Electronegativity and Chemical Bonding

Electronegativity and Chemical Bonding What Is Electronegativity? Electronegativity is a measure of the attraction of an atom for the electrons in a chemical bond. The higher the electronegativity of an atom, the greater its attraction for bonding electrons. Ionization Energy Electronegativity is related to ionization energy. Electrons with low ionization energies have low electronegativities because their nuclei do not exert a strong attractive force on electrons. Elements with high ionization energies have high electronegativities due to the strong pull exerted on electrons by the nucleus. Periodic Table Trends In an element group, the electronegativity decreases as atomic number increases, as a result of increased distance between the valence electron and nucleus (greater atomic radius). An example of an electropositive (i.e., low electronegativity) element is cesium; an example of a highly electronegative element is fluorine. Moving left to right across the periodic table, electronegativity increases.Moving top to bottom down the periodic table, electronegativity decreases.

Portable Art From Upper Paleolithic Period

Portable Art From Upper Paleolithic Period Portable art (known as mobiliary art or art mobilier in French) typically refers to objects carved during the European Upper Paleolithic period (40,000-20,000 years ago) that can be moved or carried as personal objects. The oldest example of portable art, however, is from Africa nearly 100,000 years older than anything in Europe. Further, ancient art is found around the globe far from Europe: the category has had to expand to serve the data that have been collected. Categories of Paleolithic Art Traditionally, Upper Paleolithic art is divided into two broad categoriesparietal (or cave) art, including the paintings at Lascaux, Chauvet, and Nawarla Gabarnmang; and mobiliary (or portable art), meaning art that can be carried, such as the famous Venus figurines. Portable art consists of objects carved from stone, bone, or antler, and they take a wide variety of forms. Small, three-dimensional sculpted objects such as the widely known Venus figurines, carved animal bone tools, and two-dimensional relief carvings or plaques are all forms of portable art. Figurative and Non-Figurative Two classes of portable art are recognized today: figurative and non-figurative. Figurative portable art includes three-dimensional animal and human sculptures, but also figures carved, engraved, or painted on stones, ivory, bones, reindeer antlers, and other media. Non-figurative art includes abstract drawings carved, incised, pecked or painted in patterns of grids, parallel lines, dots, zigzag lines, curves, and filigrees. Portable art objects are made by a wide variety of methods, including grooving, hammering, incising, pecking, scraping, polishing, painting, and staining. Evidence of these ancient art forms can be quite subtle, and one reason for the broadening of the category well beyond Europe is that with the advent of optical and scanning electron microscopy, many more examples of art have been discovered. Oldest Portable Art The oldest portable art discovered to date is from South Africa and made 134,000 years ago, consisting of a piece of scored ochre at Pinnacle Point Cave. Other pieces of ochre with engraved designs include one from Klasies River cave 1 at 100,000 years ago, and Blombos cave, where engraved designs on 17 pieces of ochre were retrieved, the oldest dated to 100,000-72,000 years ago. Ostrich eggshell was first known to have been used as a medium for engraved portable art in southern Africa at Diepkloof Rockshelter and Klipdrift Shelter in South Africa and Apollo 11 cave in Namibia between 85-52,000. The earliest figurative portable art in South Africa is from the Apollo 11 cave, where seven portable stone (schist) plaques were recovered, made approximately 30,000 years ago. These plaques include drawings of rhinoceros, zebras, and humans, and possibly human-animal beings (called therianthropes). These images are painted with brown, white, black and red pigments made of a wide variety of substances, including red ochre, carbon, white clay, black manganese, white ostrich eggshell, hematite, and gypsum. Oldest in Eurasia The oldest figurines in Eurasia are ivory figurines dated to the Aurignacian period between 35,000-30,000 years ago in the Lone and Ach valleys in Swabian alps. Excavations at the Vogelherd Cave recovered several small ivory figurines of several animals; Geissenklà ¶sterle cave contained more than 40 pieces of ivory. Ivory figurines are widespread in the Upper Paleolithic, extending well into central Eurasia and Siberia. The earliest portable art object recognized by archaeologists was the Neschers antler, a 12,500-year-old reindeer antler with a stylized partial figure of a horse carved in the surface in left profile. This object was found at Neschers, an open-air Magdalenian settlement in Auvergne region of France and recently discovered within the