First multi-year cumulation covers six years: 1965-70.

This work provides access to information on the rich and often little known legacy of anthropological scholarship preserved in a diversity of archives, libraries and museums. Selected anthropological manuscripts, papers, fieldnotes, site reports, photographs and sound recordings in more than 150 repositories are described. Coverage of resources in North American repositories is extensive while Great Britain, France, the Netherlands, Australia and certain other countries are more selectively represented. Entries are arranged by repository location and most contributors draw upon a special knowledge of the resources described. Contributors include James R. Glenn (National Anthropological Archives), Elizabeth Edwards and Veronica Lawrence (Pitt Rivers Museum, University of Oxford), Francisco Demetrio, S.J. (Museum and Archives, Xavier University, Philippines) and many others. The guide covers selected documentation in social and cultural anthropology, physical anthropology, archaeology and folklore. Some major area studies collections (such as the Asia Collections, Cornell University Libraries, and the Melanesian Archive at the University of California, San Diego) are also represented. Web URLs have been cited when available and personal, and ethnic name indexes are provided.

From the late eighteenth century, the hinterlands of Northern Luzon and its Indigenous people were in the crosshairs of imperial and capitalist extraction. Combining the breadth of global history with the intimacy of biography, Adrian De Leon follows the people of Northern Luzon across space and time, advancing a new vision of the United States's Pacific empire that begins with the natives and migrants who were at the heart of colonialism and its everyday undoing. From the emergence of Luzon's eighteenth-century tobacco industry and the Hawaii Sugar Planters' Association's documentation of workers to the movement of people and ideas across the Suez Canal and the stories of Filipino farmworkers in the American West, De Leon traces "the Filipino" as a racial category emerging from the labor, subjugation, archiving, and resistance of native people. De Leon's imaginatively constructed archive yields a sweeping history that promises to reshape our understanding of race making in the Pacific world.

In this innovative resource guide, Thomas P. Walsh has compiled a unique collection of some 1,400 published and unpublished American musical compositions relating in some way to the Philippines during the American colonial era in the country from 1898 to 1946. In preparing the guide, Walsh surveyed a wide array of sources: published songs listed in WorldCat, the online catalogs of sheet music collections of university libraries and major public and private research libraries, bibliographic compilations of popular music, the periodical literature on music and popular culture, published collections of “soldier songs,” and sheet music listed for sale on commercial auction websites. In addition, for the first time in the preparation of a research bibliography, the guide also identifies, from song registrations in the US Copyright Office’s Catalog of Copyright Entries (CCE), 48 years of musical compositions relating to the Philippines. In systematically going through the CCE, year by year, Walsh discovered hundreds of unpublished songs written by average Americans expressing their varied views about historical events and their personal experiences relating to America’s distant colony in Southeast Asia. Of the 1,400 chronologically-listed songs included in the guide, most will be new materials for scholars and students alike to study. Songs like “Ma Little Cebu Maid,” “My Own Manila Sue,” “My Fillipino Belle,” “Down on the Philippine Isles,” “Beside the Pasig River,” “My Philippino Pearl,” and “I Want a Filipino Man” were all published and widely promoted by Tin Pan Alley and were performed on stage and listened to at home on records and piano rolls across America. The lyrics often illustrate popular American attitudes, from shrilly patriotic numbers about the Battle of Manila Bay and, later, the Fall of Bataan and Corregidor to wistful, romantic, and even charming reminiscences of happy days spent in “old” Manila to racially charged pieces rife with deprecating stereotypes of Filipinos. This guide reprints a number of these hard-to-find song lyrics, making them available to readers for the first time in over a century. In addition to including the lyrics to a number of the songs, the guide also provides copyright registration numbers and dates of registration for many of the published and unpublished songs. Also provided are some 700 “notes” on particular songs and over 750 links that provide direct access to bibliographic records or even digital copies of the sheet music in libraries and collections. Exhaustive in its scope, Tin Pan Alley and the Philippines is an invaluable research resource for scholars and students of American history, Pacific studies, popular culture, and ethnomusicology.