This thesis research aims to define, identify, and promote community theatre as a “third space” for disadvantaged youth. A third space is defined by the Oxford dictionary as “...the in-between, or hybrid, spaces, where the first and second spaces work together to generate a new third space. First and second spaces are two different, and possibly conflicting, spatial groupings where people interact physically and socially: such as home (everyday knowledge) and school (academic knowledge)” (Oxford Dictionary, 2021). For disadvantaged youth, the creation of a third space in the theatre can give them a safe environment away from issues they may have at home or at school, it can further their learning about themselves and others, and it can also help those youth feel a sense of belonging to a community larger than themselves. Because of these benefits, it is clear that performing arts programs can offer a great impact on disadvantaged youth; however, many theatre companies struggle to market their programming to said communities. This may be in part, due to low marketing budgets, no specificity in labor resources dedicated to youth programming, or ineffective marketing strategies and tactics. This research aims to provide tangible recommendations for youth programmers to better involve their target audience.

A novel concept for integration of flame-assisted fuel cells (FFC) with a gas turbine is analyzed in this paper. Six different fuels (CH4, C3H8, JP-4, JP-5, JP-10(L), and H2) are investigated for the analytical model of the FFC integrated gas turbine hybrid system. As equivalence ratio increases, the efficiency of the hybrid system increases initially then decreases because the decreasing flow rate of air begins to outweigh the increasing hydrogen concentration. This occurs at an equivalence ratio of 2 for CH4. The thermodynamic cycle is analyzed using a temperature entropy diagram and a pressure volume diagram. These thermodynamic diagrams show as equivalence ratio increases, the power generated by the turbine in the hybrid setup decreases. Thermodynamic analysis was performed to verify that energy is conserved and the total chemical energy going into the system was equal to the heat rejected by the system plus the power generated by the system. Of the six fuels, the hybrid system performs best with H2 as the fuel. The electrical efficiency with H2 is predicted to be 27%, CH4 is 24%, C3H8 is 22%, JP-4 is 21%, JP-5 is 20%, and JP-10(L) is 20%. When H2 fuel is used, the overall integrated system is predicted to be 24.5% more efficient than the standard gas turbine system. The integrated system is predicted to be 23.0% more efficient with CH4, 21.9% more efficient with C3H8, 22.7% more efficient with JP-4, 21.3% more efficient with JP-5, and 20.8% more efficient with JP-10(L). The sensitivity of the model is investigated using various fuel utilizations. When CH4 fuel is used, the integrated system is predicted to be 22.7% more efficient with a fuel utilization efficiency of 90% compared to that of 30%.

Music has consistently been documented as a manner to bring people together across cultures throughout the world. In this research, we propose that people use similar musical taste as a strong sign of potential social connection. To investigate this notion, we draw on literature examining how music merges the public/private self, the link to personality, and group identity, as well as how it is linked to romantic relationships. Thus, music can be a tool when wanting to get to know someone else and/or forge a platonic relationship. To test this hypothesis, we designed an experiment comparing music relative to another commonality (sharing a sports team in common) to see which factor is stronger in triggering an online social connection. We argue that people believe they have more in common with someone who shares similar music taste compared to other commonalities. We discuss implications for marketers on music streaming platforms.

Especially during the current COVID-19 pandemic and age of social unrest in the United States, there has been an increasing need for comfort, yet the idea of comfort is quite vague and rarely elaborated upon. To simplify the idea of comfort and communicate the ideas around it effectively, I am defining comfort as a subset of escapism in which a person escapes to reduce or alleviate feelings of grief or distress. As companies rush to comfort their customers in this current state of uncertainty, marketers are pressed to identify people’s insecurities and comfort them without coming off as insensitive or trite. Current comfort marketing focuses on inspiring nostalgia in its customers, having them recall previous positive experiences or feelings to comfort them. Nostalgic marketing techniques may ease mild grief in some cases, but using them to alleviate severe distress probably will not be as effective, and has contributed to several seemingly out-of-touch “COVID-19 era” commercials.<br/>When addressing comfort, marketers should understand the type and hierarchy of comfort that they are catering to. Not all comforts are equal, in that some comforts make us feel better than others and some do not comfort us at all. A better understanding of how and why comforts change among different individuals, and possibly being able to predict the comfort preference based on a product or service, will help marketers market their goods and services more effectively. By diversifying and specializing comfort marketing using this hierarchical method, marketers will be able to more significantly reach their customers during “uncertain times.”