lead single, Boom Style, like their first single, Our World, aimed to fuse contemporary US hiphop influenced dance music with mbaqanga styled guitar riffs. While Our World was rather innocent and daring for its time, Boom Style reflected the realities of operating within the music industry and the pressures of the market on POC. The censorship board sent a formal letter to the label to express their displeasure over the use of the Afrikaner national anthem in which POC not only mocked 'Die Stem', but also disrespected Afrikaner and other colonial political icons. Their live shows incorporated all aspects of hip hop culture and not only emceeing. Turntablism, Breakdancing and even aerosol art at times were used to not only present POC but represent hip hop culture and expose to parts of South Africa where people did not know what hip hop was. The video for 'Kicking Non Stop' was censored because members of the crew put a portrait of the then president, P. W. Botha, in a fridge to chill. This year the POC social issues based tour covered another 45 schools. In 1992 they were invited by Quincy Jones and Caiphus Semenya to perform at the Montreux Jazz Festival in Switzerland. This year they embarked on a Namibian anti-drug campaign, covering 65 schools. They also got increasingly more involved in facilitating workshops on deejaying, b-boying and developing hip hop writing techniques. Leading up to the first democratically held election in South Africa, POC embarked on a national voter education campaign. Although Issy Ariefdien has been involved in group's production since the first album, POC also brought former rival Patrick Hickey a.k.a. Caramel (then an emcee and producer with emcees from U.N.C.L.E.) on board as part of the production team for the Age of Truth album. 1993 and beyond In late 1993 POC was invited to perform in Denmark at the Visions of Africa music festival and also embarked on a national voter education tour, covering high schools, community centres and universities. The aim was to explain the voting process to youth who never had the opportunity to vote in any national elections. The democratically held election marked an important moment in the history of South Africa, but also the history of hip hop in South Africa, because it was an acknowledgment of the popularity and power of hiphop as a pedagogical tool. In 1994, POC performed at the