Hawaiian Barbecue

Compare Prices and Read Reviews on Ono Hawaiian BBQ at Epinions.com Join Epinions | Help | Sign In Restaurants Restaurants & Gourmet All Categories Advanced Search Home > Restaurants & Gourmet > Restaurants Ono Hawaiian BBQ Overall rating: Reviewed by 1 Epinions user Write a Review Compare Prices View Details Read Reviews Subscribe to reviews on this product View Details Price Range Under $20 Return to top Featured Resources Additional information on Ono Hawaiian BBQ or other products. Tex's BBQ Express Great barbeque in Boston. Catering to events in New England. www.texsbbqexpress.com BBQ Restaurant Franchises Food & Restaurant Franchise Lists. Search a Directory of Opportunities www.franchisegator.com Aloha Restaurants Get Local Directions, Addresses, Phone Numbers & More on MapQuest! MapQuest.com Hawaiian Restaurants 2005 Restaurant and dining guidebook covering all tastes and budgets www.hawaiirestaurantguide.com Hawaiian Bbq Find A Nearby Restaurant With Hawaiian Bbq On The Menu Here. phoenix.local.com Help | Member Center | Message Boards | Site Rules | User Agreement | Privacy Policy | Site Index About Epinions | Careers | Contact Epinions | Advertising Epinions | DealTime USA | DealTime UK | PriceTool | Shopping.com | Rent.com © 1999-2006 Epinions, Inc. Trademark Notice Epinions.com periodically updates pricing and product information from third-party sources, so some information may be slightly out-of-date. You should confirm all information before relying on it.

HAWAII For proposed constitutional

Hawai`i State Constitution - Section Titles publications | reference desk | library catalog | state directory | iClips | guide to lrb section titles preamble article I | article II | article III | article IV | article V | article VI | article VII | article VIII | article IX | article X | article XI | article XII | article XIII | article XIV | article XV | article XVI | article XVII | article XVIII | index (pdf, 45K) disclaimer | updated 01.01.05 | <<home | THE CONSTITUTION OF THE STATE OF HAWAII For proposed constitutional amendment to Article I, see Act 60 onpage 301 of the 2004 Session Laws of Hawaii. The Hawaii Constitution was framed by a Constitutional Convention underAct 334, Session Laws of Hawaii 1949. It was adopted by the people atthe election held on November 7, 1950, and was deemed amended when threepropositions submitted to the people in accordance with the Act ofCongress approved March 18, 1959, 73 Stat 4, Public Law 86-3, wereadopted by the people at the election held on June 27, 1959. As soamended, it was accepted, ratified, and confirmed by Congress by the Actof March 18, 1959. It went into effect on August 21, 1959, upon theissuance of a presidential proclamation admitting the state of Hawaiiinto the Union. The Constitution has since been amended a number of times in accordancewith proposals adopted by the legislature or by constitutionalconvention and ratified by the people. The source of these amendmentsis indicated in the source notes immediately following the text of theamended or new section. Revision Note On November 7, 1978, amendments to the Constitution proposed by theConstitutional Convention of 1978 were presented to the electorate forits approval. The Lieutenant Governor's computer report showed that allof the proposed amendments passed by the necessary constitutionalmargin. However, the Supreme Court of Hawaii in Kahalekai v. Doi, 60 H.324, 590 P.2d 543 (1979), held that a number of the proposed amendmentswere not validly ratified. The revisor has deleted from theConstitution these invalid amendments and added explanatory notes to thesections concerned. This deletion has been done under the authority ofResolution No. 29 of the 1978 Constitutional Convention authorizing therevisor "to effect such necessary rearrangement, renumbering andtechnical changes of the sections within the articles of the StateConstitution, as may be affected, for proper form and arrangement andproper order in the State Constitution in the event that any or some ofthe amendments to the State Constitution proposed by the ConstitutionalConvention of Hawaii of 1978 are not ratified by the electorate." In addition to the abovementioned amendments, removed from the text ofthe Constitution, there appear to be other proposed amendments that mayhave failed of ratification. A number of unspecified amendments,involving technical, stylistic, and incidental changes, were submittedfor approval by the electorate under Question 34. As to these, theCourt stated: The question of whether any amendment submitted for approval by QuestionNo. 