styles on a trip to the islands of Samoa, an important early node in transmitting and translating U.S street dance to Aotearoa. Recently, the Samoan population has seen a resurgence of old Samoan songs, remixed in the style of Hawaiian reggae, but with some traditional elements, such as the use of the pate and the chord structure still in use. New Zealand continues to produce modern popular Samoan stars, such as Jamoa Jam and Pacific Soul. Even traditional hymns (pese lotu) have seen a fair amount of change. Some pop bands, such as the RSA Band and the Mount Vaea Band, are associated with hotels; some hotel bands have toured in New Zealand and elsewhere. Pop musicians include the Lole, Golden Ali'is, The Five Stars, and Jerome Gray, whose "We Are Samoa" remains an unofficial national anthem. A Samoan group called Le Pasefika, going against the current trend by playing only old music, has become the hottest-selling Samoan group in the United States. The nearly three decades of Samoan involvement in street dance and rap music in the United States has significantly affected cultural production in places where Samoans settled, particularly New Zealand. In the early 1980s, Footsoulijah, four Samoan performers from Wellington, credit the Blue City Strutters, who later became the hip-hop group Boo-Yah T.R.I.B.E, for spreading their lifelong interest in street dance and their eventual gravitation towards hiphop. Footsoulijah is animated and colorful, and always perform in camouflage fatigues, which represent their militaristic name. The group composed the anthem "Represent for My People," which includes the chorus "Always represent for my peoples / Pacific islanders of foreign soil / style lethal / take a look as we enter the next chapter / flip the script / Polynesian is my flavour." There is currently a dichotomy between old and new in cultural aspects of Samoan life, especially dance. Some assert, "Whereas Samoan music has adopted guitars and other musical instruments, dance, which relies solely upon the performers body (with some exceptions—fire dance, knife dance, etc) still requires the performer to retain grace and move their arms and hands in the approved fashion" but a National Geographic article from 1985 shows a "juxtaposition of 'tradition' and 'modernity' with two markedly different photographs of Samoan youth." One photograph has a Samoan child in traditional garb, dancing in a traditional way; the other shows a youth dressed in typical hiphop-style dancing. Like