(S)-1-phenylethanol dehydrogenase
(S)-1-phenylethanol dehydrogenase (EC , PED) is an enzyme with systematic name (S)-1-phenylethanol:NAD+ oxidoreductase. This enzyme catalyses the following chemical reaction


(S)-2-haloacid dehalogenase
In enzymology, a (S)-2-haloacid dehalogenase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-2-haloacid dehalogenase
Thus, the two substrates of this enzyme are (S)-2-haloacid and H2O, whereas its two products are (R)-2-hydroxyacid and halide.


(S)-2-haloacid dehalogenase
This enzyme belongs to the family of hydrolases, specifically those acting on halide bonds in carbon-halide compounds. The systematic name of this enzyme class is (S)-2-haloacid halidohydrolase. Other names in common use include 2-haloacid dehalogenase[ambiguous], 2-haloacid halidohydrolase [ ambiguous][ambiguous], 2-haloalkanoic acid dehalogenase, 2-haloalkanoid acid halidohydrolase, 2-halocarboxylic acid dehalogenase II, DL-2-haloacid dehalogenase[ambiguous], L-2-haloacid dehalogenase, and L-DEX. This enzyme participates in gamma-hexachlorocyclohexane degradation and 1,2-dichloroethane degradation.


(S)-2-haloacid dehalogenase, Structural studies
As of late 2007, 10 structures have been solved for this class of enzymes, with PDB accession codes , , , , , , , , , and .


(S)-2-hydroxy-acid oxidase
In enzymology, a (S)-2-hydroxy-acid oxidase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-2-hydroxy-acid oxidase
Thus, the two substrates of this enzyme are (S)-2-hydroxy acid and O2, whereas its two products are 2-oxo acid and H2O2.


(S)-2-hydroxy-acid oxidase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with oxygen as acceptor. The systematic name of this enzyme class is (S)-2-hydroxy-acid:oxygen 2-oxidoreductase. Other names in common use include glycolate oxidase, hydroxy-acid oxidase A, hydroxy-acid oxidase B, glycolate oxidase, oxidase, L-2-hydroxy acid, hydroxyacid oxidase A, L-alpha-hydroxy acid oxidase, and L-2-hydroxy acid oxidase. This enzyme participates in glyoxylate and dicarboxylate metabolism. It employs one cofactor, FMN.


(S)-2-hydroxy-acid oxidase, Structural studies
As of late 2007, 5 structures have been solved for this class of enzymes, with PDB accession codes , , , , and .


(S)-2-hydroxy-fatty-acid dehydrogenase
In enzymology, a (S)-2-hydroxy-fatty-acid dehydrogenase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-2-hydroxy-fatty-acid dehydrogenase
Thus, the two substrates of this enzyme are (S)-2-hydroxystearate and NAD+, whereas its 3 products are 2-oxostearate, NADH, and H+.


(S)-2-hydroxy-fatty-acid dehydrogenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is (S)-2-hydroxystearate:NAD+ oxidoreductase. Other names in common use include dehydrogenase, L-2-hydroxy fatty acid, L-2-hydroxy fatty acid dehydrogenase, and 2-hydroxy fatty acid oxidase.


(S)-2-hydroxypropylphosphonic acid epoxidase
(S)-2-hydroxypropylphosphonic acid epoxidase (EC , HPP epoxidase, HppE, 2-hydroxypropylphosphonic acid epoxidase, Fom4, (S)-2-hydroxypropylphosphonate epoxidase) is an enzyme with systematic name (S)-2-hydroxypropylphosphonate,NADH:oxygen epoxidase. This enzyme catalyses the following chemical reaction


(S)-2-hydroxypropylphosphonic acid epoxidase
(S)-2-hydroxypropylphosphonic acid epoxidase contains one non-heme iron centre per monomer.


(S)-2-methylmalate dehydratase
In enzymology, a (S)-2-methylmalate dehydratase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-2-methylmalate dehydratase
Hence, this enzyme has one substrate, (S)-2-methylmalate, and two products, 2-methylfumarate and H2O.


(S)-2-methylmalate dehydratase
This enzyme belongs to the family of lyases, specifically the hydro-lyases, which cleave carbon-oxygen bonds. The systematic name of this enzyme class is (S)-2-methylmalate hydro-lyase (2-methylfumarate-forming). Other names in common use include mesaconate hydratase, (+)-citramalate hydro-lyase, L-citramalate hydrolase, citramalate dehydratase, (+)-citramalic hydro-lyase, mesaconate mesaconase, mesaconase, and (S)-2-methylmalate hydro-lyase. This enzyme participates in c5-branched dibasic acid metabolism. In addition, the family of lyases which is also an enzyme catalyzes the breaking  the elimination reaction of the variety of amounts of chemical bonds from hydrolysis (a substitution reaction ) and oxidation, which forms a new double bond or a new ring structure.


