin’ is that you damn well got to be correct
Because if you’re gonna be speakin’ for a whole generation
And you know enough to try and handle their education
Make sure you know the real deal about past situations
It ain’t just repeatin’ what you heard on the local TV stations
…Sometimes they tell lies and put ‘em in a truthful disguise
But the truth is that’s why we said it wouldn’t be televised
They don’t know what to say to our young folks, but they know that you do
And if they really knew the truth…why would they tell you?

The first sign is peace, tell all them gun totin’ young brothas
That the man is glad to see us out there killin’ one another
We raised too much hell when they was shootin’ us down
So they started poisoning our minds tryin’ to jerk us all around
And they tell us they got to come in and control our situation
They want half of us on dope and the other half in incarceration
If the ones they want dead ain’t killed by what they instigated
They put some dope on a brotha’s body and claim it was drug related
Tell them drug related means there don’t need to be no investigation
Or at least that’s the way they’re gon’ play it on the local TV stations

All your 9-millimeter brothas…give them somthin’ to think about
Tell them you heard that this is the new word, they got to work that stuff out
But somehow they feel in the wrong way with a gun in their hands
They feel real independent…but they just pullin’ contracts for the man
Five and five will tell you it’s hopeless out there on the avenue
But if they really knew the truth…why would they tell you?
And if they look at you like you’re insane
And they start callin’ you scarecrow and say you ain’t got no brain
Or start tellin’ folks that you suddenly gone lame
Or that white folks had finally co-opted your game
Or worse yet implying that you don’t really know…
That’s the same thing they said about us…a long time ago

Young rappers, one more suggestion before I get out of your way
But I appreciate the respect you give me and what you got to say
I’m sayin’ protect your community and spread that respect around
Tell brothas and sistas they gotta calm that bullshit down
Cause we’re terrorizin’ our old folks and brought fear into our homes
And they ain’t got to hang out with the senior citizens
Just tell them, “Dammit…leave the old folks alone”
And we know who rippin’ off the neighborhood, tell them, “That BS has got to stop!”
Tell them you’re sorry they can’t handle it out there
But they got to take the crime off the block
And if they look at you like you’re insane
And they start callin’ you scarecrow and say you ain’t got no brain
Or start tellin’ folks that you suddenly gone lame
Or that white folks had finally co-opted your game
Or worse yet saying that you really don’t know…
That’s the same thing they said about me a long time ago
And if they tell folks that you finally lost your nerve
That’s the same thing they said about us, when we said, “Johannesburg”

But I think the young folks need to know, that things don’t go both ways
You can’t talk respect of every other song or just every other day
What I’m speakin’ on now is the raps about the women folks
On one song she’s your African Queen on the next one she’s a joke
And you ain’t said no words that I haven’t heard, but that ain’t no compliment
It only insults eight people out of ten and questions your intelligence
Four letter words or four syllable words won’t make you important
It’ll only magnify how shallow you are and let everybody know it
And if they look at you like they think you insane
Or they call you scarecrow thinkin’ you ain’t got no brain
Or start tellin’ folks that you suddenly gone lame
Or that white folks have finally co-opted your game
Or you really don’t know…They said that about me a long time ago
If they finally start to tell people that you lost your nerve
That’s what they said about Johannesburg
You ain’t insane…you have got a brain
You haven’t gone lame; you have got your game
Remember…keep the nerve
Keep the nerve
Keep the nerve
Keep the nerve
…I’m talkin’ about peace