Within the theoretical framework of Entrepreneurship Studies, this article investigates the thriving immigrant-based street market system in Alicante, Spain. Entrepreneurship research clearly has illustrated that the success of legitimate entrepreneurial endeavours is determined by a complex variety of factors that involve supply and demand, risk vs. return and opportunity vs. need, among others. Based upon field observations, interviews and a detailed survey conducted during the summers of 2005 and 2006, our investigation of the small business street vendor system in Alicante illustrates that these entrepreneurial factors also define and affect the illegal enterprises established by a largely undocumented immigrant population. Despite the apparent simplicity of the street vendor network, both the wholesale and retail systems in Alicante are highly complex and structured, and they work to minimise risk to street entrepreneurs while providing greater economic returns to a large and highly diverse population.

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In Cervantes's Spain, music was considered one of the foremost arts, and cultural elites aspired to learn to sing different genres and to play fashionable instruments. Music's special status was most visible at the Universities of Salamanca and Alcalá, both having chairs of music charged with the instruction of trendy polyphonic styles. However, Miguel de Cervantes never attended these universities and he was not a professionally trained musician. Yet, throughout Don Quijote he includes a considerable number and variety of lyrical poems set to an abundance and diversity of period instruments. Entire episodes in the novel turn upon the fusion of song, dance, and instrumentalism. Placed against Cervantes's biography, the commonality of these instances challenges assumptions about his life and suggests his particular affinity for music. In particular, this essay is concerned with demonstrating Cervantes's agility with musical forms through an examination of the romance and the sonnet, the two lyrical poems that appear most regularly in the novel. Textual cues indicate that Cervantes meant for these poems to be performed orally, not just by the characters within the text but also by the seventeenth-century implied reader who likely read the novel aloud to a group of listeners.