British Museum collections. It was likely part of the archaeological materials excavated from the site between 1830 and 1848. Why Portable Art? Why our ancient ancestors made portable art so very long ago is unknown and realistically unknowable. However, there are plenty of possibilities that are interesting to contemplate. During the mid-twentieth century, archaeologists and art historians explicitly connected portable art to shamanism. Scholars compared the use of portable art by modern and historical groups and recognized that portable art, specifically figural sculpture, was often related to folklore and religious practices. In ethnographic terms, portable art objects could be considered amulets or totems: for a while, even terms like rock art were dropped from the literature, because it was considered dismissive of the spiritual component that was attributed to the objects. In a fascinating set of studies beginning in the late 1990s, David Lewis-Williams made the explicit connection between ancient art and shamanism when he suggested that abstract elements on rock art are similar to those images seen by people in visions during altered states of consciousness. Other Interpretations A spiritual element may well have been involved with some portable art objects, but wider possibilities have since been put forward by archaeologists and art historians, such as portable art as personal ornamentation, toys for children, teaching tools, or objects expressing personal, ethnic, social, and cultural identity. For example, in an attempt to look for cultural patterns and regional similarities, Rivero and Sauvet looked at a large set of representations of horses on portable art made from bone, antler, and stone during the Magdalenian period in northern Spain and southern France. Their research revealed a handful of traits that seem to be particular to regional groups, including the use of double manes and prominent crests, traits that persist through time and space. Recent Studies Other recent studies include that of Danae Fiore, who studied the rate of decoration used on bone harpoon heads and other artifacts from Tierra del Fuego, during three periods dated between 6400-100 BP. She found that the decoration of harpoon heads increased when sea mammals (pinnipeds) were a key prey for the people; and decreased when there was an increase in consumption of other resources (fish, birds, guanacos). Harpoon design during this time was widely variable, which Fiore suggests were created through a free cultural context or fostered through a social requirement of individual expression. Lemke and colleagues reported more than 100 incised stones at the Clovis-Early Archaic layers of the Gault site in Texas, dated 13,000-9,000 cal BP. They are among the earliest art objects from a secure context in North America. The nonfigurative decorations include geometric parallel and perpendicular lines inscribed on limestone tablets, chert flakes, and cobbles. Sources Abadà ­a, Oscar Moro. Paleolithic Art: A Cultural History. Journal of Archaeological Research, Manuel R. Gonzlez Morales, Volume 21, Issue 3, SpringerLink, January 24, 2013. Bello SM, Delbarre G, Parfitt SA, Currant AP, Kruszynski R, and Stringer CB. Lost and found: the remarkable curatorial history of one of the earliest discoveries of Palaeolithic portable art. Antiquity 87(335):237-244. Farbstein R. The Significance of Social Gestures and Technologies of Embellishment in Paleolithic Portable Art. Journal of Archaeological Method and Theory 18(2):125-146. Fiore D. Art in time. Diachronic rates of change in the decoration of bone artifacts from the Beagle Channel region (Tierra del Fuego, Southern South America). Journal of Anthropological Archaeology 30(4):484-501. Lemke AK, Wernecke DC, and Collins MB. Early Art in North America: Clovis and Later Paleoindian Incised Artifacts from the Gault Site, Texas (41bl323). American Antiquity 80(1):113-133. Lewis-Williams JD. Agency, art, and altered consciousness: A motif in French (Quercy) Upper Paleolithic parietal art. Antiquity 71:810-830. Moro Abadà ­a O, and Gonzlez Morales MR. Towards a genealogy of the concept of paleolithic mobiliary art. Journal of Anthropological Research 60(3):321-339. Rifkin RF, Prinsloo LC, Dayet L, Haaland MM, Henshilwood CS, Diz EL, Moyo S, Vogelsang R, and Kambombo F. Characterising pigments on 30 000-year-old portable art from Apollo 11 Cave, Karas Region, southern Namibia. Journal of Archaeological Science: Reports 5:336-347. Rivero O, and Sauvet G. Defining Magdalenian cultural groups in Franco-Cantabria by the formal analysis of portable artworks. Antiquity 88(339):64-80. Roldn Garcà ­a C, Villaverde Bonilla V, Rà ³denas Marà ­n I, and Murcia Mascarà ³s S. A Unique Collection of Palaeolithic Painted Portable Art: Characterization of Red and Yellow Pigments from the Parpallà ³ Cave (Spain). PLOS ONE 11(10):e0163565. Volkova YS. Upper Paleolithic Portable Art in Light of Ethnographic Studies. Archaeology, Ethnology, and Anthropology of Eurasia 40(3):31-37.

