Billabong Salty Dayz Wetsuit Vest. External completely Recycled Superflex Jersey Centre Top Zipper Seams Flatlock sewn outside seams smooth, accommodating and sturdy. Generally rinse off thoroughly inside and outside with fresh water after every use. Hang to dried up. 80% Neoprene.

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In ancient Hawai’i, the Islanders surfed for pleasure, for status, for gain and loss, surfers wagering lives, property, and freedom on wave-riding contests. The ali’i the chiefs and royalty like Kamehameha I, Prince Jonah Kuhio, and Queen Emma proved their royalty with their surfing ability.

Before Captain Cook’s arrival, Hawai’ians had gods for every occasion and their system of religious kapu ruled every aspect of daily life, from growing taro to riding waves. Kahuna were holy men, each of them with different skills: Some read the future, others blessed crops, and there were kahuna who specialized in the ocean and knew what the gods wanted to hear for bringing up the surf.

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The Hawai’ians did not have a written language but some of their precontact chants survived long enough for haole scholars and missionaries to write them down. As Ben Finney and James D. Houston wrote in Surfing: A History of the Ancient Hawaiian Sport: “When the ocean was flat the Hawaiians took measures to address the return of rideable waves.

If a group of surfers wanted to address the ocean, they might gather on the beach, find strands of pōhuehue (beach morning glory), swing them around their heads together and lash the surface of the water chanting in unison.

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The Hawai’ian music we know today is an alchemy of those ancient chants combined with musical instruments introduced by the cultures that came to Hawai’i after Cook. In the mid-1800s, sailors, missionaries, and other visitors arrived in Hawai’i, while Islanders who shipped out as able-bodied seamen began to see the world. Hawai’ians adapted and adopted outside musical influences into their own to create beautiful music. The ukulele, slack key guitar, and steel guitar all came from this mixing of Hawai’ian and haole culture.

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Early Mexican paniolo cowboys brought their guitars to Hawai’i and taught Islanders to play in the Spanish style. The Hawai’ians soon were retuning the strings by “slacking” them. Slack key allowed Islanders to play bass on the loosened bass strings while maintaining the melody on the treble, and their fingerpicking was adapted to match the movements and mood of hula dancing.

Adapting the guitar to suit their own musical styles, Hawai’ians also often used a steel bar to slide along the strings, producing a unique crying tone. The origins of the steel-guitar style and its technical inventor are widely debated, but three individuals James Hoa, Gabriel Davion, and Joseph Kekuku may have discovered the technique independently of one another and are credited as its inventors. The steel guitar is featured on some of the earliest known recordings of Hawai’ian music.

When modern surf music arrived at the hands of Dick Dale, the Belairs, the Ventures, and others, it had more to do with African rather than Polynesian roots, but some of surf music’s artists particularly Don Wilson and Bob Bogle of the Venture were inspired by the slack key, ukulele, and steel guitar of Hawai’ian music. And here in the new century, Hawai’ian surfing-star-turned-pop-stars Jack Johnson is as comfortable with a ukulele as he is with a traditional acoustic guitar.

Musically, the Beach Party movies all had a similar motif. Frankie and Annette were joined by semi-regulars like chanteuse Donna Loren—borrowed from Dr. Pepper commercials and a force of nature named Candy Johnson as the Perpetual Motion Dancer. Johnson shook that thing like few things have ever been shaken; there was so much mojo locked up in her booty she had the power to take out surfers on waves, bikers on their choppers, and any other male within a hundred yards. Each movie also boasted a regular house band, starting with Dick Dale for the first two movies. He was replaced by the Pyramids, the Exciters, and the Kingsmen. Love ballads, novelty songs, and some good rock’n’roll these movies had it all.

Beach Party: The first of the series set the stage for the corny-to-cool scenario. The film begins with Frankie and Annette on spring break, driving a jalopy along PCH and singing a bongo-driven, jazzified “Beach Party” theme song. This song tests the assertion that it’s hip to be square, but the music goes uphill from there.

After a quick charge through the surf, Dick Dale and his baby blue Stratocaster jump into “Secret Surfin’ Spot” and the gang starts frugging. From a contemporary perspective, Dale’s rocking scenes may not appear to be anything special. But this was 1963, pre-Scopitone, pre-Hullabaloo, pre-Shindig, pre-MTV; it was music video before music video. The close ups of bikinied girls and baggied guys whooping it up in the sand probably had every teen in the theater ready to move to California and go surfing.