Johannesburg municipality, and so it never developed the form of municipal "matchbox" houses, built row upon row, with the same uniformity and lack of character. The houses were built according to people's ability to pay, tastes, and cultural background. Some houses were built of brick and had four or more rooms; some were much smaller. Others were built like homes in the rural areas; others still were single room shacks put together with corrugated iron and scrap sheet metal. The majority of the families living in Sophiatown were tenants and sub-tenants. Eight or nine people lived in a single room and the houses hid backyards full of shanties built of cardboard and flattened kerosene cans, since many Black property owners in Sophiatown were poor. In order to pay back the mortgages on their properties, they had to take in paying tenants. Sophiatown residents had a determination to construct a respectable lifestyle in the shadow of a state that was actively hostile to such ambitions. A respectable lifestyle rested on the three pillars of religious devotion, reverence for formal education, and a desire for law and order. People struggled to survive together starvation was a serious problem, and a rich culture based on shebeens (informal and mostly illegal pubs), mbaqanga music, and beer-brewing developed. The shebeens were one of the main forms of entertainment. People came to the shebeens not only for skokiaan or baberton (illegally self-made alcoholic beverages), but to talk about their daily worries, their political ideas and their fears and hopes. In these shebeens the politicians tried to influence others and get them to conform to their form of thinking. If one disagreed he immediately became suspect and was classified as a police informer. These two conflicting images of Sophiatown stand side by side – the romantic vision of a unique community juxtaposed with a seedy and violent township with dangers lurking at every corner. Arts and literature The cultural process was somehow intensified in Sophiatown, as in Soho, the Greenwich Village, the Quartier Latin or Kreuzberg. It was akin to what Harlem was to New York in the 1920s Harlem Renaissance and is sometimes referred to as the Sophiatown renaissance. The musical King Kong, sponsored by the Union of South African Artists, is described as the ultimate achievement and final flowering of Sophiatown multi-racial cultural exploits in the 1950s. King Kong is based on the life of