(S)-3-amino-2-methylpropionate transaminase
In enzymology, a (S)-3-amino-2-methylpropionate transaminase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-3-amino-2-methylpropionate transaminase
Thus, the two substrates of this enzyme are (S)-3-amino-2-methylpropanoate and 2-oxoglutarate, whereas its two products are 2-methyl-3-oxopropanoate and L-glutamate.


(S)-3-amino-2-methylpropionate transaminase
This enzyme belongs to the family of transferases, specifically the transaminases, which transfer nitrogenous groups. The systematic name of this enzyme class is (S)-3-amino-2-methylpropanoate:2-oxoglutarate aminotransferase. Other names in common use include L-3-aminoisobutyrate transaminase, beta-aminobutyric transaminase, L-3-aminoisobutyric aminotransferase, and beta-aminoisobutyrate-alpha-ketoglutarate transaminase. This enzyme participates in valine, leucine and isoleucine degradation.


(S)-3-hydroxyacid-ester dehydrogenase
In enzymology, a (S)-3-hydroxyacid-ester dehydrogenase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-3-hydroxyacid-ester dehydrogenase
Thus, the two substrates of this enzyme are ethyl (S)-3-hydroxyhexanoate and NADP+, whereas its 3 products are ethyl 3-oxohexanoate, NADPH, and H+.


(S)-3-hydroxyacid-ester dehydrogenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is ethyl-(S)-3-hydroxyhexanoate:NADP+ 3-oxidoreductase. This enzyme is also called 3-oxo ester (S)-reductase.


(S)-6-hydroxynicotine oxidase
In enzymology, a (S)-6-hydroxynicotine oxidase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-6-hydroxynicotine oxidase
The 3 substrates of this enzyme are (S)-6-hydroxynicotine, H2O, and O2, whereas its two products are 1-(6-hydroxypyridin-3-yl)-4-(methylamino)butan-1-one and H2O2.


(S)-6-hydroxynicotine oxidase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-NH group of donors with oxygen as acceptor. The systematic name of this enzyme class is (S)-6-hydroxynicotine:oxygen oxidoreductase. Other names in common use include L-6-hydroxynicotine oxidase, 6-hydroxy-L-nicotine oxidase, and 6-hydroxy-L-nicotine:oxygen oxidoreductase. It employs one cofactor, FAD.


(S)-Ipsdienol
(S)-Ipsdienol is a terpene alcohol. It is one of the major aggregation pheromones of the bark beetle. It was first identified from Ips confusus, in which it is believed to be a principle sex attractant. It is suggested that the compound plays a role in interspecies communication between Ips latidens and Ips ini, facilitating reductions in competition for breeding material and/or mating interference.


(S)-Ipsdienol, Synthesis
The compound has been synthesized from D-mannitol. Alternative syntheses were realized through the asymmetric isoprenylation of correspondent aldehyde (prenal) and alcohol (prenol). Chiral resolution of racemic precursor has been found to provide both enantiomers of ipsdienol in high enentiomeric purity and in preparative scale.


(S)-N-acetyl-1-phenylethylamine hydrolase
In enzymology, a (S)-N-acetyl-1-phenylethylamine hydrolase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-N-acetyl-1-phenylethylamine hydrolase
Thus, the two substrates of this enzyme are N-acetylphenylethylamine and H2O, whereas its two products are phenethylamine and acetate.


(S)-N-acetyl-1-phenylethylamine hydrolase
This enzyme belongs to the family of hydrolases, those acting on carbon-nitrogen bonds other than peptide bonds, specifically in linear amides. The systematic name of this enzyme class is (S)-N-acetylphenylethylamine:H2O hydrolase. At least one compound, phenylmethanesulfonylfluoride is known to inhibit this enzyme.


(S)-beta-bisabolene synthase
(S)-beta-bisabolene synthase (EC ) is an enzyme with systematic name (2E,6E)-farnesyl-diphosphate diphosphate-lyase ((S)-beta-bisabolene-forming). This enzyme catalyses the following chemical reaction


(S)-beta-bisabolene synthase
The synthesis of (S)-beta-macrocarpene from (2E,6E)-farnesyl diphosphate proceeds in two steps.


