In Field Stories, William H. Leggett and Ida Fadzillah Leggett have pulled together a collection of ethnographic research and classroom experiences from around the world. Drawing on moments both unfamiliar and all too familiar to those accustomed to fieldwork, the contributors to this collection demonstrate in clear, relatable prose how intimate engagements with others in the field can present moments of rich ethnographic value that provide insight into global interconnections.

In Field Stories, William H. Leggett and Ida Fadzillah Leggett have drawn together a collection of fieldwork experiences from around the world. Using concepts like vulnerability, friendship, fear, and affect, the contributors in this collection draw on their ethnographic research and classroom experience to share instructive narratives related to their personal encounters and insights from working with local interlocuters. Drawing on moments both unfamiliar and all too familiar to those accustomed to fieldwork, the contributors demonstrate, in clear, relatable prose, how intimate engagements with others in the field can present moments of rich ethnographic value that can be used to understand and provide insight into global interconnections.

Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically, they argue that the musical encounter, composed of an array of production and consumption practices, takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making. The majority of voices amplified in the book come from so-called “migrants,� understood as someone who was born in one country and currently lives and works in another. Yet, these words, migration, migrant and migrancy, are more expansive than that as they indicate a range of movement, politics and place-making. Contributions from Emilie Amrein, André de Quadros, Nick Dunn, Pol Esteve, Jillian Fulton-Melanson, Jacqueline Georgis, Masimba Hwati, Ailbhe Kenny, Seger Kersbergen, Brendan Kibbee, �ine Mangaoang, Derek Pardue, Nick Prior, Austin T. Richie, Willians Santos, Sipho Sithole, Gibran Teixeira Braga, Katie Young. A great, engaging transdisciplinary contribution to nightlife studies, music and the city.

Reflecting on some of Brazil's foremost challenges, this book considers the porous relationship between legality and illegality in a country that presages political and societal changes in hitherto unprecedented dimensions. It brings together work by established scholars from Brazil, Europe and the United States to think through how (il)legalities are produced and represented at the level of institutions, (daily) practice and culture. Through a transdisciplinary approach, the chapters cover issues including informal work practices (e.g. street vendors), urban squatter movements and migration. Alongside social practices, the volume features close analyses of cultural practices and cultural production, including migrant literature, punk music and indigenous art. The question of (il)legalities resonates beyond Brazil's borders, as concepts such as "lawfare" have crept into vocabularies, and countries the world over grapple with issues like state interference, fake news and the definition of "illegal" migration. This is valuable reading for scholars in Brazilian and Latin American Studies, as well as those working in literary and cultural studies, anthropology, sociology, geography and political science.

Musicians rapping in kriolu--a hybrid of Portuguese and West African languages spoken in Cape Verde--have recently emerged from Lisbon's periphery. They popularize the struggles with identity and belonging among young people in a Cape Verdean immigrant community that shares not only the kriolu language but its culture and history. Drawing on fieldwork and archival research in Portugal and Cape Verde, Derek Pardue introduces Lisbon's kriolu rap scene and its role in challenging metropolitan Portuguese identities. Pardue demonstrates that Cape Verde, while relatively small within the Portuguese diaspora, offers valuable lessons about the politics of experience and social agency within a postcolonial context that remains poorly understood. As he argues, knowing more about both Cape Verdeans and the Portuguese invites clearer assessments of the relationship between the experience and policies of migration. That in turn allows us to better gauge citizenship as a balance of individual achievement and cultural ascription. Deftly shifting from domestic to public spaces and from social media to ethnographic theory, Pardue describes an overlooked phenomenon transforming Portugal, one sure to have parallels in former colonial powers across twenty-first-century Europe.

Musicians rapping in kriolu--a hybrid of Portuguese and West African languages spoken in Cape Verde--have recently emerged from Lisbon's periphery. They popularize the struggles with identity and belonging among young people in a Cape Verdean immigrant community that shares not only the kriolu language but its culture and history. Drawing on fieldwork and archival research in Portugal and Cape Verde, Derek Pardue introduces Lisbon's kriolu rap scene and its role in challenging metropolitan Portuguese identities. Pardue demonstrates that Cape Verde, while relatively small within the Portuguese diaspora, offers valuable lessons about the politics of experience and social agency within a postcolonial context that remains poorly understood. As he argues, knowing more about both Cape Verdeans and the Portuguese invites clearer assessments of the relationship between the experience and policies of migration. That in turn allows us to better gauge citizenship as a balance of individual achievement and cultural ascription. Deftly shifting from domestic to public spaces and from social media to ethnographic theory, Pardue describes an overlooked phenomenon transforming Portugal, one sure to have parallels in former colonial powers across twenty-first-century Europe.

