Management at J.C. Penney Company, Inc

Introduction J. C. Penney Company Inc., (JCP) like other chain of companies in the US, has a history of changing its management strategy to suit the growing demand for good governance (Nafziger, 2012). JCP deals in clothing lines and retail business in various countries of investment. Its position in Texas provides it with an opportunity to serve the suburban community and other metropolises around the world. With over 11, 000 stores across US States, JCP sold its merchandise through personal selling.Advertising We will write a custom essay sample on Management at J.C. Penney Company, Inc specifically for you for only $16.05 $11/page Learn More In 2013, the company indicated interest in Seattle’s Best Coffee and Portrait Studios. This explains its business strategy that focuses on a variety of products and services for people through the numerous convenient stores distributed in the country (Talley, 2012). Since the 1960’s, JCP has used a s imilar management style until the 21st century when it realized the importance of incorporating technology in the new democratic style of management. This paper intends to explain the company’s management style including the advertising technique that helps it achieve a competitive advantage. Changes in J.C. Penney’s Management Style Management strategies have direct impacts on organizational performances since inception. JCP incorporated different management styles owing to the changing consumer environment. Two most common strategies adapted by the company include: Acquisitions and Expansion Since 1960, the company acquired The Treasury outlets, but JCP experienced losses by the end of 1962. This involved an agreement between JCP and a General Merchandise Company that offered the company the stores it needed during the period. Within the same period, JCP extensively accessed about 10 stores through a Milwaukee acquisition contract. This provided the company with an o pportunity to venture into the market in Alaska and other states in the US. Besides these acquisitions, JCP equally purchased Supermarkets Interstate. Normally, an independent organization rarely involves the managing director actively in most house businesses. This enables it to grow even in the absence of the founder. At JCP, it was impossible to operate since 1971 following the death of JC Penny (James Cash). For 30 minutes, all stores across the US closed down in honor of JC’s departure. Instead of accruing losses, the company made huge profits since most suppliers and clients paid tribute to the founder of JCP.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Two years later, the company used its profits to increase the number of stores by over 2000. The company’s lack of autonomy ensured that the top management made most decisions. It was difficult to project future outco mes of an action unless an employee had close relations with the top managers. In 1974, the company faced huge losses because of the inflation. Democratic management styles enable people to share ideas in order to avoid the effects of natural occurrences such as inflation. However, this could not happen at JCP. Online Retail In the early 19th century, JCP began direct marketing by merchandizing its products through the internet. Globalization made it easy for JCP to acquire customers and mergers through the internet. It used this platform to sell shops to established brand names, such as Firestone. Its Viewtron Videotex catalog helped the company to acquire new stores and to market its products. The JCPenney National Bank allowed customers to use credit and debit cards for withdrawal and deposits. These automated cards had the company’s name making it possible for JCP to reach out to many clients through virtual techniques (Nelson, 2005). It had to reduce the number of stores it opened for automotive purposes. Instead, it directed most people to the online portal. The innovative transition displayed JCP’s change strategy. The company reduced dependence on the founder because of his demise. It adapted a new management style that would help it in increasing profits while it remained competitive. Current Management Style JCP’s current management style focuses on e-commerce, endorsement of celebrities for adverts, and diplomacy in business operations. Myron Ullman, the current CEO, uses technology to enhance interpersonal skills. He seeks to improve a management environment created by his predecessor, Ron Johnson. Its website (JCPenneyBrands.com) creates easy accessibility to products and services making information flow fast and effectively (Hellriegel Slocum, 2007). JCP recognizes the efforts of different designers in their clothing industry. This boosts their self-esteem while motivating them to improve. JCP managers realized that democrat ic leadership was essential for team building and collective growth of the company. A change in strategy began in 2007 when the management sought to introduce innovative and interactive strategies of communicating with clients. The company expected to increase its profit margins after introducing Ron Johnson from Apple Inc. According to experts, the CEO did not offer a guarantee for success in a company that dealt in completely different products and services from Apple Inc. Opinion JCP’s current management strategy includes generation of creative ideas for overall organizational development. However, it uses radical measures including the ability to lay-off workers and reduction of store acquisition.Advertising We will write a custom essay sample on Management at J.C. Penney Company, Inc specifically for you for only $16.05 $11/page Learn More Even though these strategies contribute towards profitability, they reflect the opinions of the top man agement. There is a high possibility that JCP will experience a similar style of management as the era of JS Penny. The CEO seeks to make a general overhaul in the company by assuming the status of a â€Å"start up† organization. Senior Management’s Role Senior managers at JCP including the CFO, CEO, and the creative designer often encourage people to make popular decisions. Ron Johnson played a significant role in transforming the organization from a catalog-based retailer to an internet retailer. According to the CEO, each employee needs to be responsible for his/ her actions within the company. The senior managers ensure that employees develop innovative ideas, which the senior team approves. Johnson has the ability to approve the release of company annual reports. This explains why the senior manager laid-off 600 workers in 2013. Johnson equally supports establishment of virtual stores through the internet. In 2012, the company managed to freeze 100 shops and trans formed their business transactions to online techniques (Nafziger, 2012). Today, clients consult the company online platform; they make orders, get shipment, and pay through JCP MasterCard. The transition cost the company many resources, acquisition of a CEO with a successful record from Apple, and loss of stores and workers. In essence, it was not a seamless process and JC’s senior staff had to endure many challenges between 2012 and 2013. Among the decisions made by Johnson, change of designs and pricing strategies took precedence. Even as the transition became a success, employees and clients sought for Johnson’s retirement following the radical strategies he used to change the management of the company. This led to a forceful eviction from the company in 2013. It led to a reinstatement of former CEO, Myron Ullman (Talley, 2012). Celebrity Endorsements During marketing, creative designers sometimes use celebrities since they have the ability to create credibility th rough their charisma. In 2008, JCP used Ralph Lauren Kimora Lee Simmons to brand position the new clothing line for men and children. The two had a significant impact on sales and expansions for JCP. Kimora Lee provided professional advice to consumers and this contributed to one the highest annual sales of Decree and Fabulosity clothing lines. By the end of 2012, the company profit margins increased to 32.5% (Nafziger, 2012). Celebrities have a natural allure for the audiences they command. Similarly, they are likely to influence sales when used for advertising, or selling. There are several avenues of sales promotion, which Johnson never explored. Instead, he concentrated on innovation, and Ullman has the duty to restore the company image, which he initially created during his tenure.