34 was in fact approved ... dependents on its effect uponsubstantive law. If the amendment is purely stylistic and technical innature, and does not alter the sense, meaning or effect of any provisionof the Constitution, it was approved by the electorate and has become apart of the revised Constitution. On the other hand, if the amendmentalters the sense, meaning or effect of any provision of theConstitution, it was not ratified and is not effective to change thelanguage of the Constitution. Obviously, we are not now in a positionto make these line by line determinations. The revisor does not consider that the authority granted underResolution No. 29 embraces the elimination of proposed amendments ashaving failed of ratification where the issue has not been adjudicated. Thus the text of the Constitution includes all the proposed amendmentssubmitted for ratification under Question 34. As an aid to the readers,however, an attempt has been made to identify all suchamendments--except those obviously purely technical and stylistic andclearly nonsubstantive (which have been ratified)--and explanatory noteshave been appended thereto. Preamble Federal Constitution Adopted Article I Bill of Rights Political power Rights of individuals Equality of rights Freedom of religion, speech, press, assembly and petition Due process and equal protection Right to privacy Searches, seizures and invasion of privacy Rights of citizens Enlistment; segregation Indictment; preliminary hearing, double jeopardy; self-incrimination Grand jury counsel Bail; excessive punishment Trial by jury, civil cases Rights of accused Habeas corpus and suspension of laws Supremacy of civil power Right to bear arms Quartering of soldiers Imprisonment for debt Eminent domain Limitations of special privileges Construction Marriage Public access to information concerning persons convicted of certainoffenses against children and certain sexual offenses Article II Suffrage and Elections Qualifications Disqualification Residence Registration; voting Campaign fund, spending limit Campaign contributions limits Resignation from public office General, special and primary elections Presidential preference primary Article III The Legislature Legislature power Composition of senate Composition of house of representatives Election of members; term Vacancies Qualifications of members Privileges of members Disqualifications of members Salary; allowances; commission on legislative salary Sessions Adjournment Organization; discipline; rules; procedure Quorum; compulsory attendance Bills; enactment Passage of bills Approval or veto Reconsideration after adjournment Procedures upon veto Punishment of nonmembers Impeachment Article IV Reapportionment Reapportionment years Reapportionment commission Chief election officer Apportionment among basic island units Minimum representation for basic island units Apportionment within basic island units Election of senators after reapportionment Staggered terms for the senate Congressional redistricting for United States house of representatives Mandamus and judicial review Article V The Executive Establishment of the executive Lieutenant governor Compensation: governor, lieutenant governor Succession to governorship; absence or disability of governor Executive powers Executive and administrative offices and department Article VI The Judiciary Judicial power Supreme court; intermediate appellate court; circuit courts Appointment of justices and judges Qualifications for appointment Tenure; compensation; retirement Judicial selection commission Retirement; removal; discipline Administration Rules Article VII Taxation and Finance Taxing power inalienable Income taxation Tax review commission Appropriations for private purposes prohibited Expenditure controls Disposition of excess revenues Council on revenues The budget Legislative appropriations; procedures; expenditure ceiling General fund expenditure ceiling Auditor Lapsing of appropriation Definitions; issuance of indebtedness Debt limit; exclusions Article VIII Local Government Creation; powers of political subdivisions Local self-government; charter Taxation and finance Mandates; accrued claims Transfer of mandated programs Statewide laws Article IX Public Health and Welfare Public health Care of handicapped persons Public assistance Economic security of the elderly Housing, slum clearance, development and rehabilitation Management of state population growth Public sightliness and good order Preservation of a healthful environment Cultural resources Public safety Article X Education Public education Board of education Power of the board of education Hawaii education program University of Hawaii Board of regents; powers Article XI Conservation, Control and Development of Resources Conservation and development of resources Management and disposition of natural resources Agricultural lands Public land banking General laws required; exceptions Marine resources Water resources Nuclear energy Environmental rights Farm and home ownership Article XII Hawaiian Affairs Hawaiian Homes Commission Act Acceptance of compact Compact adoption; procedures after adoption Public trust Office of Hawaiian Affairs; establishment of board of trustees Powers of board of