(S)-beta-macrocarpene synthase
(S)-beta-macrocarpene synthase (EC , TPS6, TPS11) is an enzyme with systematic name (S)-beta-macrocarpene lyase (decyclizing). This enzyme catalyses the following chemical reaction


(S)-beta-macrocarpene synthase
The synthesis of (S)-beta-macrocarpene from (2E,6E)-farnesyl diphosphate proceeds in two steps.


(S)-canadine synthase
In enzymology, a (S)-canadine synthase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-canadine synthase
The 4 substrates of this enzyme are (S)-tetrahydrocolumbamine, NADPH, H+, and O2, whereas its 3 products are Canadine, NADP+, and H2O.


(S)-canadine synthase
This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derived from O2 with NADH or NADPH as one donor, and the other dehydrogenated. The systematic name of this enzyme class is (S)-tetrahydrocolumbamine,NADPH:oxygen oxidoreductase (methylenedioxy-bridge-forming). Other names in common use include (S)-tetrahydroberberine synthase, and (S)-tetrahydrocolumbamine oxidase (methylenedioxy-bridge-forming). This enzyme participates in alkaloid biosynthesis i. It employs one cofactor, heme-thiolate(P-450).


(S)-carnitine 3-dehydrogenase
In enzymology, a (S)-carnitine 3-dehydrogenase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-carnitine 3-dehydrogenase
Thus, the two substrates of this enzyme are (S)-carnitine and NAD+, whereas its 3 products are 3-dehydrocarnitine, NADH, and H+.


(S)-carnitine 3-dehydrogenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is (S)-carnitine:NAD+ oxidoreductase.


(S)-cheilanthifoline synthase
In enzymology, a (S)-cheilanthifoline synthase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-cheilanthifoline synthase
The 4 substrates of this enzyme are (S)-scoulerine, NADPH, H+, and O2, whereas its 3 products are (S)-cheilanthifoline, NADP+, and H2O.


(S)-cheilanthifoline synthase
This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derived from O2 with NADH or NADPH as one donor, and the other dehydrogenated. The systematic name of this enzyme class is (S)-scoulerine,NADPH:oxygen oxidoreductase (methylenedioxy-bridge-forming). This enzyme is also called (S)-scoulerine oxidase (methylenedioxy-bridge-forming). This enzyme participates in alkaloid biosynthesis i.


(S)-coclaurine-N-methyltransferase
In enzymology, a (S)-coclaurine-N-methyltransferase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-coclaurine-N-methyltransferase
Thus, the two substrates of this enzyme are S-adenosyl methionine and (S)-coclaurine, whereas its two products are S-adenosylhomocysteine and (S)-N-methylcoclaurine.


(S)-coclaurine-N-methyltransferase
This enzyme belongs to the family of transferases, specifically those transferring one-carbon group methyltransferases. The systematic name of this enzyme class is S-adenosyl-L-methionine:(S)-coclaurine-N-methyltransferase. This enzyme participates in alkaloid biosynthesis i.


(S)-corytuberine synthase
(S)-corytuberine synthase is a cytochrome P450 enzyme purified from the plant Coptis japonica (Japanese goldthread), with EC number EC  and CYP Symbol CYP80G2 (Cytochrome P450, family 80, member G2), and catalyses an intramolecular C-C phenol coupling of (S)-reticuline in magnoflorine biosynthesis.


(S)-hydroxynitrile lyase
(S)-hydroxynitrile lyase (EC , (S)-cyanohydrin producing hydroxynitrile lyase, (S)-oxynitrilase, (S)-HbHNL, (S)-MeHNL, hydroxynitrile lyase, oxynitrilase, HbHNL, MeHNL, (S)-selective hydroxynitrile lyase, (S)-cyanohydrin carbonyl-lyase (cyanide forming), hydroxynitrilase) is an enzyme with systematic name (S)-cyanohydrin lyase (cyanide forming). This enzyme catalyses the interconversion between cyanohydrins and the carbonyl compounds derived from the cyanohydrin with free cyanide, as in the following two chemical reactions:


(S)-hydroxynitrile lyase
In nature, the liberation of cyanide serves as a defense mechanism against herbivores and microbial attack in plants. Hydroxynitrile lyases of the α/β hydrolase fold are closely related to esterases. All members of the α/β hydrolase fold contain a conserved catalytic triad (nucleophile-histidine-aspartate). The nucleophile in this case is a serine. In contrast to esterases, serine proteases, lipases and other enzymes in this family, the nucleophile in hydroxynitrile lyases functions as a proton acceptor. Key amino acid residues in this reaction are the lysine at position 236 and the threonine at position 11. Lys236 helps to orient the substrate while Thr11 serves to block the oxyanion hole that would convert the enzyme into an esterase.


