On the surface, Australian metal music can be read—quite fairly—as a white, working-class, hypermasculine phenomenon. With further excavation, however, the way metal music materializes in local Australian scenes around the country in various ways reveals its power in negotiating complex structures of identity and belonging. Australian metal music is paradoxical and complex, and fans ‘use’ metal in a variety of political ways. Quite specific to Australian metal music, too, are the ways in which it has long been constructed as a frontier space—a space sitting ‘on the edge’ both geographically and politically, wherein metal’s tendency for extremes—its celebration of brutality, and its perpetuation of hegemonic white masculinity—is only matched by its potential for counter-hegemonic politics, radical change, and boundary-pushing. The Australian frontier functions symbolically in our reading, both as a space dominated by the centralizing figure of the colonial white man, but also as a precarious space in which women’s resilience and Aboriginal and Torres Strait Islander people’s agency in pushing back against colonial normativity rise to destabilize the accepted narratives of invasion politics.

This final chapter offers advice on the opportunities and challenges of being a composer, and is intended to be useful and encouraging for anyone developing their practice. It suggests ways to build a professional profile through growing networks and understanding effective working habits.

This chapter seeks to understand how media and digital technologies influence art demand and supply. Particularly, we shed light on the impact of the mass media on cultural consumption and live attendance. We describe the emergence of virtual museums and, more broadly, digital cultural heritage. We also evaluate whether video games may influence art consumption and discuss the cultural importance of video games. Finally, we cover the consumption of music and how it relates to the rapidly changing and evolving music industry.

The chapter historicises the economics of music in the current age of technological automation – from the invention of intellectual property to the implementation of lock-down technologies at the turn of the twenty-first century. The first section sketches the basic characteristics of music’s technological, legal and political economies. By the late twentieth century, the precarious markets for music – enclosed within large-scale cycles of boom and bust in the nineteenth century – had morphed into a relatively stable set of intersecting industrial networks, including print, radio and phonograph. The second section sketches a transition period for the music industry in the context of distributed digital networks that emerged after the Cold War, producing a disjuncture between practice and policy. The third section traces the dialectics of intellectual property regimes pertaining to digital rights management, arguing that a covert allomorphism of the law effectively disabled both technical and legal functionalities pertaining to music.

This chapter considers current and future economies of music production, distribution and consumption, intersecting the question concerning technology – big data storage, distributed network technology, programmable artificial intelligence – with the question concerning contemporary markets – the merchandising of desire, taste and sensibility within a surveillant attention economy, and its concomitant labour ethics. The first section tracks changes in the music industry within the digitally networked environment in the first decade of the twenty-first century. A practice of P2P sharing and free downloading shifted toward a full-scale surveillance economy hitched to licensed music, raising questions concerning data privacy, data security, management of user data, and procedures for third-party requests for data and metadata. By investigating the economic, social, technical and legal dimensions of this shifting terrain, the chapter suggests that the impact on cultural labour practices in the digital age bear uncanny resemblance to a pre-technological one.