trustees Traditional and customary rights Article XIII Organization; Collective Bargaining Private employees Public employees Article XIV Code of Ethics Article XV State Boundaries; Capital; Flag; Language and Motto Boundaries Capital State flag Official languages Motto Article XVI General and Miscellaneous Provisions Civil service Employees' retirement system Disqualifications from public office or employment Oath of office Intergovernmental relations Federal lands Compliance with trust Administration of undisposed lands Tax exemption of federal property Hawaii national park Judicial rights Quieting title Plain language Titles, subtitles; construction General power Provisions are self-executing Article XVII Revision and Amendment Methods of proposal Constitutional convention Election of delegates Meeting Organization; procedure Ratification; appropriations Amendments proposed by legislature Veto Conflicting revisions or amendments Article XVIII Schedule Districting and apportionment 1978 Senatorial elections Salaries of legislators Effective date for term limitations for governor and lieutenant governor Judiciary: transition; effective date Effective date and application of real property tax transfer 1978 Board of education elections Effective date for Office of Hawaiian Affairs Continuity of laws Debts Residence, other qualifications EFFECTIVE DATE

Molokai does have to

Molokai, Hawaii - The Friendly Islands HAWAII MOLOKAI The Friendly Islands Withapproximately 50% of its population having native Hawaiian ancestry this island is themost traditional of the islands that are accessible to tourists. Untouched by high risedevelopments there are no traffic lights, shopping complexes or fast food chains. However, whatMolokai does have to offer is 260 miles of natural beauty framed by a necklace of ancientfish ponds along the southern shore. It has the world's highest sea cliffs rising anawesome 3,000 feet above the coastline, Hawaii's longest waterfall and also its largestwhite sand beach three miles long. Lacking modern entertainment venue, Molokai boastsnumerous cultural and family events and the locals guard their laid-back lifestyle withpride. In the heart ofthe island is Kaunakakai, a one street town lined with small family-run businesses whichhave changed little since the 1920s and resembles the set of an old Western movie. Earlierthis century, pineapples were shipped in their millions to Honolulu canneries from here. ProbablyMolokai's best known visitor attraction is Kalaupapa, site of the ministry of Belgiummissionary Father Damien De Veuster. Now a National Park, this five square mile peninsulawas once a place of exile for sufferers of leprosy. Separated from the rest of the islandby huge cliffs, it is reached by mounting a mule for the three mile ride down the 1,600foot cliff trail, or alternatively by one of the world's shortest flights (five minutes)departing from Molokai's main airport. It is also possible to hike the trail, but a permitis required. Other offeringsinclude sailing or kayaking around the coastline, deep sea fishing, playing golf, or ifyou are feeling active, hiking the Kamakou Preserve, a tropical rainforest - home to rarebirds and plants, insects, and land snails. Allow a full dayfor a round trip drive along the southern shore to Halawa Valley, where along the way youwill see quaint Churches, beautiful beaches and the largest concentration of ancient fishponds, some dating back to the 13th century. Ancient Hawaiianhistory says that the hula was created by the goddess Laka on the mountain range nearMaunaloa and today the major annual event on Molokai is the celebration of the birth ofthe hula. It is held on the third Saturday of May each year and features performances ofancient hula, traditional Hawaiian crafts and lectures and tours to significant historicalsites. Unspoiled andunhurried, Molokai is the perfect destination for families, those interested in culturaland eco-tourism, and those simply wanting to relax without feeling guilty. For More Information Contact: MOLOKAI VISITORS ASSOCIATION P.O. Box 960 Kaunakakai HAWAII 96748 USA Telephone: +1 808 55233876 Facsimile: +1 808 5535288 E-mail: mva@molokai.com Molokai Travel and Accommodation Guide Hawaii Home Page Jane's Oceania Home Page Join Jane's Oceania Home Page Newsletter to get the latest news, information and Web site updates! Please enter your email address below then click the 'Join' button for your free Newsletter! Join newsletter! Jane Resture (E-mail: jane@janeresture.com -- Rev. 7th July 2004)

HAWAIIAN SHIRT & SHORTS

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Hawaiian Music - A