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Innovation JCP needs to implement an automated communication system that makes it easy for customers and employees to exchange ideas. Previous innovative strategies failed since the over ambitious Johnson rarely included employees in rational decision-making procedures. Through video-conferencing and virtual messaging, employers and employees will know all activities in the company and contribute towards its collective development. Instead of laying-off workers, the company will employ competent graduates who will increase organizational performance through technological assistance (Talley, 2012). JCP needs to redeem its brand image by increasing the number of employees and enhancing effective communication with clients. Adaptation JCP displays inability to make a rational decision when choosing organizational leaders. It changes its management strategies quickly and makes it difficult for employees to adapt to a single style of management (Nelson, 2005). The continued alteration of CEO’s delays the achievement of organizational goals, and this affects pricing in the company. After reinstating Ullman, JCP should not interfere with his leadership until 3-5 years elapse. Normally, most organizational strategies function for 3 to 5 years making it impossible to replace the CEO even when he/she has a poor management style. References Hellriegel, D., Slocum, J. W. (2007). Organizational behavior. Mason, Ohio: Thomson/South-Western. Nafziger, E. W. (2012). Economic development. Cambridge: Cambridge University Press. Nelson, B. (2005). The Management Bible. Hoboken: John Wiley Sons. Talley, K. (2012, April 5). J.C. Penney Trims Headquarters Staff. The Wall Street Journal. Retrieved from https://www.wsj.com/ This essay on Management at J.C. Penney Company, Inc was written and submitted by user Curt Conners to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Capital Punishment Essays (538 words) - Human Rights, Penology

Capital Punishment Essays (538 words) - Human Rights, Penology Capital Punishment I once saw a bumper sticker that read, Why do we kill people, who kill people, to show that killing is wrong? Suddenly I thought about what I had read. I am against the death penalty as a solution to crime. Capital punishment is a sign of a deep sickness in our civilization. Execution is an act of violence, but you cannot use violence to end violence. The death penalty is not an effective way to punish a criminal. It is used by the powerful to pretend that violent crime is under control, and being disposed of, but in reality the death penalty disposes of the poor, the uneducated, and the minorities in the world. Even states that use the death penalty seem to have a higher number of homicides than states that do not use it. Capital punishment has never been shown to eliminate crime more effectively than other punishments. If the death penalty isnt lowering the murder rate then why waste the taxpayers money? It cost more to put a prisoner to death with any method than it does to keep them incarcerated. Our justice system shouldnt just execute the criminal, they should also make his life miserable. Prisons should supply the bare necessities and nothing else. One solution is to eliminate televisions, libraries, gyms and basketball courts. Even though our prisons need to toughen up, I do give them credit for taking away a criminals freedom. Many family members want to see the offenders dead. The families emotions are understandable, but death is not a solution. The victims family has to suffer for a lifetime, so why shouldnt the murderer suffer too? Another problem is the chance or executing an innocent person. The executed prisoner cannot be given another chance. In the last hundred years there have been more that seventy-five documented cases of wrongful convictions in criminal homicide cases. One example is Walter McMillian who was released from Alabamas death row after having spent six years there because of perjured testimony and withheld evidence that indicated his innocence. He was convicted of the shooting death of a storekeeper. On the day of the murder he was at a fish fry with his friends and relatives, many of whom testified to this at his trial. No physical evidence linked him to the crime, but three people who testified at his trial connected him to the murder. Only sheer luck saved Walter McMillian. After listening to a tape recording of a key witnesses testimony against McMillian, a volunteer lawyer flipped the tape to see if there was anything on the other side. Only then did he hear the same witness complaining that he was being pressured to frame McMillian. With that fourutious break, the whole case against McMillian began to fall apart. All three prosecution witnesses recanted their testimony. On March 3, 1993, the County District Attorney joined the defense in a motion to dismiss the charges. Walter McMillian was finally freed. There are many other cases of mistaken conviction and execution that occur and remain undocumented. An innocent person can be freed, but neither release or compensation is possible for a corpse. If a man is truly a murder, the thought of execution will not stop him from committing murder. So if capital punishment is not lowering the murder rate, is more expensive, and being alive is more of a punishment than being dead, then why not abolish the death penalty?

USS Bunker Hill (CV-17) in World War II

USS Bunker Hill (CV-17) in World War II An Essex-class aircraft carrier, USS Bunker Hill (CV-17) entered service in 1943. Joining the US Pacific Fleet, it supported Allied efforts during the island-hopping campaign across the Pacific. On May 11, 1945, Bunker Hill was severely damaged by two kamikazes while operating off Okinawa. Returning to the United States for repairs, the carrier would largely be inactive for the remainder of its career. A New Design Conceived in the 1920s and early 1930s, the US Navys Lexington- and Yorktown-class aircraft carriers were designed to conform to the restrictions set forth by the Washington Naval Treaty. This pact placed limitations on the tonnage of various types of warships as well as capped each signatorys overall tonnage. These types of restrictions were affirmed through the 1930 London Naval Treaty. As global tensions escalated, Japan and Italy left the treaty structure in 1936. With the failure of the treaty system, the US Navy began creating a design for a new, larger class of aircraft carrier and one which used the experience gained from the Yorktown-class. The resulting vessel was wider and longer as well as incorporated a deck-edge elevator system. This had been employed earlier on USS Wasp (CV-7). The new class would typically carry an air group of 36 fighters, 36 dive bombers, and 18 torpedo planes. This included the F6F Hellcats, SB2C Helldivers, and TBF Avengers. In addition to possessing a larger air group, the class featured a greatly enhanced anti-aircraft armament. Construction Designated the Essex-class, the lead ship, USS Essex (CV-9), was laid down in April 1941. This was followed by several additional carriers including USS Bunker Hill (CV-17) which was laid down at the Fore River Shipyard in Quincy, MA on September 15, 1941 and named for the Battle of Bunker Hill fought during the American Revolution. Work on Bunker Hills hull continued into 1942 following the United States entry into World War II. Bunker Hill slid down the ways on December 7 of that year, on the anniversary of the attack on Pearl Harbor. Mrs. Donald Boynton served as sponsor. Pressing to complete the carrier, Fore River finished the vessel in the spring of 1943. Commissioned on May 24, Bunker Hill entered service with Captain J.J. Ballentine in command. After concluding trials and shakedown cruises, the carrier departed for Pearl Harbor where it joined Admiral Chester W. Nimitzs US Pacific Fleet. Sent west, it was assigned to Rear Admiral Alfred Montgomerys Task Force 50.3. USS Bunker Hill (CV-17) - Overview Nation: United StatesType: Aircraft CarrierShipyard: Bethlehem Steel Company, Quincy, MALaid Down: September 15, 1941Launched: December 7, 1942Commissioned: May 24, 1943Fate: Scrapped Specifications Displacement: 27,100 tonsLength: 872 ft.Beam: 147 ft., 6 in.Draft: 28 ft., 5 in.Propulsion: 8 Ãâ€" boilers, 4 Ãâ€" Westinghouse geared steam turbines, 4 Ãâ€" shaftsSpeed: 33 knotsRange: 20,000 nautical miles at 15 knotsComplement: 2,600 men Armament 4 Ãâ€" twin 5 inch 38 caliber guns4 Ãâ€" single 5 inch 38 caliber guns8 Ãâ€" quadruple 40 mm 56 caliber guns46 Ãâ€" single 20 mm 78 caliber guns Aircraft 90-100 aircraft In the Pacific On November 11, Admiral William Bull Halsey directed TF 50.3 to join with Task Force 38 for a combined strike on the Japanese base at Rabaul. Launching from the Solomon Sea, aircraft from Bunker Hill, Essex, and USS Independence (CVL-22) hit their targets and defeated a Japanese counterattack which resulted in the loss 35 enemy aircraft. With the conclusion of operations against Rabaul, Bunker Hill steamed to the Gilbert Islands to provide cover for the invasion of Tarawa. As Allied forces began moving against the Bismarcks, the carrier shifted to that area and conducted strikes against Kavieng on New Ireland. Bunker Hill followed these efforts with attacks in the Marshall Islands to support the invasion of Kwajalein in January-February 1944. With the capture of the island, the ship joined with other American carriers for a massive raid on Truk in late February. Overseen by Rear Admiral Marc Mitscher, the attack resulted in the sinking of seven Japanese warships as well as several other vessels. Serving in Mitschers Fast Carrier Task Force, Bunker Hill next conducted attacks on Guam, Tinian, and Saipan in the Marianas before hitting targets in the Palau Islands on March 31 and April 1. Battle of the Philippine Sea After providing cover for General Douglas MacArthurs landings at Hollandia, New Guinea in late April, Bunker Hills aircraft conducted a series of raids in the Caroline Islands. Steaming north, the Fast Carrier Task Force began attacks in support of the Allied invasion of Saipan. Operating near the Marianas, Bunker Hill took part in the Battle of the Philippine Sea on June 19-20. On the first day of the fighting, the carrier was struck by a Japanese bomb which killed two and wounded eighty. Remaining operational, Bunker Hills aircraft contributed to the Allied victory which saw the Japanese lose three carriers and around 600 aircraft. Later Operations In September 1944, Bunker Hill struck targets in the Western Carolines before mounting a series of attacks on Luzon, Formosa, and Okinawa. With the conclusion of these operations, the carrier received orders to depart the war zone for an overhaul at Bremerton Naval Shipyard. Reaching Washington, Bunker Hill entered the yard and underwent routine maintenance as well as had its anti-aircraft defenses enhanced. Departing on January 24, 1945, it steamed west and rejoined Mitschers forces for operations in the Western Pacific. After covering the landings on Iwo Jima in February, Bunker Hill took part in raids against the Japanese home islands. In March, the carrier and its consorts shifted southwest to aid in the Battle of Okinawa. Steaming off the island on April 7, Bunker Hills aircraft took part in defeating Operation Ten-Go and aided in sinking the battleship Yamato. While cruising near Okinawa on May 11, Bunker Hill was hit by a pair of A6M Zero kamikazes. These caused several explosions and gasoline fires which began to consume the ship and killed 346 sailors. Working valiantly, Bunker Hills damage control parties were able to bring the fires under control and save the ship. Badly crippled, the carrier departed Okinawa and returned to Bremerton for repairs. Arriving, Bunker Hill was still in the yard when the war ended in August. Final Years Putting to sea in September, Bunker Hill served in Operation Magic Carpet which worked to return American servicemen home from overseas. Deactivated in January 1946, the carrier remained at Bremerton and was decommissioned on January 9, 1947. Though reclassified several times over the next two decades, Bunker Hill was kept in reserve. Removed from the Naval Vessel Register in November 1966, the carrier saw use as a stationary electronics test platform at Naval Air Station North Island, San Diego until being sold for scrap in 1973. Along with USS Franklin (CV-13), which was also badly damaged late in the war, Bunker Hill was one of two Essex-class carriers that saw no active service with the postwar US Navy.

Employee relations and engagement Coursework Example | Topics and Well Written Essays - 3250 words - 2

Employee relations and engagement - Coursework Example Some firms have even structured their systems to allow the employees co-own the companies they work for and participate in their day-to-day management activities This has proved to be a plus in the attempts to improve employees’ performance. This report analyses the situation of Waitrose; a branch of the John Lewis Partnership. This study found out that Waitrose is a company that is dear to Employment Engagement (EE) and Employee Relations (ER). It was found out that Waitrose uses three basic practices to meet this demand: employee-partner system, creating low-level employee involvement and enabled communication systems. It is recommended that the company replaces its data survey system, select, hire and train managers who are passionate about employee engagement. Lastly, it was suggested that the company should develop assessment and evaluation frameworks for monitoring employee engagement. The human resource is among the key stakeholders that companies are keen on enhancing their welfare so they may perform highly towards the growth of the company. With increased research and studies, businesses are now enlightened on the importance of promoting and maintaining healthy and positive employees’ relations and engagement. Systems have been aligned to ensure that each and every employee within the organisation can efficiently interact, communicate and coordinate with others. The overall culture has also been modified to synchronise with the management’s pursuit to promote effective engagement and relations amongst workers. According to Bakker and Leiter (2010: 101), organisations are more likely to succeed and prosper if the coordination and engagement amongst their workers are enhanced. Working in an enabling environment motivates employees to deliver their best performance for the prosperity of the company. However, to promote these relations and engagement s amongst employees, various frameworks and procedures must be put in place to guide

Transitions of Culture and Identity Essay Example | Topics and Well Written Essays - 1750 words

Transitions of Culture and Identity - Essay Example Proctor quotes James Clifford who said that â€Å"Once traveling is foregrounded as a cultural practice then dwelling too, needs to be reconceived†. The concept of traveling has redefined the ways in which home is an influence. As well, the difference between where one declares to be home and where one has traveled must be defined in order to situate the way in which one’s culture will be expressed. The difference depends on the identity that one decides to live within. If one has been raised on a Caribbean Island and has then moved to Britain, the question of identity has no real relevance to the official and legal place of residence.In contrast, it is possible to abandon the beliefs and traditions of home and to decide to adopt British traditions in order to fully integrate. Most often, it is somewhere in-between. The questions then become: Where does the naturalized culture stop and the adopted culture begin? What now defines the identity?The attachment to the concep t of home is married to the concept of the fear of homelessness. The need for home is as much about the fear of not having a home as it is about the existence of the dwelling itself. The problem with being ‘homeless’ is more than just not having an adequate roof and a place to put one’s things, but it is a sense of disconnection, the existence without roots and foundation. To be ‘home’ is to be in a place where one belongs, but to be homeless is to be within a space where there is not real social connection to the world.