Reflecting on some of Brazil's foremost challenges, this book considers the porous relationship between legality and illegality in a country that presages political and societal changes in hitherto unprecedented dimensions. It brings together work by established scholars from Brazil, Europe and the United States to think through how (il)legalities are produced and represented at the level of institutions, (daily) practice and culture. Through a transdisciplinary approach, the chapters cover issues including informal work practices (e.g. street vendors), urban squatter movements and migration. Alongside social practices, the volume features close analyses of cultural practices and cultural production, including migrant literature, punk music and indigenous art. The question of (il)legalities resonates beyond Brazil's borders, as concepts such as "lawfare" have crept into vocabularies, and countries the world over grapple with issues like state interference, fake news and the definition of "illegal" migration. This is valuable reading for scholars in Brazilian and Latin American Studies, as well as those working in literary and cultural studies, anthropology, sociology, geography and political science.

In 1997 the rap group Racionais MCs (the 'Rational' MCs) recorded the album Sobrevivendo no Inferno (Surviving in Hell), subsequently changing the hip-hop scene in Sao Paulo and firmly establishing itself as the point of reference for youth across Brazil. In an era when rappers needed to defend the very idea that their work was indeed music and a time when neighborhoods such as Capao Redondo, from where Racionais frontman Mano Brown hailed, often topped homicide statistics, Sobrevivendo empowered as it provoked. As one journalist noted, "the underworld of Sao Paulo's working-class suburbs is dominated by cheap thrills and provides little space for representation." Sobrevivendo changed all of that; a brutal but invigorating imagination was born. The lure of Sobrevivendo is the particular combination of word and sound that powerfully involves listeners, especially those millions of young Brazilians who live in the neighborhoods on the periphery of Brazil's megacities. This book celebrates the 25-year anniversary of Sobrevivendo by representing the album's power not only within the hip-hop community but also in other cultural domains such as cinema and literature. The author also provides his own narrative spins on the sentiment of Sobrevivendo, thus making the book a creative mix of cultural analysis and inspired testimony.

In 1997 the rap group Racionais MCs (the 'Rational' MCs) recorded the album Sobrevivendo no Inferno (Surviving in Hell), subsequently changing the hip-hop scene in Sao Paulo and firmly establishing itself as the point of reference for youth across Brazil. In an era when rappers needed to defend the very idea that their work was indeed music and a time when neighborhoods such as Capao Redondo, from where Racionais frontman Mano Brown hailed, often topped homicide statistics, Sobrevivendo empowered as it provoked. As one journalist noted, "the underworld of Sao Paulo's working-class suburbs is dominated by cheap thrills and provides little space for representation." Sobrevivendo changed all of that; a brutal but invigorating imagination was born. The lure of Sobrevivendo is the particular combination of word and sound that powerfully involves listeners, especially those millions of young Brazilians who live in the neighborhoods on the periphery of Brazil's megacities. This book celebrates the 25-year anniversary of Sobrevivendo by representing the album's power not only within the hip-hop community but also in other cultural domains such as cinema and literature. The author also provides his own narrative spins on the sentiment of Sobrevivendo, thus making the book a creative mix of cultural analysis and inspired testimony.

Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically, they argue that the musical encounter, composed of an array of production and consumption practices, takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making. The majority of voices amplified in the book come from so-called “migrants,� understood as someone who was born in one country and currently lives and works in another. Yet, these words, migration, migrant and migrancy, are more expansive than that as they indicate a range of movement, politics and place-making. Contributions from Emilie Amrein, André de Quadros, Nick Dunn, Pol Esteve, Jillian Fulton-Melanson, Jacqueline Georgis, Masimba Hwati, Ailbhe Kenny, Seger Kersbergen, Brendan Kibbee, �ine Mangaoang, Derek Pardue, Nick Prior, Austin T. Richie, Willians Santos, Sipho Sithole, Gibran Teixeira Braga, Katie Young. A great, engaging transdisciplinary contribution to nightlife studies, music and the city.