SURFING FOR LIFE -- Hawaiian Music & Hula Hawaiian Culture: 3 pages [ Previous page ] [ 1 ] [2 ] [ 3 ] [ Next page ] Hawaiian Music - A Brief History Hawaiian music is a unique blend of several early influences from abroad with ethnic Hawaiian chants. It has spawned the adaptation of guitar to several distinctly Hawaiian sounds and styles, notably slack key and steel guitar. This singular Hawaiian blend has given birth to such world-class musical talents as Gabby Pahinui, The Tau Moe Family, and The Sons of Hawai'i, who have all helped spread the Hawaiian sound and culture throughout the world. All of these great musicians are featured on the sound track of SURFING FOR LIFE which includes 17 songs of Hawaiian music. The general history of Hawaiian music begins in the mid 1800s, when visitors from all over the planet came by sea to Hawai'i, bringing with them instruments such as the violin, guitar, ukulele, piano, accordion and flute. Hawaiian music was rooted in old religious chants and hymns, which the native Hawaiians then mixed with the musical rhythms, sounds and instruments they heard from international visitors, immigrants and missionaries. Secular music was influenced by a variety of people including those of Mexican, Italian, German and Burmese descent. When early Mexican cowboys ( paniolo ), then still under Spanish rule, came to Hawai'i in the mid-1800s, they brought their guitars with them and taught the Hawaiians to play them in the Spanish style. The Hawaiians had innate musical talent and many became quite interested in the guitar. They largely followed the paniolo lead in guitar style and tuning. But, the Hawaiians soon adapted the tuning of the guitar to suit their own traditional Hawaiian songs and chants, loosening the guitar strings or "slacking" them. This allowed them to play bass on the loosened bass strings while playing a song's melody on the treble strings. They played a finger picking style with a steady rhythm to accompany singing and hula dancing. The slack key guitar method became so popular that families began developing their own unique styles and were very protective of their string tuning secrets. For this reason the slack key guitar style wasn't openly shared or taught within the islands for a considerable time. Ki ho' alu , or slack key has been called Hawai'i's back porch music, folk music and soul music. Its beautiful rhythms and magical way of capturing the aloha spirit are now taking international center stage. Slack key guitar -- melodious, intimate and relaxing -- is a sound now being sought the world over. Slack key festivals are popping up all over the Mainland and in many countries including Japan. Hawaiian music is also distinguished by its steel guitar style which was invented and developed in Hawai'i, largely by accident. In adapting the guitar to suit their own musical styles, Hawaiians often used a steel object and later a crafted steel bar to slide along the strings, producing a unique tone which was then integrated into the developing Hawaiian sound. The exact origins of the style and its technical inventor are widely debated; but three individuals -- Hoa, Davion and Kekuku -- may have discovered the technique independently of one another and are credited as its inventors. The steel guitar was featured in several Hawaiian bands in the early 1900s, as well as on some of the earliest recordings of Hawaiian music. Above, Hawaiian Youth, 1920 The popularization of Hawaiian music around the world began in the last quarter of the 19th century, mainly through the publishing of many of Queen Liliuokalani's songs in the United States. The early Royal Hawaiian Band played the first Hawaiian hit song, Aloha Oe , (composed by the Queen) in San Francisco in 1883. Hawaiian King Kalakaua, known as the Merry Monarch for his love of music and hula dancing, was also a skilled musician and prolific composer. Starting in 1915, the American populace was swept up in a craze over everything Hawaiian, prompted by the publicity over the traveling Hawaiian troubadours and their exotic and romantic island images. In particular, the Panama-Pacific International Exposition of 1915, taking place in San Francisco, served to introduce the unique Hawaiian sound to the world. Major recording and touring by Hawaiian bands began very shortly thereafter. Among the numerous musical influences on Hawaiian music as it evolved were gospel music, American pop such as Stephen Foster, country and western, ragtime, swing, European light opera, and jazz. The Hawaiian eclectic genius was to blend all of these international influences with their own sophisticated rhythms and guitar stylings, and to make the mix uniquely their own. After its introduction in the United States and Canada, Hawaiian music found its way to Europe during the early 1900s. The music combined slack-key and steel guitar with prominent use of the ukulele mixed with traditional Hawaiian chants and tones, The Mainland home of Hawaiian music in the '20 and '30s was the Lexington Hotel Lounge in New York, ruled by Hawaiian band leader Ray Kenney. There were many Hawaiian musical troupes touring the U.S. and Europe in the first three decades of the 20th century. One of the most