(S)-hydroxynitrile lyase
Commonly studied (S)-selective hydroxynitrile lyases include MeHNL from Manihot esculenta and HbHNL from Hevea brasiliensis. (R)-selective hydroxynitrile lyases have also been found to exist in Arabidopsis thaliana (AtHNL). AtHNL is thought to catalyze this reaction by a different mechanism.


(S)-hydroxynitrile lyase
Not all hydroxynitrile lyases belong to the α/β hydrolase family. PaHNL (Prunus amygdalus), (R)-selective like AtHNL, uses a flavin cofactor to catalyze cyanogenesis.


(S)-hydroxynitrile lyase, Natural Substrates of Hydroxynitrile Lyases
Acetone cyanohydrin has been determined to be the natural substrate of HbHNL, though HbHNL also shows activity with mandelonitrile, the natural substrate of PaHNL. The cleavage of mandelonitrile into benzaldehyde and cyanide is what produces the characteristic amaretto smell of almonds. The natural substrate of AtHNL is unknown as no cyanohydrins have been detected in Arabidopis thaliana.


(S)-hydroxynitrile lyase, Unnatural Substrates
In addition to cyanohydrin cleavage, HNLs have been found to catalyze the nitroaldol reaction at low levels.


(S)-iPr-PHOX
(S)-iPr-PHOX, or (S)-2-[2-(diphenylphosphino)phenyl]-4-isopropyl-4,5-dihydrooxazole, is a chiral, bidentate, ligand derived from the amino alcohol valinol. It is part of a broader class of phosphinooxazolines ligands and has found application in asymmetric catalysis.


(S)-iPr-PHOX, Preparation
(S)-iPr-PHOX is prepared using the amino alcohol valinol, which is derived from valine. The phosphine moiety may be introduced first, by a reaction between 2-bromobenzonitrile and chlorodiphenylphosphine; the oxazoline ring is then formed in a Witte Seeliger reaction. This yields an air stable zinc complex which must be treated with bipyridine in order to obtain the free ligand. Synthesis is performed under argon or nitrogen to avoid contact with air, however the final product is not air sensitive.


(S)-iPr-PHOX, Uses
Iridium complexes incorporating (S)-iPr-PHOX have been used for asymmetric hydrogenation.


(S)-limonene 3-monooxygenase
This is the current revision of this page, as edited by Florence Hansen (talk | contribs) at 19:51, 31 January 2020 (Removed the red links.). The present address (URL) is a permanent link to this version.


(S)-limonene 3-monooxygenase
In enzymology, a (S)-limonene 3-monooxygenase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-limonene 3-monooxygenase
The 4 substrates of this enzyme are (-)-(S)-limonene, NADPH, H+, and O2, whereas its 3 products are (-)-trans-isopiperitenol, NADP+, and H2O.


(S)-limonene 3-monooxygenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derived from O2 with NADH or NADPH as one donor, and incorporation of one atom o oxygen into the other donor. The systematic name of this enzyme class is (S)-limonene,NADPH:oxygen oxidoreductase (3-hydroxylating). Other names in common use include (-)-limonene 3-hydroxylase, (-)-limonene 3-monooxygenase, and (-)-limonene,NADPH:oxygen oxidoreductase (3-hydroxylating). This enzyme participates in monoterpenoid biosynthesis. It employs one cofactor, heme.


(S)-limonene 6-monooxygenase
In enzymology, a (S)-limonene 6-monooxygenase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-limonene 6-monooxygenase
The 4 substrates of this enzyme are (-)-(S)-limonene, NADPH, H+, and O2, whereas its 3 products are (-)-trans-carveol, NADP+, and H2O.


(S)-limonene 6-monooxygenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derived from O2 with NADH or NADPH as one donor, and incorporation of one atom o oxygen into the other donor. The systematic name of this enzyme class is (S)-limonene,NADPH:oxygen oxidoreductase (6-hydroxylating). Other names in common use include (-)-limonene 6-hydroxylase, (-)-limonene 6-monooxygenase, and (-)-limonene,NADPH:oxygen oxidoreductase (6-hydroxylating). This enzyme participates in monoterpenoid biosynthesis and limonene and pinene degradation. It employs one cofactor, heme.


