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.<br/>In order to ideate marketing recommendations for these organizations, primary research was conducted to determine the attitudes and beliefs revolving around youth participation in community theatre, as well as the current marketing strategies and tactics being utilized by programmers. Participants included program managers of youth theatre programs, as well as youth participants from several major cities in the U. S. The secondary research aims to better understand the target demographic (disadvantaged youth), the benefits derived from participation in arts programming, and marketing strategies for the performing arts. Following data analysis are several recommendations for the learning, planning, and implementation of marketing strategies for theatre programmers.

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.

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.

Glioblastoma (GB) is one of the deadliest cancers and the most common form of adult primary brain tumors. SGEF (ARHGEF26) has been previously shown to be overexpressed in GB tumors, play a role in cell invasion/migration, and increase temozolomide (TMZ) resistance.[3] It was hypothesized parental LN229 cell lines with SGEF knockdown (LN229-SGEFi) will show decreased metabolism in the MTS assay and decreased colony formation in a colony formation assay compared to parental LN229 cells after challenging the two cell lines with TMZ. For WB and co-immunoprecipitation (co-IP), parental LN229 cells with endogenous SGEF and BRCA were expected to interact and stain in the BRCA1:IP WB. LN229-SGEFi cells were expected to show very little SGEF precipitated due to shRNA targeted knockdown of SGEF. In conditions with mutations in the BRCA1 binding site (LN229-SGEFi + AdBRCAm/AdDM), SGEF expression was expected to decrease compared to parental LN229 or LN229-SGEFi cells reconstituted with WT SGEF (LN229-SGEFi + AdWT). LN229 infected with AdSGEF with a mutated nuclear localization signal (LN229-SGEFi + AdNLS12m) were expected to show BRCA and SGEF interaction since whole cell lysates were used for the co-IP. MTS data showed no significant differences in metabolism between the two cell lines at all three time points (3, 5, and 7 days). Western blot analysis was successful at imaging both SGEF and BRCA1 protein bands from whole cell lysate. The CFA showed no significant difference between cell lines after being challenged with 500uM TMZ. The co-IP immunoblot showed staining for BRCA1 and SGEF for all lysate samples, including unexpected lysates such as LN229-SGEFi, LN229-SGEFi + AdBRCAm, and LN229-SGEFi + AdDM. These results suggested either an indirect protein interaction between BRCA1 and SGEF, an additional BRCA binding site not included in the consensus, or possible detection of the translocated SGEF in knockdown cells lines since shRNA cannot enter the nucleus. Further optimization of CO-IP protocol, MTS assay, and CFA will be needed to characterize the SGEF/BRCA1 interaction and its role in cell survival.

Cancer rates vary between people, between cultures, and between tissue types, driven by clinically relevant distinctions in the risk factors that lead to different cancer types. Despite the importance of cancer location in human health, little is known about tissue-specific cancers in non-human animals. We can gain significant insight into how evolutionary history has shaped mechanisms of cancer suppression by examining how life history traits impact cancer susceptibility across species. Here, we perform multi-level analysis to test how species-level life history strategies are associated with differences in neoplasia prevalence, and apply this to mammary neoplasia within mammals. We propose that the same patterns of cancer prevalence that have been reported across species will be maintained at the tissue-specific level. We used a combination of factor analysis and phylogenetic regression on 13 life history traits across 90 mammalian species to determine the correlation between a life history trait and how it relates to mammary neoplasia prevalence. The factor analysis presented ways to calculate quantifiable underlying factors that contribute to covariance of entangled life history variables. A greater risk of mammary neoplasia was found to be correlated most significantly with shorter gestation length. With this analysis, a framework is provided for how different life history modalities can influence cancer vulnerability. Additionally, statistical methods developed for this project present a framework for future comparative oncology studies and have the potential for many diverse applications.

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.”

The goal of this project was to design and create a genetic construct that would allow for <br/>tumor growth to be induced in the center of the wing imaginal disc of Drosophila larvae, the <br/>R85E08 domain, using a heat shock. The resulting transgene would be combined with other <br/>transgenes in a single fly that would allow for simultaneous expression of the oncogene and, in <br/>the surrounding cells, other genes of interest. This system would help establish Drosophila as a <br/>more versatile and reliable model organism for cancer research. Furthermore, pilot studies were <br/>performed, using elements of the final proposed system, to determine if tumor growth is possible <br/>in the center of the disc, which oncogene produces the best results, and if oncogene expression <br/>induced later in development causes tumor growth. Three different candidate genes were <br/>investigated: RasV12, PvrACT, and Avli.

Micro influencers have become extremely powerful in terms of swaying buying patterns among consumers. This thesis examines the greater impact that micro influencers have on brand marketing. This was completed through a literature review that highlights the evolution of marketing, influencer marketing, discussing reach, relevance, and resonance, and Generation Z’s purchasing decisions. In addition, we conducted an online survey through Qualtrics that allowed us to analyze the impact social media influencers have. The results of our research indicate that TikTok is used most frequently, but Instagram is where social media influencers are followed most. From our data, we concluded that Generation Z is most influenced by authentic, genuine content created by influencers regardless of follower count. We recommend that a brand interested in reaching Generation Z (we refer to the brand as “Brand X”) use micro influencers, as our research shows that genuine relationships are valued among this generation. We believe that micro influencers are the most valuable to use as they are able to create meaningful relationships with consumers due to their reach, relevance, and resonance with the individuals their content reaches.

Micro influencers have become extremely powerful in terms of swaying buying patterns among consumers. This thesis examines the greater impact that micro influencers have on brand marketing. This was completed through a literature review that highlights the evolution of marketing, influencer marketing, discussing reach, relevance, and resonance, and Generation Z’s purchasing decisions. In addition, we conducted an online survey through Qualtrics that allowed us to analyze the impact social media influencers have. The results of our research indicate that TikTok is used most frequently, but Instagram is where social media influencers are followed most. From our data, we concluded that Generation Z is most influenced by authentic, genuine content created by influencers regardless of follower count. We recommend that a brand interested in reaching Generation Z (we refer to the brand as “Brand X”) use micro influencers, as our research shows that genuine relationships are valued among this generation. We believe that micro influencers are the most valuable to use as they are able to create meaningful relationships with consumers due to their reach, relevance, and resonance with the individuals their content reaches.