Compare or Contrast two buildings Essay Example | Topics and Well Written Essays - 1000 words

Compare or Contrast two buildings - Essay Example B. Ariel Rios Federal Building’s sweeping facade. III. Subtle Artistic Design. A. U.S General Services Administration Building’s Indiana limestone facing. B. Ariel Rios Federal Building’s limestone clad. Outline Page Neo-Classical Architecture Thesis: U.S General Services Administration Building and Ariel Rios Federal Building showcase massive architecture, uncluttered appearance, and subtle artistic design comparing two samples of America’s Neo-Classical architecture. I. Massive Architecture defines U.S General Services Administration Building’s E-shaped configuration, and Ariel Rios Federal Building’s semicircular facade reflecting Neo-Classical architecture. A. U.S General Services Administration Building’s E-shaped configuration encompasses large courtyards promoting free airflow. B. Ariel Rios Federal Building’s Semi-circular facade entails monumental columns and dentils supporting the building. II. Uncluttered Appearance e laborates U.S General Services Administration Building’s organized flat and long facade and Ariel Rios Federal Building’s sweeping facade detailing the building’s commanding presence. A. ... A. U.S General Services Administration Building’s Indiana limestone facing covering the whole of the building’s exterior. B. Ariel Rios Federal Building’s limestone clad enables sculptures and carvings to be curved onto the exterior. Essay Neo-Classical Architecture Introduction Neo Classical architecture is an architectural style derived from classical Greece and Rome; though a common style in American Capitols, it derives from Andrea Palladio, an Italian architect. Neoclassical architecture focuses more on the walls than the sculptural volumes because it focuses more on having a commanding presence. Its planar features are usually autonomous and individually articulated features. Though some of these buildings are known to have domed roofs, not all of have this feature; some have flat and horizontal roofs. For example, U.S General Services Administration Building and Ariel Rios Federal Buildings showcase massive architecture, uncluttered appearance, and subtle artistic design comparing two samples of America’s Neo-Classical architecture. Massive Architecture defines U.S General Services Administration Building’s E-shaped configuration, and Ariel Rios Federal Building’s semicircular facade reflecting Neo-Classical architecture. For example, U.S General Services Administration Building’s E-shaped configuration encompasses large courtyards promoting free airflow. The E-shaped configuration allows for natural lighting because of the amount of glass covering the wall surface. The E-shaped configuration allows for cooling breezes in the offices because the open spaces allow for free flow of air in the courtyards. The natural lighting enters the building because the wall surface on the street

A. Critically assess why organisations should implement supportive Essay

A. Critically assess why organisations should implement supportive career management practices - Essay Example With more internal and external pressures to deliver client oriented services, professionals and organizations alike are increasingly pushed either to perform or face the axe of competitive market forces. Both the individual and the organization are all sailing in an expectant climate of taking responsibility for career management and development. Practitioners and researchers are in agreement that effective career management strategies are essential resources for organizational and individual growth prospects. Even though interest in the long-term growth may seem to be a shared objective of both individual employees and their employers, the key to a sustainable success remains the maintenance of sharp skills, which is largely the responsibility of the individual. The adage of ‘working for an employer for a lifetime with career prospects of â€Å"moving up the ladder†Ã¢â‚¬â„¢ seems to be a distant antique memory. In response to the new workplace dynamics, organizational management in the 21st century strives to reward quality services. In this regard, therefore, a working world characterized by globalized outsourcing, reorganization, contract labor, streamlining and downsizing has been adopted to curb escalating costs. As such, those entering the job market can, thus, be expected to have dynamic careers with the ability to serve clients in different organizations during a work life estimated to last for 40–50 years. ... While self-management is an important element of individual independence, it takes a self-activated attitudinal shift to cultivate reliance on oneself from the dictatorial organizational career management systems (Arnold, 1997). Critical self-analysis with a view to discovering inner, hidden talents, unexploited capabilities and career ambitions not only helps the individual to map out a concrete action plan but also creates the impetus towards the realization of one’s own desires (Sturges et al., 2000). Precisely, career self-assessment helps in developing more elaborate ideas on desired goals and how to achieve such aspirations. Contributing to the same subject of career development, Seibert, Kraimer and Crant (2001) are also in agreement that individual career self-management has an immense contributory effect on improving employee outcomes as well as the general success of one’s career. Accordingly, personal initiatives such as career oriented feedback from colleagu es provide a more satisfying level of carrier progress via identification of specific areas that require improvement. Notably, those active in monitoring and managing their career development are more likely to engage in informative career conversations to illuminate paths that better serve to accomplish personal aspirations (Schein, 1993). Indeed, self-assessment through feedback from colleagues informs a deeper understanding of oneself on certain fundamental internal career prospects which, in turn, enhance commitment to a more delivering career. Research into a more satisfying work life indicates that personal careers are most productive when employer’s goals are met (Sturges et al., 2000). Certainly, nothing would be more satisfying than knowing that preset targets