popular, Jenny Wilson and her troupe of hula dancers, performed in Germany and throughout Europe. Prominent among the ambassadors of Hawaiian music in the 1920s and '30s was The Tau Moe Family which had considerable influence on the evolution of early Hawaiian music. Tau Moe, his wife and two children traveled the world in the 1920s and beyond, showcasing Hawaiian music and culture as "The Aloha Four". The group was one of the first to tour Europe during the Hawaiian cultural expansion, and for many years the family of four played in Europe, India and Asia. Queen Liliuokalani and King Kalakaua Tau Moe's life of music began as a child in Samoa. Travelling with his father, a Mormon missionary who set up churches and taught music, Tau learned his love of music from his father. When Tau was 11, his father moved the family to Hawai'i, and it was there that he was introduced to the musical styles he would grow to love and then showcase around the world. In Hawai'i, Tau Moe learned the steel guitar from M.K. Moke. He soon met another steel guitar player, Rose, who was to become his wife. The two joined a travelling show and began showcasing their musical talents. They couple had their first child, Lani, in Japan, and she too joined the family act that would come to be known, with the birth of son, Dorian, as the "Aloha Four." During the 1920s, Hawaiian music was sweeping the world with its own lilting and melodic sound. At the height of their popularity, Tau Moe and his family played for numerous world leaders in Germany, in Paris, Brussels and Japan, mesmerizing foreign audiences. They worked with a circus troupe, toured with the Josephine Baker show to Venice and played steel guitar music to an eager audience in Egypt. They also were profiled frequently in the press. The Tau Moe Family in 1970, Coutesy, Bishop Museum Years later, Tau and Rose retired, but not before leaving an indelible mark on the history of Hawaiian music, as one of the earliest musical forces to bring Hawaiian culture to international audiences. The Rounder Records CD, The Tau Moe Family with Bob Brozman, re-recorded many of the Tau Moe songs of the '20s and '30s with the original instrumentation. Two tracks from this CD, He Aloha No A Honolulu and Aloha Means I Love You , are on the sound track of SURFING FOR LIFE. Tau Moe Cover, Courtesy Rounder Records One of the greatest influences in spreading the gospel of Hawaiian music and steel guitar was the immensely popular radio program, Hawai'i Calls , rated the most popular program in radio history. Originating on July 3, 1935 from the Moana Hotel on Waikiki Beach, it featured the Harry Owens' dance orchestra with Webley Edwards as producer and Master of Ceremonies. The show's purpose was to showcase real Hawaiian music performed by Hawaiians in Hawai'i. A good portion of the songs were sung in English so mainlanders could recognize and learn to sing them. This created the hybrid style known as hapa-haole , Hawaiian music with English lyrics. At its peak in 1952, Hawai'i Calls was broadcast to 750 stations in the U.S., Canada, Latin America, Europe, Korea, Japan, South Africa, Australia and New Zealand. The show popularized a number of songs during its heyday including Sweet Leilani , The Hawaiian Wedding Song , and Little Brown Gal . The American craze over Hawaiian music began to fade in the late 1950s and '60s as other new music styles (especially rock and roll) took hold on the Mainland. But by the early '70s, Hawaiian music began to return to the mainstream and gained significant recognition and respect through the work of some of Hawaii's finest musicians, who spawned a revival of traditional Hawaiian music and also introduced newer styles. These great musicians, such as Gabby Pahinui, Eddie Kamae and The Sons of Hawai'i, have imprinted Hawaiian music on the world scene as much more than a trend. The music -- beautiful, distinctive and long-lasting -- represents the tonal and rhythmic expression of aloha. Hawai'i Calls Radio Performers, with Hilo Hattie in the Hat. Courtesy Hawai'i State Archive Charles Philip (Gabby) Pahinui was born in Honolulu in 1921. Hailed as "the folk hero of the Hawaiian music world," Gabby spent over 40 years playing in cafes, restaurants and nightclubs. Later, he spent another ten years focusing on studio albums and concerts. His long career created a large and extremely loyal following who regarded him as the quintessential Hawaiian musician and a revered representative of the Hawaiian people and culture. To many, Gabby Pahinui is synonymous with the resurgence of Hawaiian music. Interestingly, the great Hawaiian musician didn't like Hawaiian music as a boy. Growing up, Gabby was a fan of classic American jazz which greatly influenced his music over the years. As a boy, Gabby was a child musical genius. He was self-taught and never learned to read music. He learned to play the stand-up bass at age ten and started