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ENJOY HOT LOVE AND ROMANCE IN THE PHILIPPINES Archeology Intern Heather Kelly gains the opportunity of her academic life and is assigned to work with world famous Robert Kraig, a modern Indiana Jones, doing excavations all over the world. His current work deals with Jose Rizal, the independence hero of the Philippines. She is finishing up her doctoral dissertation on the Spanish American War and needs the information about Rizal, which if all goes well, will likely result in her attaining her doctorate and a lucrative teaching position in California. She doesn't expect Robert to be so unmarried, masculine and fit, and finds him extremely attractive. Robert is madly in love with a Filipina, Edie Santos, who owns and manages a respected, successful modeling agency and lands contracts in Davao City and Los Angeles. She is off on her assignments for weeks at a time, and Robert is lonely for Edie and starts drinking too much. Robert's colleagues warn him that Heather is a sex predator and playgirl. While Edie is away, Heather makes her move on Robert after a professional presentation at the Manila Historical Preservation Office. Edie hears through the grapevine that Robert and Heather had sex, but Robert isn't convinced because of his cloudy recollection after too much wine. Then again, it depends on how you describe sex. Will Edie forgive his transgression?
In this innovative resource guide, Thomas P. Walsh has compiled a unique collection of some 1,400 published and unpublished American musical compositions relating in some way to the Philippines during the American colonial era in the country from 1898 to 1946.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 In systematically going through the CCE, year by year, Walsh discovered hundreds of unpublished songs written by average Americans expressing their varied views about historical events and their personal experiences relating to America’s distant colony in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.
This is the inexpensive paperback edition of the book on the past, present and future of astronomy in the Philippines and other countries: investigating why Rizal did not construct an astronomical telescope when he had the know-how and the materials to do so. The title of this book, "A Sky as Clear as Sapphire" in English, comes from a phrase used by Rizal in the 60th chapter of his first novel, Noli Me Tangere. Many astro-photographs converted from full color to black-and-white and gray scale, surprisingly turned out extraordinarily beautiful.