live anywhere, really. I travel 100% of the time," further noting, "The more I travel, the less sure I am about exactly which political philosophies are commendable. All my traveling is done on the basis of wanting to get my ideas for writing from real events rather than from going back to a system from whence it came." Because of this, Lodger is interpreted by some as a concept album. Some songs showcase heavily politicised lyrics, including "Fantastic Voyage", which deals with the "depression" brought on by Cold War leaders and the possibility of nuclear war, and "Repetition", which deals with domestic violence. James Perone finds a general theme of political oppression and insanity. Eno was unhappy with the direction Bowie took for the lyrics. Regarding side one's theme of travel, Pegg writes that the songs revive a "perennial motif" prevailing throughout the Berlin Trilogy, highlighting the line, "I've lived all over the world, I've left every place" from the Low track "Be My Wife", pointing out the journey is both metaphorical and geographical. Between the Montreaux and New York sessions, Bowie traveled to Kenya with his son Duncan Jones, which inspired the lyrics for "African Night Flight". The same trip, along with ones to Japan and Australia, inspired "Move On", which reflects the theme of wanderlust throughout side one. Regarding the song titles, Doggett quips, "After his 'African Night Flight', what else to do but 'Move On'!" When asked about "Red Sails", Bowie said in 1979: "Here we took a new German music feel and put it against the idea of a contemporary English mercenary-cum-swashbuckling Errol Flynn, and put him in the China Sea. We have a lovely cross-reference of cultures. I honestly don't know what it's about." Pegg writes that "Red Sails" symbolises Bowie's venture away from the mainstream. "Yassassin" is Turkish for 'long live', from the word . Like the instrumental "Heroes" track "Neuköln", the song is about the discrimination Turkish immigrants who lived in Berlin faced, although its lyrical approach is more direct. The lyrics of side two primarily critique Western society. "D.J." takes a sardonic look at the world of the disc jockey. On the song, the DJ is looked at solely for what he is on the outside: "I am a DJ, I am what I play". Swiftly compared to Elvis Costello's "Radio Radio" (1978), writer Ian Mathers describes the song as "a horror