From exploring coffee plantations with an old Irishman in the mountains of Colombia to watching the sun set over the Strait of Gibraltar from the terrace of an ancient Moroccan cafe, this thesis sent Charles and Zane on an elaborate cafe-crawl across ten countries, with stops at a few of the world’s most interesting coffee houses. Some of these cafes, such as the world-renowned Caffé Florian (opened in 1720) and Caffé Greco (1760), are built on long-standing traditions. Others are led by innovators championing high-quality boutique shops, challenging mass production chains such as Starbucks and Tim Hortons. These newer cafes fuel a movement classified as the “Third Wave”. With a foundation gained from specialized courses with Patrick O’Malley, North America’s leading voice in coffee, Zane and Charles conducted first-hand research into the unique coffee preferences of multiple cultures, the emergence and impact of the Third Wave in these countries, and what the future may hold for coffee lovers.

From exploring coffee plantations with an old Irishman in the mountains of Colombia to watching the sun set over the Strait of Gibraltar from the terrace of an ancient Moroccan cafe, this thesis sent Charles and Zane on an elaborate cafe-crawl across ten countries, with stops at a few of the world’s most interesting coffee houses. Some of these cafes, such as the world-renowned Caffé Florian (opened in 1720) and Caffé Greco (1760), are built on long-standing traditions. Others are led by innovators championing high-quality boutique shops, challenging mass production chains such as Starbucks and Tim Hortons. These newer cafes fuel a movement classified as the “Third Wave”. With a foundation gained from specialized courses with Patrick O’Malley, North America’s leading voice in coffee, Zane and Charles conducted first-hand research into the unique coffee preferences of multiple cultures, the emergence and impact of the Third Wave in these countries, and what the future may hold for coffee lovers.

The PPP Loan Program was created by the CARES Act and carried out by the Small Business Administration (SBA) to provide support to small businesses in maintaining their payroll during the Coronavirus pandemic. This program was approved for $350 billion, but this amount was expanded by an additional $320 billion to meet the demand by struggling businesses, since initial funding was exhausted under two weeks.<br/><br/>Significant controversy surrounds the program. In December 2020, the Department of Justice reported 90 individuals were charged for fraudulent use of funds, totaling $250 million. The loans, which were intended for small business, were actually approved for 450 public companies. Furthermore, the methods of approval are<br/>shrouded in mystery. In an effort to be transparent, the SBA has released information about loan recipients. Conveniently, the SBA has released information of all recipients. Detailed information was released for 661,218 recipients who have received a PPP loan in excess of $150,000. These recipients are the central point of this research.<br/><br/>This research sought to answer two primary questions: how did the SBA determine which loans, and therefore which industries are approved, and did the industries most affected by the pandemic receive the most in PPP loans, as intended by Congress? It was determined that, generally, PPP Loans were approved on the basis of employment percentages relative to the individual state. Furthermore, in general, the loans approved were approved fairly, with respect to the size of the industry. The loans, when adjusted for GDP and Employment factors, yielded a clear ranking that prioritized vulnerable industries first.<br/><br/>However, significant questions remain. The effectiveness of the PPP has been hindered by unclear incentives and negative outcomes, characterized by a government program that has essentially been rushed into service. Furthermore, limitations of available data to regress and compare the SBA's approved loans are not representative of small business.

Music streaming services have affected the music industry from both a financial and legal standpoint. Their current business model affects stakeholders such as artists, users, and investors. These services have been scrutinized recently for their imperfect royalty distribution model. Covid-19 has made these discussions even more relevant as touring income has come to a halt for musicians and the live entertainment industry. <br/>Under the current per-stream model, it is becoming exceedingly hard for artists to make a living off of streams. This forces artists to tour heavily as well as cut corners to create what is essentially “disposable art”. Rapidly releasing multiple projects a year has become the norm for many modern artists. This paper will examine the licensing framework, royalty payout issues, and propose a solution.

As the world becomes increasingly globally connected, more people than ever live away from their birth country. This means that more and more people will need to learn to adapt and integrate with new cultures and experiences. This can be a difficult process, because in their efforts to adapt, they might try to forget or abandon their previous culture in order to better assimilate to their new home. In this Creative Project, I examine my own transnational journey as a Russian living in America. I wanted to see how my identity as a person linked by two very different places has shaped who I am and what I want to be. Now that I am finishing college, how will my Russianness shape my possibilities in the future? In order to start this reflective process, I read 10 transitional novels to gain a sense of how other Russians processed their lives in America. I then used the insights I gained from these texts to design a set of questions that I asked myself and two other people, both with backgrounds that were similar to my own. Based on these discussions, I gained a greater appreciation for how my Russianness could be a real strength as I chart my future path in life.