playing gigs as a child. Much to his parents dismay, he preferred to listen to his favorite jazz artists -- Benny Goodman, Duke Ellington, Lionel Hampton and others. Gabby learned to play many of the jazz harmonies of the time and especially liked "modern jazz." Although the influences of jazz are evident in Gabby's music, he was Hawaiian to the core. Gabby gained fame through his melding of jazz with traditional Hawaiian music and the slack key guitar. He first began playing slack key guitar in the early '40s and recorded Hi'ilawe , his first hit, in 1947. He learned his slack key from a Hawaiian musician named Herman, and has referred to him as the greatest slack key musician he had ever seen. Gabby picked up slack key guitar and made it his own, incorporating his favorite jazz rhythms and beats. Over the course of his lifetime, he was a major force in bringing slack key, previously a non-taught technique kept within the 'ohana or extended family, out into the open and to a very wide audience. Gabby Pahinui Gabby's amazing slack key talent overshadowed the fact that was also a highly skilled steel guitar player. In addition, his superb guitar playing was matched by his extraordinary vocal prowess. He had a lovely, unique falsetto voice that had enormous appeal to his audiences. Musical talent aside, Gabby was beloved by Hawaiians and musicians alike for his raucous personality, his infectious vitality and the way he put his soul into his music. It is often repeated that Gabby was unique in projecting a great power within his music. From the time he played his first gig, musicians have recognized in Gabby a distinct natural talent and the ability to live and breathe his music as a set of personal convictions. His talent was so impressive that it obscured his sometimes ostentatious behavior. As a young man, Gabby often infuriated club owners by his behavior during the gigs he played. He was continuously irresponsible, he had a drinking problem for years, and was a poor money manager. But he enjoyed a joyful and vivacious life that led him to be adored by almost everyone who met him. Club owners, no matter how annoyed they were by his behavior, could not dispute that Gabby had an incredible natural talent, even as a very young performer. Gabby's club circuit spanned almost 40 years during which he played with almost every important local musician -- Eddie Spencer, Andy Cummings, Tommy Carter, Joe Kaimi, George Kainapau, Gigi Royce, Alvin Isaacs, Eddie Kamae, David Nale, Fred Punahoa, and Abraham Maenwa. During the 1940s and '50s, Gabby spent a long time playing with Andy Cummings and his Hawaiian Serenaders. In the mid-sixties he began to concentrate on recording albums and concerts. In 1959, he joined Eddie Kamae in founding the highly influential group, The Sons of Hawai'i and continued to pursue solo slack-key guitar recordings. The Sons then recorded two great albums in the '60s. Gabby Pahinui on Left with Bandleader Andy Cummings at Far Right In 1971, Gabby recorded a blockbuster album with The Sons of Hawai'i on Panini Records. The album was released at an important point when Hawaiian music and culture were gaining momentum and its wide distribution put Gabby (and The Sons) right into the spotlight of the Hawaiian music renaissance. The two tracks from this milestone album on the SURFING FOR LIFE sound track are Ku'u Pete written by Irmgard F. Aluli and Mary Kawena Pukui and Hanohono Hawai'i . Gabby began playing more concerts, drawing larger crowds, the likes of which had only been seen at rock concerts. Gabby's contribution to the cultural renaissance of Hawaiian was enormous. After his last album with The Sons of Hawai'i, Gabby made an album of his own with his four sons called "Rabbit Island Music Festival." A few years later, he recorded "The Gabby Pahinui New Hawaiian Band" with mainland guitarist Ry Cooder who has said that Gabby was perhaps the finest guitar player he had ever met in his life. Gabby joined Cooder in recording another album, "Chicken Skin," notable for its worldwide release by Warner Brothers. In 1977, Gabby released another album, "Gabby Pahinui's Hawaiian Band, Vol 2" that was widely hailed as a milestone in Hawaiian music. The Sons of Hawai'i Cover In 1980, Gabby died at age 59. He had arrived home in the morning after staying out all night drinking and playing music with friends. He was playing golf with musician Andy Cummings when he collapsed on the 11th hole. The next day, all of Hawai'i mourned his death at Honolulu Hale. Musicians, fans and thousands of friends mourned this unique man who had changed the face of Hawaiian music. Gabby Pahinui has been the most important force in contemporary Hawaiian music to date. The Sons of Hawai'i, who recorded their first albun in 1962, represents a cross-section of Hawaii's greatest musicians. The group was formed by Gabby and Eddie Kamae, the islands finest ukelele player, and originally