The Hydrolysis Of Nitrophenyl Phosphate

The Hydrolysis Of Nitrophenyl Phosphate The hydrolysis of nitrophenyl phosphate (NPP) by alkaline phosphatase enzyme is a first order reaction dependent on the concentration of NPP in solution. A product of this reaction is nitrophenyl anion which has a high molar absorptivity at 410nm. This property makes it relatively easy to observe this reaction as a function of time via a spectrophotometer. By observing the reaction as a function of time it is possible to study the kinetics of this reaction and to determine how the initial reaction rate depends on the initial concentration of NPP. This relationship can be described by the Michaelis-Menton equation which is described in some detail. It is found that, as expected, reaction rate increases with an increase in NPP concentration. The Eadie-Hofstee plot is used to linearize the data and to obtain reasonable approximations for the Vmax and KM parameters found in the Michaelis-Menton equation. A process involving the minimization of a ÃŽ §2 value is used to obtain the final va lues of these two parameters: Vmax = 4.28*10-7 and KM = 3.33*10-4. These parameters produce a qualitatively strong fit for the data obtained and so the Michaelis-Menton equation reasonably accurately describes the relation between initial NPP concentration and reaction rate. It is found, as expected, that the addition of the inhibitor species phosphate decreases the rate of NPA formation. The inhibition constant KI obtained from the apparent KM value of the Michaelis-Menton equation. By averaging the KI value for several concentrations of inhibitor, = (1.79 + 0.25)*10-4 M. Introduction Alkaline phosphatases are common enzymes found in places such as the mammalian intestine and the bacterium Escherichia coli. They are a family of two-subunit homologous enzymes which catalyze the hydrolysis of a large spectrum of phosphate monoesters to phosphate and neutral molecules. Because they catalyze a large variety of hydrolysis reactions, they are said to be non-specific. This reaction can be expressed as follows where R is any organic compound: R-OPO32- + H2O R-OH + HPO42- (1) By removing the phosphate, R becomes a neutral species that may more easily serve to facilitate transport of nutrients across cell membranes or other biological housekeeping processes. Alkaline phosphatases can also be used to remove phosphate groups from DNA molecules which allows for different manipulations of DNA. It is instructive to examine the kinetics of this reaction in order to more fully understand certain biochemical processes. Alkaline phosphatses are large molecules with a certain number of active sites in which the hydrolysis of smaller molecules is catalyzed. Competition for the active site of these enzymes is one aspect which may affect the kinetics of the reaction. We will examine the hydrolysis of p-nitrophenyl phosphate (NPP) by the E. coli alkaline phosphatase at a pH of 10.6 at room temperature. In particular, the maximum velocity Vmax and the Michaelis constant KM of the reaction are determined and the effect of the product HPO42- as an inhibitor is examined. Theory The initial rate, or the initial velocity, v of enzyme-catalyzed reactions has been observed to follow first order kinetics. That is, the rate of the reaction depends only on the initial substrate concentration. However, this only holds true at low values of substrate concentration and levels off to a maximum velocity V at large concentrations. The general form for the way in which an enzyme catalyzes a reaction is a noncovalent association of the substrate molecule to the enzyme followed by some catalytic steps that result in the product being released from the enzyme. S + E ES E + P (2) The enzyme concentration is almost always much smaller than the concentration of the substrate. Due to this, very quickly equilibrium will be reached where, as soon as product is released from the enzymes active site, a new substrate molecule will enter the active site. At this production of [ES] is said to be saturated, meaning it has a constant value which does not change with time. (3) This is said to be the steady state, or bottleneck, condition where all active enzyme sites are occupied. From this condition and the fact that matter is conserved, one can derive the rate law: (4) This is the Michaelis-Menton equation, where the Michaelis constant KM=(k-1 + k2)/k1. This value in a physical context is the substrate concentration midway between zero substrate and the concentration at which the reaction rate has become saturated. Also in the equation Vmaxk2E0 which is said to be the maximum velocity of the reaction. Here, v is the rate of the steady state enzyme reaction. In order to measure the reaction rates, the concentration of product or substrate must be observed as a function of time. It is expected that the concentration vs. time plot will be initially linear until the substrate is beginning to be used up where it would then level off to a constant value. p-nitrophenyl phosphate is chosen as the substrate because a product of its dephosphorylation, nitrophenolate anion has a high molar absorptivity in the blue wavelengths of visible light. This allows for the use of Beers Law to calculate concentration of the product from the absorbance at a specific wavelength of light. A410 = ÃŽ µ410,NPA l cNPA (5) Here, A is the absorbance at a wavelength of 410nm, l is the light path through the solution, ÃŽ µ is the molar absorptivity of the solution and c is the concentration. Thus, by observing the change in absorbance as a function of time, it is possible to observe the increase in product as a function of time. Once the reaction rates at each initial substrate concentration are known, it is necessary to determine the parameters Vmax and KM in the Michaelis-Menton equation (Equation 4) in order to fit the data to a mathematical trend. This nonlinear fit is difficult to make without first having reasonable estimates of Vmax and KM. However, by rearranging Equation 4, it is possible to linearize the equation such that reasonable approximations of the parameters can be obtained by performing a simple linear least-squares regression. One such linearization produces the Eadie-Hofstee plot of the form: v = Vmax KM (6) This equation can be used to give reasonable approximations of the two parameters, which can then be optimized to produce the values of Vmax ­ and KM ­. This optimization is performed by comparing the estimated rate from Equation 4 using the approximate values for the two parameters to the actual rate at different concentrations. A ÃŽ §2 is defined to be the sum of the deviations from the actual observations. A computer can be used to minimize this value by varying Vmax and KM where the values for these two parameters at the minimized ÃŽ §2 are the best approximations. The error in these values is found by minimizing the ÃŽ §2 at several values of Vmax and KM by varying the other parameter. A plot of these points can be used to determine the 95% confidence intervals for these values. Competitive inhibition is the process by which molecules that resemble the substrate can bind to the active site of the enzyme, establishing a competition between the substrate and this molecule for active sites on the enzyme. HPO4- is a product of the hydrolysis of NPP which acts as an inhibitor to the enzyme reaction. The effect of the addition of phosphate on the rate can be expressed as follows: (7) Here, all variables are the same as in Equation 4, where KI is the inhibition constant. Experiment An Ocean Optics USB 400 spectrophotometer is used to take all absorbance readings. All parts of the experiment take place at atmospheric pressure and are open air. In order to establish a basis of comparison, the absorbance at 410 nm is taken for nitrophenolate anion, NPA, the pure product of the enzyme reaction. From this, the molar absorptivity constant can be determined for NPA which can be used to