Digital Video Recorders Essay -- essays research papers

We have all at some time or another missed a show we have wanted to see. Things such as work and school get in our way of watching our favorite shows. Shows that we have watched religiously. Ten years ago, if you knew you were about to miss a show, you would leave the TV on the channel you need to watch, and you would set the VCR timer to the appropriate time. This was and is not the most fun and easy thing to do. At the most, you would want to do this once a week as a maximum. Did you ever have to get up and go to the bathroom while the game is on? Sometimes you have to bear yourself just so you do not miss a single thing. Digital Video Recorders (DVR’s), eliminate all of this and more. If there is a show that you watch, you just enter it in the season pass box of your DVR. This ensures that your recorder will capture every episode of that show for you to watch. Sometimes there is only one showing of something. No problem, just select it and hit record. DVR’s make it easy to record anything on TV. They store all of the upcoming shows, so you do not have to enter dates and times. Say you are watching that game, and your bowels go off. Hit the pause button! Yes, with a DVR, it is possible to pause live TV. The thing is, you probably will not be using the pause button for live TV, because you probably will not be watching anything live anymore. You do not have to worry about commercials, you fast-forward through them. With a DVR, you watch what you want, when you want. DVR’s...

The Hummer Campaign: An Overview

OVERVIEW When General Motors Corporation (GM) acquired the commercial marketing rights to the Hummer truck, the civilian version of the U. S. Army’s Humvee, it faced the challenge of promoting a vehicle that was never intended to be sold in high numbers. Part of the solution was to design smaller, less-expensive versions, the H2 and H3, but much of the success would have to depend on the marketing. Rather than turning to a roster of ad agencies it usually worked with, GM hired a young Boston creative boutique, Modernista! , in 2000. The initial goal of the $35 million campaign, begun in August 2001, was to establish Hummer as a luxury brand. Thus, images ofmud-splatteredHummers that played up the vehicle’s off-road capabilities were scrapped in favor of shots that made it seem jewel-like. Once the brand was repositioned, the marketers’ goal was to pitch the lower-priced H2 and H3 to a wider market, hopefully to more women. Factors such as rising gas prices and the perception that the Hummer was oversized for most consumers proved to be major hurdles for the marketers. However, by the end of 2003 the campaign had succeeded in redefining the Hummer brand, and with the introduction of the H3 in 2005, the marketers took on a new challenge: selling the Hummer to a mass market. HISTORICAL CONTEXT The Humvee was designed for the U. S. Army in 1979 by AM General Corp. , based in South Bend, Indiana. The 3. 5-ton vehicle became a star of the 1991 Persian Gulf War, spurring consumer demand for a civilian version, which was introduced in 1992 as the Hummer. It catered to an exclusive market, as demonstrated by the fact that Arnold Schwarzenegger was one of the first buyers. The vehicle never received much advertising support; AM General spent less than $1 million on marketing the Hummer in 1999, when it sold about 700 of the trucks. Nevertheless, AM General did enough business to attract the attention of General Motors, and in the end bought the Hummer brand in late 1999. GM signed a seven-year contract with AM General to produce the next generation, GM-designed version, the Hummer H2 sport-utility vehicle (SUV). The agency Modernista! was hired to promote the brand. Prior marketing efforts had played up the military connection and the Hummer’s off-road capabilities, billing the vehicle as ‘‘the world’s most serious 4Ãâ€"4. ’’ Modernista! won the account because it was the only agency that attempted to fashion a wider appeal by going beyond the tough-guy, army-truck image. The principals involved in the campaign did not lack experience in selling cars. Modernista! ’s cofounder, Lance Jensen, had worked with Hummer’s advertising director, Liz Vanzura, when she was at Volkswagen of America and he was with the Boston-based ad agency Arnold Communications. Both played key roles in developing Volkswagen’s award-winning ‘‘Drivers Wanted’’ campaign. Vanzura commented that, while the Volkswagen ads were aimed at ‘‘cool, young people,’’ her new mission was to sell Hummers to ‘‘cool, rich people. ’’ TARGET MARKET Even before hiring Modernista! , GM had done a great deal of market research. According to Ted