(on cassette only), and a variety of releases by Southside Records. Amongst these were releases by Urban Disturbance featuring a young rapper, Zane Lowe, now a UK radio personality, and MC OJ & Rhythm Slave. By the late 1980s, the South Auckland and West Auckland hip hop scenes were thriving, with dozens of young acts, many promoted as part of the Voodoo Rhyme syndicate which featured acts such as the Semi MCs, MC Slam & DJ Jam, Total Effect, Sisters Underground, Enemy Productions (which featured a very young Dei Hamo), Boy C & the BB3 (which later became Three the Hard Way), the Chain Gang and others. Most of the acts that joined the Voodoo Rhyme Syndicate were discovered through talent contests by Voodoo Rhyme Syndicate founder, DJ Andy Vann. The Voodoo Rhyme Syndicate hosted Voodoo dance parties to raise funds to record the acts, and formed Voodoo vinyl in 1989. Voodoo Vinyl's first release in 1989 was Enemy Productions Stop Tagging produced by founder Andy Vann. Other notable related releases include Semi MCs' "Set Your Body Free & Trust Me" and MC Slam & DJ Jam's "Prove Me Wrong", both of which achieved Top 40 success in New Zealand. A DJ competition was held in Auckland in 1989, with DJ Ned Roy winning. The first major New Zealand commercial hip hop hit was "Hip Hop Holiday" by 3 The Hard Way, featuring the vocal stylings of Bobbylon (from the seminal 1990s Reggae/Punk band the Hallelujah Picassos). Released by Deepgrooves Entertainment and distributed by Festival Records, it sampled "Dreadlock Holiday" by 10CC and became a number one hit in 1994. Upper Hutt Posse's DJ, DLT, also influenced the local scene in Auckland, including Joint Force, Che Fu and Dam Native. DLT began the influential radio show True Skool Hip Hop Show, which joined Wellington's Wednesday Night Jam in promoting hip hop. Simon Grigg & Nick D'Angelo championed hip hop on a dedicated hip hop radio show on bFm). Polynesian influence In Wellington, K.O.S.-163, more commonly known as Kosmo, influenced the hip hop scene during the 1980s. Returning from a visit to Los Angeles, Kosmo introduced a new type of dance called popping to New Zealand. Aware of their accents and other 'foreign' markers, Samoan youth in California used dancing and hip hop to assert themselves. Nearly three decades of Samoan involvement in street dance and rap music influenced the scene