determine the concentration of NPA in solution. Several solutions with a range of concentrations of the substrate nitrophenyl phosphate, NPP, are necessary to observe the effect of substrate concentration on the rate of the enzyme reaction. The concentrations are chosen such that they span the range of the Michaelis-Menton plot. Upon the addition of enzyme to each solution, the concentration of NPA as a function of time is recorded by taking the absorbance reading at 410 nm at each time step. The reaction for each initial NPP concentration is charted for a sufficiently long time such th at an accurate least-squares fit can be made for the plot of concentration as a function of time. From this plot, the initial reaction rates for each NPP concentration can be determined and fit to an Eadie-Hofstee plot to determine approximate values for V and KM. To observe the inhibiting effect of phosphate on the enzyme reaction, several solutions with a range of phosphate concentrations all with equal concentrations of NPP must be prepared. Then, upon the addition of enzyme to the solutions, the concentration of NPA as a function of time is observed via the absorbance readings. It is necessary to keep the initial substrate concentration constant in this part so that the variation in the reaction rate can be attributed to only the variation in phosphate concentration. Discussion of Results As expected, increasing the initial substrate concentration served to increase the rate of product formation in the hydrolysis of nitrophenyl phosphate by an alkaline phosphatase enzyme. This can be seen clearly in Figure 1 where the slope of the graph of product (NPP) concentration as a function of time increases as enzyme concentration increases. For the trials with the three highest initial substrate concentrations, the enzyme concentration was half that used in every other run, meaning that the rate of reaction for these trials must be doubled for comparison purposes. This explains why the slopes of these lines are approximately half of what would be expected in Figure 1. Figure : The plot demonstrates that as substrate concentration increases, so too does the rate of product formation In order to determine the rate of reaction, a second order trend is fit to the data where the linear term in the equation is taken to be the rate of product formation. A second order least squares regression is used to fit the data because the rate of reaction is not truly constant over the timeframe observed. It is expected that the data will have a very slight negative concavity as, by Equation 2, the substrate concentration is decreasing at the same rate as the increase in NPA, leaving less NPP to form the enzyme-substrate complex which produces NPA. This means that the rate should decrease as a function of time the second order regression is used to correct for this fact, leaving the linear term to describe the rate of reaction. Figure 2 (attached) displays the approximate second order trends for NPA concentration as a function of time for each initial NPP concentration. These are only approximate trends as these may not be rigorously calculated, and in any case are over a small er range than that used in subsequent calculations. A more rigorous second order least-squares regression is performed to obtain the reaction rates for each initial substrate concentration. The rates along with the standard deviations for each rate are tabulated in Table 1. As stated previously, it has clearly been shown that as initial substrate concentration is increased, so too does the rate of the reaction. Additionally, the second order linear trend provides a very strong fit to the data. This is evidenced by the fact that the standard deviations of the rates are all 8 or 9 orders of magnitude smaller than the rate, meaning there is very little variance in the data from the trend calculated. Table 1: Enzyme Reaction Rate as a function of Substrate concentration [S0]/M Rate (M/sec) Rate SD 3.23E-03 3.94E-07 1.25E-15 1.61E-03 3.52E-07 2.50E-16 8.06E-04 2.96E-07 4.54E-16 4.03E-04 2.40E-07 4.77E-16 2.42E-04 1.73E-07 2.73E-16 1.45E-04 1.29E-07 2.58E-17 6.45E-05 7.97E-08 7.56E-17 3.23E-05 4.13E-08 4.78E-17 Once the rates at each initial NPP concentration are known, it is possible to attempt to describe the initial rate of the enzyme reaction as a function of initial substrate concentration. This relation can be described by Equation 4, and so the parameters Vmax and KM must be obtained. As stated previously, it is difficult to perform a nonlinear regression to describe rate as a function of time without having reasonably close guesses for these two parameters. By the process described previously whereby Equation 5 is used to linearize the data, we obtain the Eadie-Hostee plot displayed in Figure 3. Figure 3: The Eadie-Hofstee plot linearizes the data such that estimates of Vmax and Km can be obtained As can be seen in the figure, this method produces a roughly linear plot. By performing a linear least squares fit on the data, we can obtain guesses for the two parameters. Equation 6 makes it apparent that the slope of the plot is -KM and the intercept is Vmax. An analysis of the units bears this out: Vmax has units of M/sec (as does the rate because Vmax is the maximum initial rate of reaction at which the enzyme becomes completely saturated), and KM has units of M (as does substrate concentration because KM is the concentration at which the reaction rate is half that of Vmax). The intercept and slope of the graph also have units of M/sec and M, respectively. From the plot, it is estimated that KM = 2.90*10-4 M and Vmax = 4.10*10-7 M/sec. Using these values for the parameters in the Michaelis-Menton equation (4), a decent fit of the data is obtained as seen in Figure 4. However, it is clear from the plot that the values for both parameters are too low. The plot begins to approach a value which is too low as the plot from the formula falls below the final data point. This suggests that the value of Vmax is too low. Additionally, the plot rises too quickly at low substrate concentrations which would cause KM to occur too early, as does the lower value of Vmax. Figure 4: The approximate values of Vmax and Km from the Eadie-Hofstee plot produce only a rough fit of the data These apparent inaccuracies in the values of Vmax and KM are most likely resulted from the fact that the Eadie-Hostfee plot does not use two separate variables on each axis. However, clearly these values are relatively close to the correct value as the plot roughly fits the data. By the process described previously, a computer can be used to produce more accurate values of Vmax and KM by minimizing the ÃŽ §2 value, which is the sum of the squares of the deviations from the data by the value predicted in the formula. Minimizing ÃŽ §2 by varying the two parameters gives the values in Table 2. Table 2: Comparison of Vmax and Km values from Eadie-Hofstee plot and non-linear regression Eadie-Hofstee Non-linear Reg. Pos Error Neg Error Vmax (M/sec) 4.10E-07 4.28E-07 .32E-07 .28E-07 Km/M 2.90E-04 3.33E-04 .47E-04 .58E-04 As expected, the values of both parameters have increased, where Vmax = 4.28*10-7 and where KM = 3.33*10-4. The positive and negative errors for these two parameters are obtained by the process described above. At different values of each parameter, the ÃŽ §2 value is minimized while varying only the other variable. The plots of this process are appended. The confidence interval is taken to be 4.28*ÃŽ §2; that is the values at which these graphs cross this value corresponds to the lower and upper limits of each parameter. This error is also recorded in Table 2. Then by using Equation 4, one can use the multiplicative formula for error to determine error bars for the data points. These errors are tabulated in Table 3 for each initial substrate concentration. Table 3: Enzyme Reaction Rate as a function of Substrate concentration with Errors from Km and Vmax [S0]/M Rate (M/sec) pos