(S)-limonene 7-monooxygenase
In enzymology, a (S)-limonene 7-monooxygenase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-limonene 7-monooxygenase
The 4 substrates of this enzyme are (-)-(S)-limonene, NADPH, H+, and O2, whereas its 3 products are (-)-perillyl alcohol, NADP+, and H2O.


(S)-limonene 7-monooxygenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derived from O2 with NADH or NADPH as one donor, and incorporation of one atom o oxygen into the other donor. The systematic name of this enzyme class is (S)-limonene,NADPH:oxygen oxidoreductase (7-hydroxylating). Other names in common use include (-)-limonene 7-monooxygenase, (-)-limonene hydroxylase, (-)-limonene monooxygenase, and (-)-limonene,NADPH:oxygen oxidoreductase (7-hydroxylating). This enzyme participates in monoterpenoid biosynthesis and limonene and pinene degradation. It employs one cofactor, heme.


(S)-mandelate dehydrogenase
In enzymology, (S)-mandelate dehydrogenase (EC ) (MDH),  is an enzyme that catalyzes the chemical reaction.


(S)-mandelate dehydrogenase
Thus, the two substrates of this enzyme are (S)-2-hydroxy-2-phenylacetate and acceptor, whereas its two products are 2-oxo-2-phenylacetate and reduced acceptor.


(S)-mandelate dehydrogenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with other acceptors. The systematic name of this enzyme class is (S)-2-hydroxy-2-phenylacetate:acceptor 2-oxidoreductase.


(S)-mandelate dehydrogenase
This enzyme transfers the electron pair from FMNH2 to a component of the electron transport chain, most probably ubiquinone [1,2]. It is part of a metabolic pathway in Pseudomonads that allows theseorganisms to utilize mandelic acid, derivatized from the common soil metabolite amygdalin, as the sole source of carbon and energy. The enzyme has a large active-site pocket and preferentially bindssubstrates with longer sidechains, e.g. 2-hydroxyoctanoate rather than 2-hydroxybutyrate. It also prefers substrates that, like (S)-mandelate, have beta unsaturation, e.g. (indol-3-yl)glycolate compared with(indol-3-yl)lactate. Esters of mandelate, such as methyl (S)-mandelate, are also substrates.


(S)-mandelate dehydrogenase, Synonyms
(S)-mandelate dehydrogenase is also knows as: L-mandelate dehydrogenase, L-MDH, MDH, SManDH, and SMDH.


(S)-methylmalonyl-CoA hydrolase
In enzymology, a (S)-methylmalonyl-CoA hydrolase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-methylmalonyl-CoA hydrolase
Thus, the two substrates of this enzyme are (S)-methylmalonyl-CoA and H2O, whereas its two products are methylmalonate and CoA.


(S)-methylmalonyl-CoA hydrolase
This enzyme belongs to the family of hydrolases, specifically those acting on thioester bonds. The systematic name of this enzyme class is (S)-methylmalonyl-CoA hydrolase. This enzyme is also called D-methylmalonyl-coenzyme A hydrolase. This enzyme participates in propanoate metabolism.


(S)-norcoclaurine synthase
In enzymology, a (S)-norcoclaurine synthase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-norcoclaurine synthase
Thus, the two substrates of this enzyme are 4-hydroxyphenylacetaldehyde and 4-(2-aminoethyl)benzene-1,2-diol, whereas its two products are (S)-norcoclaurine and H2O.


(S)-norcoclaurine synthase
This enzyme belongs to the family of lyases, specifically the hydro-lyases, which cleave carbon-oxygen bonds. The systematic name of this enzyme class is 4-hydroxyphenylacetaldehyde hydro-lyase [adding dopamine (S)-norcoclaurine-forming]. Other names in common use include (S)-norlaudanosoline synthase, and 4-hydroxyphenylacetaldehyde hydro-lyase (adding dopamine). This enzyme participates in benzylisoquinoline alkaloid biosynthesis.


(S)-scoulerine 9-O-methyltransferase
In enzymology, a (S)-scoulerine 9-O-methyltransferase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-scoulerine 9-O-methyltransferase
Thus, the two substrates of this enzyme are S-adenosyl methionine and (S)-scoulerine, whereas its two products are S-adenosylhomocysteine and (S)-tetrahydrocolumbamine.


(S)-scoulerine 9-O-methyltransferase
This enzyme belongs to the family of transferases, specifically those transferring one-carbon group methyltransferases. The systematic name of this enzyme class is S-adenosyl-L-methionine:(S)-scoulerine 9-O-methyltransferase. This enzyme participates in alkaloid biosynthesis i.