Evanoff, writing for the Indianapolis Star, ‘‘In 1999 researchers stumbled across the notion that an unlikely cross-section of America—surgeons, dot-com millionaires, rock stars, high school students, corporate execs—prized their individuality. And they regarded the rugged Hummer as a symbol of individuality, especially compared with the typical sport-utility common in suburbia. ’’ Modernista! was given 2,200 pages of market data to distill into an advertising message. The agency was also handed a brand that skewed very much toward males, averaging 50 years in age and with an annual household income of more than $200,000. The target buyer for the less-expensive H2, while still male, was 42 years old on average and had a household income above $125,000. Vanzura told Chris Reidy of the Boston Globe that the coveted audience included ‘‘rugged individualists, adventurous entrepreneurs, and adrenaline junkies. ’’ In other interviews she described the target market as ‘‘successful achievers’’ and ‘‘style leaders. ’’ She also told Evanoff that Hummer had to vie with other purchases the well-to-do might consider, such as yachts or vacation houses, stating, ‘‘We’re really not competing in an automotive category. ’ COMPETITION The yacht, vacation house, and other status symbols notwithstanding, Hummer competed in the luxury-SUV category against other SUVs, including the Lincoln Navigator, Land Rover’s Range Rover, and the Lexus LX 470. But Hummer’s chief opponent was DaimlerChrysler’s Jee p Wrangler. Boasting similar military roots but extending back to World War II, Jeep had defined the SUV category and at its height in 1993 controlled nearly 30 percent of the traditional SUV market. Over the following several years, however, the brand failed had to introduce new models, and its lessexpensive ones faced increasingly stiff competition, resulting in a severe erosion of sales. As long as Hummer was not a direct competitor, DaimlerChrysler took little notice of it, but as soon as GM acquired the right to mass-market the Hummer, DaimlerChrysler recognized the threat at the high end of the SUV category and became determined to hold on to Jeep’s reputation as the premier heavy-duty, off-road brand. The two vehicles had slightly different target markets, however. Jeep appealed to consumers who loved the outdoors and might attend one of the dozens of Jeep Jamboree off-road events held throughout the year. Typical Hummer customers, on the other hand, wanted the off-road capabilities the vehicle had to offer but were more interested in the image it created. They were as likely to drive their Hummers to an upscale mall as up a mountain. MARKETING STRATEGY In preparation for marketing the lower-priced H2, Modernista! instituted a bridge campaign, paid for by AM General, to sell the H1 while repositioning the brand. As Will Uronis, an associate creative director at Modernista! , explained to the Boston Herald ’s Greg Gatlin, ‘‘Hollywood had defined what Hummers stood for—war, explosions and arrogance . . . We just took a look at another facet of the truck. ’’ Jensen added, ‘‘We went out and talked to guys that drove them . . . they don’t all hunt and kill things. ’’ Nevertheless, Hollywood movies had done a good job of making consumers aware of the Hummer. Market research conducted in 1999 indicated that as many as one in five buyers of full-size SUVs considered purchasing the Hummer. The bridge campaign was intended to play to the ‘‘rugged individualists’’ who, research revealed, were attracted to the Hummer and to set the stage for the launch of theH2 by creating an emotional attachment to the brand that transcended the hard-edged image fostered by Hollywood. According to Evanoff, writing in the Indianapolis Star, the promotion of the H1 was intended to create a ‘‘halo’’ over the brand, providing ‘‘the foundation for a brand image that will carry the smaller H2. ’’ The first national ads for the GM-owned Hummer began appearing on August 13, 2001. It was an all-print campaign that featured photographs of the vehicle in lush locales in Chile. Not only did the pictures suggest where the H1, with its off-road prowess, could take the viewer, but they also made the big truck look small. It was the first time Hummer was not portrayed covered in mud or linked to the military. Reinforcing the visual message of the ad was the text, which included the headline ‘‘How did my soul get way out here? ’’ and the concluding text ‘‘Sometimes you find yourself in the middle of nowhere. And sometimes in the middle of nowhere you find yourself. The legendary H1. ’’ Hummer’s longtime tagline, ‘‘World’s most serious 4Ãâ€"4,’’ was replaced by ‘‘Like nothing else. ’’ The four ads ran through the rest of 