error neg error 3.23E-03 3.94E-07 6.29E-08 7.33E-08 1.61E-03 3.52E-07 5.62E-08 6.55E-08 8.06E-04 2.96E-07 4.73E-08 5.51E-08 4.03E-04 2.40E-07 3.83E-08 4.47E-08 2.42E-04 1.73E-07 2.76E-08 3.22E-08 1.45E-04 1.29E-07 2.06E-08 2.40E-08 6.45E-05 7.97E-08 1.27E-08 1.48E-08 3.23E-05 4.13E-08 6.60E-09 7.68E-09 Using these corrected values for Vmax and KM, a more accurate formula to describe the data is obtained. Figure 5 clearly shows that the plot using these new values provides a much better fit to the data than does the plot of the approximate values for the parameters. All of the issues seen in the first plot are no longer present, and the formula clearly falls well within the error bars on each data point. Despite lacking a quantitative means of expressing the quality of the fit, it is possibly to qualitatively state by looking at the plot that the formula with the determined parameter values closely matches the experimental data. Figure 5: The optimized values of Vmax and Km from the estimates given by the Eadie-Hofstee plot produce a strong fit Finally, having confidence in the ability for the Michaelis-Menton equation to describe the effect of initial concentration on the rate of reaction, it is possible to study the effect of the addition of an inhibitor species on the rate of the reaction. Keeping the initial concentration of substrate fixed, the concentration of inhibitor in solution was varied. As would be expected, the addition of inhibitor species greatly reduced the rate of product formation. This is shown in Table 4. Table 4: Determination of mean inhibition costant Ki [I]/M Rate (M/sec) Km app/M Ki/M 0 2.40e-7 3.33e-4 0 3.23E-03 2.34E-08 6.84E-03 1.62E-04 6.45E-03 1.69E-08 9.80E-03 2.27E-04 9.68E-03 7.61E-09 2.14E-02 1.47E-04 [S]/M Avg Ki/M 1.79E-04 4.03E-04 SE .25E-04 Also observed is that the addition of more inhibitor species results in an increasingly reduced rate of product reaction. This makes sense because as more inhibitor species exists in solution, there are more molecules that can bind to the enzymes active sites, thereby inhibiting the formation of the enzyme-substrate that is necessary for product formation. As a result of the rate decreasing as the inhibitor concentration is increased, the apparent KM value greatly increases. This makes sense because the substrate would have to be significantly more concentrated to effectively compete and reach the concentration at which the reaction rate is half that of Vmax. From Equation 7, it is possible to calculate the value of KI from the inhibitor concentration, the rate and Vmax. Averaging the values of KI for each inhibitor concentration gives a = (1.79 + 0.25)*10-4 M. Conclusion The alkaline enzyme-catalyzed hydrolysis of nitrophenyl phosphate is a first order reaction that depends on the initial concentration of substrate in solution when the concentration of enzyme is kept constant. A second order least-squares regression gives the initial rate of reaction as a function of time, where the rate of product formation increases as the initial concentration of substrate increases. The Eadie-Hosfstee plot was used to approximate the parameters Vmax and KM that are necessary to describe the relation between substrate concentration and rate of reaction. Optimizing these parameters through the minimization of a X2 value gives Vmax = 4.28*10-7 and KM = 3.33*10-4. The error in these parameters can be determined by each parameter separately to minimize the X2 value at different values for each parameter. These values for the parameters in the Michaelis-Menton equation produce a qualitatively strong fit for the data. The addition of an inhibitor species served to decre ase the rate of product formation where the increase in inhibitor concentration results in a decrease in rate. Using the Michaelis-Menton equation, the inhibition constant KI is found to be = (1.79 + 0.25)*10-4 M.

American Films and Ripped Jeans Skin

CARLY RAE JEPSEN CURIOSITY EP p & c 2012 604 RECORDS INC. #101 – 1001 WEST BROADWAY, UNIT 362, VANCOUVER, BC V6H 4E4. ALL RIGHTS RESERVED. MANUFACTURED AND DISTRIBUTED BY UNIVERSAL MUSIC CANADA. , 2450 VICTORIA PARK AVE. , SUITE #1, TORONTO, ONTARIO M2J 5H3. UNAUTHORIZED REPRODUCTION, COPYING AND RENTAL OF THIS RECORDING IS PROHIBITED BY LAW. I threw a wish in the well Don't ask me I'll never tell I looked at you as it fell And now you're in my way I trade my soul for a wish Pennies and dimes for a kiss I wasn't looking for this But now you're in my way Your stare was holding Ripped jeans Skin was showing Hot nightWind was blowing Where you think you're going baby? Hey I just met you And this is crazy But here's my number So call me maybe It's hard to look right at you baby But here's my number So call me maybe Hey I just met you And this is crazy But here's my number So call me maybe And all the other boys Try to chase me But here's my number So call me maybe You took your ti me with the call I took no time with the fall You gave me nothing at all But still you're in my way I beg and borrow and steal At first sight and it's real I didn't know I would feel it But it's in my way Your stare was holding Ripped jeans Skin was showing Hot nightWind was blowing Where you think you're going baby? Break a bone Got me on my knees You break my heart Just to watch it bleed Hey I just met you And this is crazy But here's my number So call me maybe It's hard to look right at you baby But here's my number So call me maybe I'm sick with love Sick like a disease Don't call me up Just so I can please you Hey I just met you And this is crazy But here's my number So call me maybe And all the other boys Try to chase me But here's my number So call me maybe Before you came into my life I missed you so bad I missed you so bad I missed you so so bad Before you came into my lifeI missed you so bad And you should know that So call me maybe So don't break me tonight This is crazy love And you know I'm gunna follow you home Through the rain Cause I need your love And you know I'm gunna follow you home I can't stand the way you’re smiling I can't stand the way I'm lying Before you came into my life I missed you so bad I missed you so bad I missed you so so bad Before you came into my life I missed you so bad And you should know that I missed you so so bad, bad, bad, bad†¦. It's hard to look right at you baby But here's my number So call me maybe Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Will never let me goOh oh oh oh oh oh Uh oh Curiosity CURIOSITY I know, I know, I know you got the key And you know, you know, you know that it's for me It's not up to you, you know it's up to me but Curiosity will never let me go Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Will never let me go Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Look at me Left here in the corner Stupid girl I really tried to warn her Walked the streets all night Until you came around Knew that you would come Before you ever even made a sound I know, I know, I know you got the key And you know, you know, you know that it's for me It's not up to you, you know it's up to me butCuriosity will never let me go PICTURE Cause I need your love and you know I'm going to follow you†¦ I know, I know, I know you got the key You know, you know, you know that it's for me Well I think that we should try it out to see yeah Curiosity So don't break me tonight This is crazy love And you know I'm gunna follow you home Through the rain Cause I need your love Yes I need your love So don't break (don't break) me tonight (me tonight) This is crazy love And you know I'm gunna follow you home Through the rain Cause I need your love Yes I need your love Will never let me go Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Will never let me goOh oh oh oh oh oh Uh oh Curiosity will never let me go I could take a picture Of you and me together No one would believe me No one would believe me TWO DIFFERE NT WORLDS I THOUGHT THEY'D KEEP US APART I'M IGNORING MY HEAD FOLLOW MY