(S)-stylopine synthase
In enzymology, a (S)-stylopine synthase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-stylopine synthase
The 4 substrates of this enzyme are (S)-cheilanthifoline, NADPH, H+, and O2, whereas its 3 products are (S)-stylopine, NADP+, and H2O.


(S)-stylopine synthase
This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derived from O2 with NADH or NADPH as one donor, and the other dehydrogenated. The systematic name of this enzyme class is (S)-cheilanthifoline,NADPH:oxygen oxidoreductase (methylenedioxy-bridge-forming). This enzyme is also called (S)-cheilanthifoline oxidase (methylenedioxy-bridge-forming). This enzyme participates in alkaloid biosynthesis.


(S)-sulfolactate dehydrogenase
(S)-sulfolactate dehydrogenase (EC , (2S)-3-sulfolactate dehydrogenase, SlcC) is an enzyme with systematic name (2S)-sulfolactate:NAD+ oxidoreductase. This enzyme catalyses the following chemical reaction


(S)-tetrahydroprotoberberine N-methyltransferase
In enzymology, a (S)-tetrahydroprotoberberine N-methyltransferase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-tetrahydroprotoberberine N-methyltransferase
Thus, the two substrates of this enzyme are S-adenosyl methionine and (S)-7,8,13,14-tetrahydroprotoberberine, whereas its two products are S-adenosylhomocysteine and cis-N-methyl-(S)-7,8,13,14-tetrahydroprotoberberine.


(S)-tetrahydroprotoberberine N-methyltransferase
This enzyme belongs to the family of transferases, specifically those transferring one-carbon group methyltransferases. The systematic name of this enzyme class is S-adenosyl-L-methionine:(S)-7,8,13,14-tetrahydroprotoberberine cis-N-methyltransferase. This enzyme is also called tetrahydroprotoberberine cis-N-methyltransferase. This enzyme participates in alkaloid biosynthesis i.


(S)-usnate reductase
In enzymology, a (S)-usnate reductase (EC ) is an enzyme that catalyzes the chemical reaction


(S)-usnate reductase
In the reverse direction, (S)-usnate is reduced by NADH with cleavage of the ether bond to form a 7-hydroxy group.


(S)-usnate reductase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is reduced-(S)-usnate:NAD+ oxidoreductase (ether-bond-forming). This enzyme is also called L-usnic acid dehydrogenase.


(S,S)-Tetrahydrochrysene
(S,S)-Tetrahydrochrysene ((S,S)-THC) is a steroid-like nonsteroidal estrogen and agonist of both the estrogen receptors, ERα and ERβ. It is an enantiomer of (R,R)-tetrahydrochrysene ((R,R)-THC), which, in contrast, is an ERβ silent antagonist and ERα agonist with 10-fold selectivity (i.e., affinity) for the ERβ over the ERα and with 20-fold greater affinity for the ERβ relative to that of (S,S)-THC.


(S,S)-butanediol dehydrogenase
In enzymology, a (S,S)-butanediol dehydrogenase (EC ) is an enzyme that catalyzes the chemical reaction


(S,S)-butanediol dehydrogenase
Thus, the two substrates of this enzyme are (S,S)-butane-2,3-diol and NAD+, whereas its 3 products are acetoin, NADH, and H+.


(S,S)-butanediol dehydrogenase
This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is (S,S)-butane-2,3-diol:NAD+ oxidoreductase. Other names in common use include L-butanediol dehydrogenase, L-BDH, and L(+)-2,3-butanediol dehydrogenase (L-acetoin forming). This enzyme participates in butanoic acid metabolism.


(SAT, ε-UNSAT)
In computational complexity theory, (SAT, ε-UNSAT) is a language that is used in the proof of the PCP theorem, which relates the language NP to probabilistically checkable proof systems.


(SAT, ε-UNSAT)
For a given 3-CNF formula, Φ, and a constant, ε < 1, Φ is in (SAT, ε-UNSAT) if it is satisfiable and not in (SAT, ε-UNSAT) if the maximum number of satisfiable clauses (MAX-3SAT) is less than or equal to (1-ε) times the number of clauses in Φ. If neither of these conditions are true, the membership of Φ in (SAT, ε-UNSAT) is undefined.


(SAT, ε-UNSAT), Complexity
It can be shown that (SAT, ε-UNSAT) characterizes PCP(O(log n), O(1)).


