In Part 2 we looked at the modality of representation struggles that police and transform class via those very struggles. Classed-imbued figures mark this affective atmosphere. Thus hipster and bogan invoke consternation over taste, lifestyle and morals. In Part 3 the book changes focus to look at modalities of struggle in the lives of young people who are participating in creative cultural activities in a Do-It-Yourself (DIY) music scene. Here notions of illusio and social gravity are employed to trace the ways motivations and ethos can traverse between fields and challenge their doxa. Chapter 6 looks at modalities of everyday struggle about meaning, identity and recognition, that is, struggles over doxa and reflexive engagement with illusio as one embarks on creative practices in the field of cultural production. Chapter 7 looks at how those same young people struggle to combine creative and artistic endeavours while trying to find and maintain meaningful work. Where Part 2 focused on the ways hipsters and bogans are invoked in the field of representation to shape the ways class is thought and made, Part 3 analyses practice in the overlapping fields of the labour market, education, cultural consumption and cultural production. Bourdieu saw the field of cultural production as a primary arena where fractions of the dominant classes clash: ‘who fight there sometimes in person but more often through producers oriented towards defending their “ideas” and satisfying their “tastes”’ (Bourdieu 1993b: 102). Such struggles integrate various encounters in an array of subfields that can be completely separate in terms of market, geographical and social space. There, the ‘different fractions of the dominant class can find products adjusted to their tastes’ (Bourdieu 1993b: 102).