Waste pickers are the victims of harsh economic and social factors that have hurt many<br/>developing countries and billions of people around the world. Due to the rise of industrialization<br/>since the 19th century, waste and disposable resources have been discarded around the world to<br/>provide more resources, products, and services to wealthy countries. This has put developing<br/>countries in a precarious position where people have had very few economic opportunities<br/>besides taking on the role of waste pickers, who not only face physical health consequences due<br/>to the work they do but also face exclusion from society due to the negative views of waste<br/>pickers. Many people view waste pickers as scavengers and people who survive off of doing<br/>dirty work, which creates tensions between waste pickers and others in society. This even leads<br/>to many countries outlawing waste picking and has led to the brutal treatment of waste pickers<br/>throughout the world and has even led to thousands of waste pickers being killed by anti-waste<br/>picker groups and law enforcement organizations in many countries.<br/>Waste pickers are often at the bottom of supply chains as they take resources that have<br/>been used and discarded, and provide them to recyclers, waste management organizations, and<br/>others who are able to turn these resources into usable materials again. Waste pickers do not have<br/>many opportunities to rise above the situation they are in as waste picking has become the only<br/>option for many people who need to provide for themselves and their families. They are not<br/>compensated very well for the work they do, which also contributes to the situation where waste<br/>pickers are forced into a position of severe health risks, backlash from society and governments,<br/>not being able to seek better opportunities due to a lack of earning potential, and not being<br/>connected with end-users. Now is the time to create new business models that solve these large<br/>problems in our global society and create a sustainable way to ensure that waste pickers are<br/>treated properly around the world.

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.

This thesis project has been conducted in accordance with The Founder’s Lab initiative which is sponsored by the W. P. Carey School of Business. This program groups three students together and tasks them with creating a business idea, conducting the necessary research to bring the concept to life, and exploring different aspects of business, with the end goal of gaining traction. The product we were given to work through this process with was Hot Head, an engineering capstone project concept. The Hot Head product is a sustainable and innovative solution to the water waste issue we find is very prominent in the United States. In order to bring the Hot Head idea to life, we were tasked with doing research on topics ranging from the Hot Head life cycle to finding plausible personas who may have an interest in the Hot Head product. This paper outlines the journey to gaining traction via a marketing campaign and exposure of our brand on several platforms, with a specific interest in website traffic. Our research scope comes from mainly primary sources like gathering opinions of potential buyers by sending out surveys and hosting focus groups. The paper concludes with some possible future steps that could be taken if this project were to be continued.

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.