In 1933, the sounds emanating from the bandstands of the Waikiki showrooms were primarily lyrical and pastoral. They were sweet melodies thought decent enough by its Missionary patrons - ignorant of its inherent code and references - to be wholesome, virtuous, and worthy of performance. By 1937, the Bar Managers began to urge the musicians and singers to play that new "Hot Jazz" that was sweeping the country. The Hot Jazz that kept dancers dancing and drinkers buying drinks. Duke Ellington had come and made his mark. Hawaiian musicians had gone to the Big Apple and back and had heard the great guitar masters of the day... These top guitarists all sounded like their idol of the time: A certain Gypsy virtuoso from Paris, France - of all places - with a seriously damaged hand no less. This Gypsy player, Django Reinhardt, changed the way we were listening to guitar and jazz itself. But the consequences were felt on the other side of the World.
One of these consequences was the birth of "Hawaiian Jump Swing". Once familiar and predictable, Hawaiian music changed virtually overnight. This Jump Swing became something of a World phenomenon. It became as popular as the Café Tangos of the day. Indeed, this music was in its turn, adapted by jazz stars and combos as diverse as Bing Crosby, and Count Basie to the later Nashville sound - as we hear it today in groups like George Straight and Asleep at The Wheel.
Music does subvert. Make no mistake.