2001, appearing in such publications as the Wall Street Journal, Barron’s, Esquire, Spin, Wired, and Red Herring. Hummer’s 50 dealers were also encouraged to use the ads created by Modernista! to bring continuity to the brand’s makeover, with some of their media costs being reimbursed by a cooperative advertising program. The H2, based on GM’s Chevrolet Tahoe full-size SUV, was introduced in July 2002. A second model featuring a small pickup bed and a cargo door was supposed to be offered at the same time, but the launch was pushed back, partly because the vehicle needed more work but also as a way to extend the marketing buzz the brand was creating. The new H2, with a base price of $48,000, was about half the price of the H1 and, despite being called the ‘‘baby Hummer,’’ essentially the same size. But it featured a smaller, less noisy gas engine rather than a cumbersome diesel one, and it had comforts and customizable options the H1 lacked but that were expected in a luxury SUV. The introduction of the H2 was supported by another print campaign developed by Modernista! While the ‘‘Like nothing else’’ tagline of the previous ads was retained, the look of the new ads was markedly different, relying on dramatic close-ups set against bold, sky-blue backgrounds. Like the first ads, the new ones ran in a wide range of magazines, with the text tailored to the publication. For example, in the Robb Report, which covered all things luxurious, the text read, ‘‘Excessive. In a Rome at the height of its power sort of way. ’’ The Vanity Fair text read, ‘‘Threaten the men in your office in a whole new way,’’ part of an effort to increase the number of women buying the vehicles. Another ad proclaimed, ‘‘Perfect for rugby moms. ’’ About 10 percent of H1 owners were women, and one goal of the H2 campaign was to increase that number to 25 percent. Outdoor ads were also produced, running in 14 major markets, including New York, Los Angeles, Chicago, and Detroit. Print and outdoor ads were made available for the use of dealers. The first Hummer television ads aired in mid-August 2002. The initial three 30-second spots, intended to romanticize the truck, were shot in Iceland and in Vancouver, British Columbia, and featured both natural and urban locations. They showed friends in a Hummer speeding over the tundra of Iceland or a professional woman weaving through traffic in a city. Set to rock music, the only words in the spots were text statements such as ‘‘Maybe if you can, you will. ’ A second phase of the television campaign played on people’s perception of the Hummer as a gas-guzzling road hog. In one spot a young boy constructed a small wooden version of the Hummer to enter in a soapbox derby, while The Who’s ‘‘Happy Jack’’ played in the background and the little girl next door looked on. At the start of the big race the other boys scoffed at little Jack and his less-than-streamli ned racer, but he prevailed by abandoning the asphalt course, breaking the rules to go cross-country and win the race and the girl. Through the humor of the spot Jack was portrayed not as a blatant cheater but as a heroic iconoclast, offering subliminal reassurance to potential Hummer customers who might feel guilty about buying a vehicle that got about 13 miles to a gallon of gas on the highway. A second Hummer spot, also displaying a tough side, hearkened back to the Asteroids video game of the 1980s, with a spaceship blasting boulders only to confront an indestructible Hummer, which chased the ship off the screen. OUTCOME GM and Modernista! ucceeded in introducing Hummer to a wider market, but after a strong showing in 2003, sales began to tail off, partly because of high gas prices. To regain lost ground, in 2004 GM introduced the H2 SUT (sport-utility truck). This was followed by the unveiling in 2005 of the H3, a midsize Hummer priced from $29,500 to $32,000. Almost 17 inches shorter, 1,700 pounds lighter, and more fuel-efficient at 20 miles per gallon, it was a vehicle GM hoped women and younger drivers wo uld find more appealing. In pitching the vehicle to a mass market, Hummer and Modernista! aced a new task. Putting a positive spin on the challenge, Jensen told Jeremy W. Peters of the New York Times, ‘‘The brand has a lot of different personality levels . . . You can do the serious capability stuff, the real rough-and-tumble rock climbing stuff, the peaceful back-to-nature stuff. ’’ Industry analyst Mary Ann Keller disagreed, telling the New York Times that it was impossible to sell Hummer to the masses: ‘‘How in the world can you possibly fathom that something that looks like a military vehicle is practical for the average driver? ’’

Requirements to be President - Details and Information