(SAT, ε-UNSAT), Complexity
L∈PCP(O(logn),O(1)){\displaystyle L\in {\mbox{PCP}}(O(\log n),O(1))}, then L≤(SAT,ϵ−UNSAT){\displaystyle L\leq ({\mbox{SAT}},\epsilon -{\mbox{UNSAT}})}. (See PCP theorem for more information)Let each bit in the proof y be y1,y2,… ,ym{\displaystyle y_{1},y_{2},\ldots ,y_{m}}.


(SAT, ε-UNSAT), Complexity
First, it is necessary to encode when the verifier accepts in 3CNF clauses ϕ=⋀rϕr{\displaystyle \phi =\bigwedge _{r}\phi _{r}}. Next, for each random string r, construct a sub-formula ϕr{\displaystyle \phi _{r}}. For a fixed r, its possible to determine all the variables queried,Enumerate each random string r, and add a clause ϕr=fr(yi1,yi2,…,yiq) {\displaystyle \phi _{r}=f_{r}(y_{i_{1}},y_{i_{2}},\ldots ,y_{i_{q}})\ }, where fr{\displaystyle f_{r}} is true if and only if the PCP system accepts on reading the given random bits r.  There are at most 2q{\displaystyle 2^{q}} SAT clauses. After these clauses are converted into 3CNF clauses, there are at most q2q{\displaystyle q2^{q}} clauses.


(SAT, ε-UNSAT), Complexity
If x∈L{\displaystyle x\in L}, then there is a proof y such that is accepted for every random string r. Therefore, ϕ(y1,y2,…,ym){\displaystyle \phi (y_{1},y_{2},\ldots ,y_{m})} is satisfiable. If x∉L{\displaystyle x\notin L}, then for every assignment to y1,y2,… ,ym{\displaystyle y_{1},y_{2},\ldots ,y_{m}} the corresponding proof causes the verifier to reject for half of the random strings r. For each r that is rejected  one of the clauses in fr{\displaystyle f_{r}} fails. Therefore, at least ϵ=12q2q{\displaystyle \epsilon ={\frac {1}{2q2^{q}}}} fraction of the clauses fail.


(SAT, ε-UNSAT), Complexity
For (SAT,ϵ−UNSAT)∈PCP(O(logn),O(1)){\displaystyle (SAT,\epsilon -UNSAT)\in PCP(O(\log n),O(1))}, let the proof that the PCP system reads be a satisfying assignment for the input 3-CNF, Φ. The system chooses O(1/ϵ){\displaystyle O(1/\epsilon )} clauses of the proof to check if they are truly satisfied. Note that only logn{\displaystyle \log n} random bits are needed to choose one of n{\displaystyle n} clauses, and thus only O(logn/ϵ)=O(logn){\displaystyle O(\log n/\epsilon )=O(\log n)} total random bits are needed. (Remember that ε is a constant.)


(SAT, ε-UNSAT), Complexity
For each clause to be checked, only 3 bits need to be read, and thus only O(3/ϵ)=O(1){\displaystyle O(3/\epsilon )=O(1)} (a constant number) of bits from the proof need to be read. The system rejects if any of the clauses are not satisfied. If Φ is satisfiable, then there exists a proof (a truly satisfying assignment) that the system will always accept. If Φ is not in (SAT, ε-UNSAT), this means that an ε fraction of the clauses is not satisfiable. The probability that this system will accept in this case is (1−ϵ)1/ϵ≤1/e<1/2{\displaystyle (1-\epsilon )^{1/\epsilon }\leq 1/e<1/2}. Therefore, (SAT,ϵ−UNSAT)∈PCP(O(logn),O(1)){\displaystyle (SAT,\epsilon -UNSAT)\in PCP(O(\log n),O(1))}.


(SAT, ε-UNSAT), Complexity
(SAT, ε-UNSAT) is an NP-hard language. As part of the proof of the PCP theorem, (SAT, ε-UNSAT) has also been shown to be in PCP(O(log n), O(1)).


(SCENE) Metrospace
(Scene) Metrospace is an alternative arts space located in downtown East Lansing, Michigan, featuring a variety of contemporary artworks. (Scene) also hosts a wide variety of musical performances by local and national artists. It is a project created in response to Governor Jennifer Granholm's Cool Cities Initiative.


(SCENE) Metrospace
(Scene) is free and open to the public, unless a nominal cost is determined for a special performance. Artists working in any mixed media are encouraged to submit exhibition proposals. It is now operated by the Department of Art, Art History, and Design at Michigan State University.