included David "Feet" Rogers on steel guitar, and Joe Marshall on bass. Each of these musicians brought with him a lifelong love of music and considerable musical expertise and experience. The group spent four months together collaborating, sharing their ideas, rehearsing and trying to develop a sound that would express a group identity. In 1960, the group's sound began to gain widespread popularity when they opened at The Sandbox in Honolulu and after the release of their first album in 1962. (Hula Records 503). The Sons of Hawai'i. Left to right: Joe Marshall, Dennis Kamakahi, Eddie Kamae, David "Feet" Rogers Despite its rapid success, the group would go through seven evolutions, as members came and went through the years with each new member bringing distinct musical sounds and talents to the group. Gabby and Joe Marshall played with other groups. The second incarnation of The Sons came together in the mid '60s, this time Kamae, Gabby, and Rogers welcomed new members-- Atta Isaacs, a slack key artist; Bobby Larson, and Norma Isaacs on Bass. Later, a third version of the group included Kamae, Marshall, Rogers, Sonny Chillingworth and Zulu. In 1970, the group reassembled to record another album, this time with Moe Keale, another ukulele player. This landmark album, The Sons of Hawai'i, was marked by a very distinctive sound, was wildly popular and is considered a classic. Between 1973 and 1982, The Sons underwent three more incarnations. In 1973, Dennis Kamakahi, a recognized Hawaiian singer and songwriter, joined in. Gabby did not take part. In 1977, Keale left the group, and in 1982 guitarists George Kuo and Raymond Balles joined forces. Rogers had fallen sick with Cancer. Since 1992, Kamae had divided his time between music and a career making documentary films focused on Hawaiian music and culture. But the group he founded and leads, The Sons of Hawai'i continues to perform their wonderful music and to ensure their lasting mark on Hawaiian music and the world. For over 40 years, The Sons have popularized the slack-key and steel guitar sounds and have creating many classic Hawaiian songs, an eloquent and beautiful tribute to the Hawaiian culture and language. Hawaiian musicians, notably Gabby Pahinui, Tao Moe, the Sons of Hawai'i, helped transform Hawaiian music and its unique styles from a music closely guarded by families (the 'ohana) to one which was openly shared by Hawaiians with the world. Styles that had been passed on from father to son were embraced on the Mainland when audiences were thrilled by Hawai'i's most talented musicians. Hawaiian musicians have also adapted other musical styles to fit into what is uniquely Hawaiian, continuing the eternal evolution of the music. The popularity of slack key and steel guitar has continued in recent years as an integral part of an island movement to explore and restore traditional Hawaiian culture to its people. Eddie Kamae One of the most lasting contributions that Hawaiian music has made to the world lies precisely in its adaptability and its openness to the influences of other styles of music. Just as early Hawaiians took foreign sounds and instruments and made them their own, Hawai'i's most famous musicians have also enjoyed the freedom to explore dissimilar musical influences and make a mark for themselves in musical history. Hawaiian music continues to be an evolutionary art form, a blend of old and new Hawai'i that has left its uniquely beautiful, melodious and heart-felt imprint on world music. Other Hawaiian Musicians, Record Companies Backyard Jam There are so many excellent Hawaiian musicans who deserve to be recognized in this history. Due to lack of space, we would simply like to thank and recognize the musicians whose music was featured on the sound track for SURFING FOR LIFE. The songs and musicians include Ku'u Kika Hahiki by Ozzie Kotani, Pu'u Anahula by Dennis Kamakahi, George Kuo and Cyril Pahinui of the Hawaiian Slack Key Band, Charmarita , Maunaloa Blues and Pahakulo by George Kuo, Kohala by Moses Kahumoku, Punahele by Ray Kane, and Kona Kai Opua , Haha Waipi'o , Nanca (NANEA) Ko Maka, He Aloha No O performed by The Malle Serenader (featuring Gabby Pahinui and "Feet" Rogers). Four record companies licensed this beautiful Hawaiian music for our use in SURFING FOR LIFE. Three of the labels have specialized in Hawaiian music, and we want to honor their work in recording and distributing so much fine music from the Islands of Aloha. Here are brief histories of Hula Records (now Hawai'i Calls), Panini Records and Dancing Cat Records. PANINI RECORDS, INC. Panini Records has been recording Hawaii's finest music for over 30 years. It was founded by Lawrence Brown, Witt Shingle, and Steve Siegfried in 1971. The Label's first release was the milestone record, The Sons of Hawai'i, which achieved enormous recognition and a large new audience for Hawaiian Music. Panini Records also recorded slack key