Author Description

I argue that technology plays an important role in how these youth consume popular music, and in how they produce themselves as 'dedicated' fans of particular artists and music subgenera, and subsequently position themselves as more 'involved' in music consumption than many of their peers. I suggest that these young people's investments in music assist them in understanding diverse music texts as well as wider societal issues, albeit in contradictory ways. Furthermore, I show how some young men of the study who are invested in rap culture (re)articulate its core signifiers of Black urban identity as a means to counteract (what they perceive as) boredom and its interrelation with their town as a site of whiteness. Finally, I argue that the participants' gendering of pop music as a site of femininity and rock as a site of masculinity shapes how they select music and present themselves as fans, as well as how they understand and respond to other young men and women in their community.This thesis examines how young people in a non-urban Ontario town consume and invest themselves in contemporary popular music. I focus on how youth use technology (contemporary and seemingly retrogressive technologies) to access and listen to music, and how their investments in individual music preferences shape their perceptions and negotiations of racialized and gendered identities.While much work on youth and music has focused on urban subcultures, my study examines a group of youth residing in a small town characterized by its overwhelming whiteness. Using qualitative inquiry, I interviewed 23 young men and women individually and in focus groups. Their narratives suggest that their consumption of popular music and its role in the formation of individual and social identities is every bit as complex as their much-studied urban peers (including those participating in widely recognized youth subcultures).This thesis adds to the small number of qualitative studies of youth who, although they classify themselves as active, passionate music fans, are not affiliated with recognizable subcultures. As well, the study contributes to knowledge about youth in small towns and rural Canadian communities.