HEART CALL ME MAYBE Say it in a whisper That baby it don't get much better Would I like to see you again? You name the day And I will pick the city We'll fly away Till then, call me when you miss me If you’re asking if I'd really like to see you again I say oh†¦ just say when Tell me that you feel it This you and me together No one would believe me Even I cannot believe it You kiss me like you mean itOh baby, it don't get much better Would I like to see you again? Darling just say when You name the day And I will pick the city We'll fly away Till then, call me when you miss me If you’re asking if I'd really like to see you again I say oh†¦ just say when Two different worlds I thought they'd keep us apart I'm ignoring my head Follow my heart Oh you pick the day And I will pick the city We'll fly away Till then, call me when you miss me I am willing to wait Cause I just gotta see you again Don't ask no†¦ just say when Just say when†¦ I could take a picture Of you and me together No one would believe me No one would believe me TALK TO MEEvery morning As I go walking by I feel you looking That's why I take my time Oh oh yeah Bows and flows of angel hair And ice-cream castles in the air Feather cannons everywhere I've looked at clouds that way JUST A STEP AWAY Talk to me, why won't you talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't you talk to me Walk with me baby When he's singing his song Well all the young girls sigh And we'll be wearing those things That make a grown man cry Oh oh yeah yeah I'VE BEEN YOURS FROM THE START I can see what ‘cha wanna do to me You can feel it something’s gonna break Well I'm in if you’re inLet's make a big mistake Talk to me, why won't you talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't you talk to me Wa lk with me baby Come on take me away I've been yours from the start Summer nights, summer days I'll be your summer heart Come on take me away I've been yours from the start†¦ When it's love like that And you look like that Talk to me, why won't ‘cha talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't ‘cha talk to me Walk with me baby Come on take me away I've been yours from the start Summer nights, summer daysI'll be your summer heart Come on take me away I've been yours from the start Talk to me, why won't you talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't you talk to me talk to me Why won't ‘cha talk to me In the space between the words In the silence of your eyes In the hands that know the touch It's the way I feel inside Here we are Dancing cross this floor together With every step I take I seem to want you more than ever You made me love you Look into m y eyes I want to tell you I'll never let you down And I'll never go away And if your ever feeling down I'm just a step awayI'll never let you down And I'll never go away And if your ever feeling down I'm just a step, just a step, just a step away It's the beating of your heart It's the tear I have to hide It's the sound of your guitar It's the way I feel inside Here we are Dancing cross this floor together With every step I take I seem to want you more than ever You made me love you Look into my eyes I want to tell you If you need a shoulder Or someone to hold you I'll keep my arms open wide I'll be the one who loves you I'll be right there by your side Here we are Dancing cross this floor together With every step I take I seem to want you more than everYou made me love you Look into my eyes I want to tell you I'll never let you down (I'll never let you down) And I'll never go away (And I'll never go away) And if your ever feeling down (And if your ever feeling down) I'm just a step away I'll never let you down And I'll never go away And if your ever feeling down I'm just a step away I'll never let you down And I'll never go away And if you’re ever feeling down I'm just a step, just a step, just a step away In the space between the words In the silence of your eyes In the hands that know the touch It's the way I feel inside IN THE SPACE BETWEEN THE WORDS I'll never let you downAnd I'll never go away And if your ever feeling down I'm just a step away I'll never let you down And I'll never go away And if your ever feeling down I'm just a step, just a step, just a step away Now they only block the sun They rain and snow on everyone So many things I would have done But clouds got in my way I've looked at clouds from both sides now TEARS AND FEARS AND FEELING PROUD TO SAY I LOVE YOU RIGHT OUT LOUD DREAMS AND SCHEMES AND CIRCUS CROWDS I can see what ‘cha wanna do to me You can feel it something’s gonna break Well I'm in if you’re in Let's make a big mistake BOTH SIDES NOW I've looked at clouds from both sides nowFrom up and down and still somehow It's clouds illusions I recall I really don't know clouds at all Moons and Junes and ferris wheels The dizzy, dancing way you feel When every fairy tale comes real I've looked at love that way But now it's just another show You leave 'em laughing when you go And if you care don't let them know Don't give yourself away I've looked at love from both sides now From give and take and still somehow It's loves illusions I recall I really don't know love at all Tears and fears and feeling proud To say I love you right out loud Dreams and schemes and circus crowds I've looked at life that wayBut now old friends are acting strange They shake their heads They say I've changed Well somethings lost and somethings gained in living every day I've looked at life from both sides now I've looked at life from both sides now From win and loose and still somehow It's lifes illusions I recall I really don't know life I've looked at clouds from both sides now From up and down and still somehow It's clouds illusions I recall I really don't know clouds at all I really don't know life at all THANK YOU: To YOU†¦ Thanks for listening and making all of this possible. 🙂 Dad, Patty, Mom, Ron, Colin, Kaela and Katie American Films and Ripped Jeans Skin CARLY RAE JEPSEN CURIOSITY EP p & c 2012 604 RECORDS INC. #101 – 1001 WEST BROADWAY, UNIT 362, VANCOUVER, BC V6H 4E4. ALL RIGHTS RESERVED. MANUFACTURED AND DISTRIBUTED BY UNIVERSAL MUSIC CANADA. , 2450 VICTORIA PARK AVE. , SUITE #1, TORONTO, ONTARIO M2J 5H3. UNAUTHORIZED REPRODUCTION, COPYING AND RENTAL OF THIS RECORDING IS PROHIBITED BY LAW. I threw a wish in the well Don't ask me I'll never tell I looked at you as it fell And now you're in my way I trade my soul for a wish Pennies and dimes for a kiss I wasn't looking for this But now you're in my way Your stare was holding Ripped jeans Skin was showing Hot nightWind was blowing Where you think you're going baby? Hey I just met you And this is crazy But here's my number So call me maybe It's hard to look right at you baby But here's my number So call me maybe Hey I just met you And this is crazy But here's my number So call me maybe And all the other boys Try to chase me But here's my number So call me maybe You took your ti me with the call I took no time with the fall You gave me nothing at all But still you're in my way I beg and borrow and steal At first sight and it's real I didn't know I would feel it But it's in my way Your stare was holding Ripped jeans Skin was showing Hot nightWind was blowing Where you think you're going baby? Break a bone Got me on my knees You break my heart Just to watch it bleed Hey I just met you And this is crazy But here's my number So call me maybe It's hard to look right at you baby But here's my number So call me maybe I'm sick with love Sick like a disease Don't call me up Just so I can please you Hey I just met you And this is crazy But here's my number So call me maybe And all the other boys Try to chase me But here's my number So call me maybe Before you came into my life I missed you so bad I missed you so bad I missed you so so bad Before you came into my lifeI missed you so bad And you should know that So call me maybe So don't break me tonight This is crazy love And you know I'm gunna follow you home Through