guitar great Gabby Pahinui. The Label's second album, released in 1972, was made with Gabby Pahinui and entitled Gabby. The album featured Gabby, and his sons Bla, Phil, Cyril and Martin Pahinui in a focus on slack-key guitar and strong vocals. A year later, Gabby recorded Rabbit Island Music Festival with Panini, this time he and his sons were joined by Sonny Chillingworth, Leland Isaacs, and Randy Lorenzo. Panini released an album recorded by Pahinui in conjunction with Sunday Manoa, a group comprised of Peter Moon, Roland, and Robert Cazimero. The album, entitled Sunday Manoa 3 , featured the song Hawaiian Lullaby . In 1974, Panini released a live recording of some of Hawaii's greatest musicians at a concert in Waimea. The album featured Gabby, Sonny Chillingworth, Leland Isaacs, Genoa Keawe, Peter Moon, Roland, and Robert Cazimero. During 1975 Panini recorded the famous Gabby Pahinui Hawaiian Band with Gabby's group and Ry Cooder. The historic album produced was called the finest collection of Hawaiian music to date. The album, distributed worldwide through Warner Brothers, was highly successful. Panini recorded several albums of Peter Moon's music, notably Tropical Storm , an award winning album featuring Randy Lorenzo, Cyril Pahinui and Boddy Hall and including the hit song Island Love . Moon also recorded Malle , a more traditional arrangement of Hawaiian songs. Between 1982 and 1991, Panini was mostly inactive, emerging in 1991 to record The Pahinui Brothers album with Gabby Pahinui's sons. The album featured Ry Cooder, David Lindley and Jim Keltner and became a wonderful compilation of slack key, rock and country, and was distributed worldwide by BMG Music. Panini Records has continued to be an essential element in the distribution of classic, traditional Hawaiian music to the world HULA RECORDS Hula Records has the oldest and largest catalog of Hawaiian Music in the industry and has been dedicated to distributing Hawaiian music to the world since 1947. Founded by Donald McDiarmid, Sr. and carried on by son and grandson, the company is now named Hawai'i Calls Inc. for the first radio show of the same name broadcast in Waikiki in 1935. The first Hawai'i Calls show was created and hosted by Webley Edwards and showcased top Hawaiian musicians. At its peak, the show could be heard on over 700 radio stations in North America and internationally in New Zealand, Mexico, South America, and South Africa. The most popular radio show in history, it popularized a number of shows during its heyday including Sweet Leilani , The Hawaiian Wedding Song , and Little Brown Gal . Hawai'i Calls continues to promote Hawaiian music around the world, and distributes recordings of many of the musicians that have contributed to the SURFING FOR LIFE soundtrack. Among the great Hawaiian musicians recorded on the Hula Records label are: Gabby Pahinui, The Sunday Manoa, The Sons of Hawai'I, The Maile Serendaders, Mahi Beamer, The Kahauanu Lake Trio, Kawai Cockett, Geneo Keawe and Alfred Apaka DANCING CAT RECORDS Dancing Cat Records was founded in 1983 by pianist George Winston with the goal of promoting the music of those who had inspired him. After releasing some albums of his favorite musicians, he decided to focus instead on the music of the Hawaiian slack key guitar. Winston had been a student of the slack key guitar for over twenty years and became dedicated to preserving it. He focused Dancing Cat's resources on producing recordings of traditional slack key guitar masters, and then later, on younger players. Dancing Cat has been distributing Hawaiian music to the continental United States and the world ever since. Since its inception, Dancing Cat Records has produced 25 recordings in the ongoing Hawaiian Slack Key Guitar Masters series. Recorded guitarists include Sonny Chillingworth, Barney Isaacs, Ledward Kaapana, Moses Kahumoku, George Kahumoku, Leonard Kwan, Dennis Kamakahi, James Bla Pahinui, Ray Kane, and Cyril Pahinui among others. Dancing Cat Records has been successful in reaching a large number of people across the U.S. and around the world through artist interviews and recording reviews. Dancing Cat artists have appeared on The Today Show, The Disney Channel, ABC News in Philadelphia, Bay TV in San Francisco, NBC News in Seattle, and NPRs All Things Considered. Founder George Winston was also featured in a PBS concert special in December of 1996 in which he played a duet with Keola Beamer and Chet Atkins. Dancing Cat compiled a CD entitled The Language of Dreams devised solely to educate people across the country and the music industry in general about Hawaiian Music and the slack key guitar. The CD includes interviews with George Winston and Keola Beamer, Sonny Chillingworth, Ray Kane, Cyril Pahinui, and others and was aired promoted to over 1,300 radio stations across the country. Hawaiian Culture: 3 pages [ Previous page ] [ 1 ] [2 ] [ 3 ] [ Next page ] Ray Kane