the rain Cause I need your love And you know I'm gunna follow you home I can't stand the way you’re smiling I can't stand the way I'm lying Before you came into my life I missed you so bad I missed you so bad I missed you so so bad Before you came into my life I missed you so bad And you should know that I missed you so so bad, bad, bad, bad†¦. It's hard to look right at you baby But here's my number So call me maybe Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Will never let me goOh oh oh oh oh oh Uh oh Curiosity CURIOSITY I know, I know, I know you got the key And you know, you know, you know that it's for me It's not up to you, you know it's up to me but Curiosity will never let me go Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Will never let me go Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Look at me Left here in the corner Stupid girl I really tried to warn her Walked the streets all night Until you came around Knew that you would come Before you ever even made a sound I know, I know, I know you got the key And you know, you know, you know that it's for me It's not up to you, you know it's up to me butCuriosity will never let me go PICTURE Cause I need your love and you know I'm going to follow you†¦ I know, I know, I know you got the key You know, you know, you know that it's for me Well I think that we should try it out to see yeah Curiosity So don't break me tonight This is crazy love And you know I'm gunna follow you home Through the rain Cause I need your love Yes I need your love So don't break (don't break) me tonight (me tonight) This is crazy love And you know I'm gunna follow you home Through the rain Cause I need your love Yes I need your love Will never let me go Oh oh oh oh oh oh Uh oh Oh oh oh oh oh oh Will never let me goOh oh oh oh oh oh Uh oh Curiosity will never let me go I could take a picture Of you and me together No one would believe me No one would believe me TWO DIFFERE NT WORLDS I THOUGHT THEY'D KEEP US APART I'M IGNORING MY HEAD FOLLOW MY HEART CALL ME MAYBE Say it in a whisper That baby it don't get much better Would I like to see you again? You name the day And I will pick the city We'll fly away Till then, call me when you miss me If you’re asking if I'd really like to see you again I say oh†¦ just say when Tell me that you feel it This you and me together No one would believe me Even I cannot believe it You kiss me like you mean itOh baby, it don't get much better Would I like to see you again? Darling just say when You name the day And I will pick the city We'll fly away Till then, call me when you miss me If you’re asking if I'd really like to see you again I say oh†¦ just say when Two different worlds I thought they'd keep us apart I'm ignoring my head Follow my heart Oh you pick the day And I will pick the city We'll fly away Till then, call me when you miss me I am willing to wait Cause I just gotta see you again Don't ask no†¦ just say when Just say when†¦ I could take a picture Of you and me together No one would believe me No one would believe me TALK TO MEEvery morning As I go walking by I feel you looking That's why I take my time Oh oh yeah Bows and flows of angel hair And ice-cream castles in the air Feather cannons everywhere I've looked at clouds that way JUST A STEP AWAY Talk to me, why won't you talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't you talk to me Walk with me baby When he's singing his song Well all the young girls sigh And we'll be wearing those things That make a grown man cry Oh oh yeah yeah I'VE BEEN YOURS FROM THE START I can see what ‘cha wanna do to me You can feel it something’s gonna break Well I'm in if you’re inLet's make a big mistake Talk to me, why won't you talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't you talk to me Wa lk with me baby Come on take me away I've been yours from the start Summer nights, summer days I'll be your summer heart Come on take me away I've been yours from the start†¦ When it's love like that And you look like that Talk to me, why won't ‘cha talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't ‘cha talk to me Walk with me baby Come on take me away I've been yours from the start Summer nights, summer daysI'll be your summer heart Come on take me away I've been yours from the start Talk to me, why won't you talk to me Can't you see I'm burning up When you look like that And I'm looking right back Why don't you talk to me talk to me Why won't ‘cha talk to me In the space between the words In the silence of your eyes In the hands that know the touch It's the way I feel inside Here we are Dancing cross this floor together With every step I take I seem to want you more than ever You made me love you Look into m y eyes I want to tell you I'll never let you down And I'll never go away And if your ever feeling down I'm just a step awayI'll never let you down And I'll never go away And if your ever feeling down I'm just a step, just a step, just a step away It's the beating of your heart It's the tear I have to hide It's the sound of your guitar It's the way I feel inside Here we are Dancing cross this floor together With every step I take I seem to want you more than ever You made me love you Look into my eyes I want to tell you If you need a shoulder Or someone to hold you I'll keep my arms open wide I'll be the one who loves you I'll be right there by your side Here we are Dancing cross this floor together With every step I take I seem to want you more than everYou made me love you Look into my eyes I want to tell you I'll never let you down (I'll never let you down) And I'll never go away (And I'll never go away) And if your ever feeling down (And if your ever feeling down) I'm just a step away I'll never let you down And I'll never go away And if your ever feeling down I'm just a step away I'll never let you down And I'll never go away And if you’re ever feeling down I'm just a step, just a step, just a step away In the space between the words In the silence of your eyes In the hands that know the touch It's the way I feel inside IN THE SPACE BETWEEN THE WORDS I'll never let you downAnd I'll never go away And if your ever feeling down I'm just a step away I'll never let you down And I'll never go away And if your ever feeling down I'm just a step, just a step, just a step away Now they only block the sun They rain and snow on everyone So many things I would have done But clouds got in my way I've looked at clouds from both sides now TEARS AND FEARS AND FEELING PROUD TO SAY I LOVE YOU RIGHT OUT LOUD DREAMS AND SCHEMES AND CIRCUS CROWDS I can see what ‘cha wanna do to me You can feel it something’s gonna break Well I'm in if you’re in Let's make a big mistake BOTH SIDES NOW I've looked at clouds from both sides nowFrom up and down and still somehow It's clouds illusions I recall I really don't know clouds at all Moons and Junes and ferris wheels The dizzy, dancing way you feel When every fairy tale comes real I've looked at love that way But now it's just another show You leave 'em laughing when you go And if you care don't let them know Don't give yourself away I've looked at love from both sides now From give and take and still somehow It's loves illusions I recall I really don't know love at all Tears and fears and feeling proud To say I love you right out loud Dreams and schemes and circus crowds I've looked at life that wayBut now old friends are acting strange They shake their heads They say I've changed Well somethings lost and somethings gained in living every day I've looked at life from both sides now I've looked at life from both sides now From win and loose and still somehow It's lifes illusions I recall I really don't know life I've looked at clouds from both sides now From up and down and still somehow It's clouds illusions I recall I really don't know clouds at all I really don't know life at all THANK YOU: To YOU†¦ Thanks for listening and making all of this possible. 🙂 Dad, Patty, Mom, Ron, Colin, Kaela and Katie