(SCENE) Metrospace, History
Founded in May 2004, '(Scene)' is a multidisciplinary arts endeavor aimed to enhance and support downtown East Lansing and the region by programming a wide range of creative, new, and experimental arts activities, exhibits and performances in the visual arts, music, film/video, literature, theater, dance, performance and multidisciplinary art forms. ' (Scene)' aims to present dynamic programming to the public and to provide committed emerging artists and artists from across the country with the opportunity to exhibit and highlight work that may not otherwise have a venue in the area.


(SCENE) Metrospace, History
(Scene) was originally opened at 303 Abbott Street, but the site was demolished. In May 2007 (Scene) moved to a new space at 110 Charles Street—a place known to locals as "under the colorful parking structure".


(See Inside)
(See Inside) is the fifth album by Out of the Grey, released on April 1, 1997. It was their first album not produced by Charlie Peacock.


(Set This) World Ablaze
(Set This) World Ablaze is the first live album by American metalcore band Killswitch Engage. The DVD is of a live show that was taped at The Palladium in Worcester, Massachusetts, United States, on July 25, 2005. It includes live tracks from Killswitch Engage, Alive or Just Breathing and The End of Heartache. Set This World Ablaze is the only Killswitch Engage media to have a Parental Advisory logo.


(Set This) World Ablaze
On August 4, 2006, (Set This) World Ablaze has been certified gold by the Recording Industry Association of America (RIAA).


(Sex) Appeal
(Sex) Appeal (Taiwan: 寒蟬效應, China: 不能说的夏天) is a 2014 Taiwanese-Chinese youth romance drama film directed by Wang Wei-ming. It was released in Taiwan and China on October 24, 2014.


(Sex) Appeal, Reception, Critical response
On Film Business Asia, Derek Elley gave it a 7 out of 10, calling it a "notable, if over-dense, drama centred on a teacher-student "rape" [that] raises the Taiwan bar."


(Shake That) Cosmic Thing
"(Shake That) Cosmic Thing" (also known only as "Cosmic Thing") is a song by The B-52's released as a single on the soundtrack to the film Earth Girls Are Easy. It was also released as the first single from their album Cosmic Thing, although was airplay only.


(Shake That) Cosmic Thing
The music video for the song is live footage from an August 17, 1990, concert live from the Shoreline Amphitheatre, in Mountain View, California.


(Shake, Shake, Shake) Shake Your Booty
"(Shake, Shake, Shake) Shake Your Booty" is a song recorded and released in 1976 by KC and the Sunshine Band for the album Part 3. The song became their third number-one hit on the Billboard Hot 100, as well as their third number-one on the Hot Soul Singles chart. The song was met with a degree of controversy, since the lyrics were interpreted or likely speculated by many as having sexual connotations. According to KC, it had a lot more meaning and depth. During his performance he would witness the entire crowd having a good time except for some minority. The song inspired people to "get off their can and get out there and do it". The B-side of Shake Your Booty was "Boogie Shoes", which later became a hit on its own when it appeared on the Saturday Night Fever soundtrack in 1977.


(Shake, Shake, Shake) Shake Your Booty
"(Shake, Shake, Shake) Shake Your Booty" holds the record for being the only number-one song title with a word repeated more than three times in it. The chorus consists of the title expression with shake appearing eight times.


(She Was A) Hotel Detective
"(She Was A) Hotel Detective" is a song and single by alternative rock band They Might Be Giants. It was released as a single two years after the release of They Might Be Giants, the album on which it originally appeared. The "Hotel Detective" title has become a somewhat recurring theme for the band.


(She Was A) Hotel Detective
As in the single release of "Don't Let's Start", the version of the song on the "Hotel Detective" single is slightly different from the album version. In this case, a drum track fades in to open the song, and Linnell's saxophone is more prominent. Additionally, Peter Pearmain Thomson sings backing vocals, whereas on the album, the backing vocals are sung by John Flansburgh.


(She Was A) Hotel Detective
The entire contents of the EP also appear on the compilation album Miscellaneous T. The track "Kiss Me, Son of God" went on to be re-recorded and released on the band's 1988 album, Lincoln. Neither the CD release nor the 12" release of the EP list the untitled track in their respective track listings. The track consists of a conversation recorded on Dial-A-Song's answering machine between a listener known only as "Gloria" and an unknown male.


(She Was A) Hotel Detective, "Hotel Detective" series
The song "(She Was A) Hotel Detective", which was written by John Flansburgh, first appeared on They Might Be Giants, the band's debut album. It was later followed up by "She Was a Hotel Detective", which appeared on an EP, Back to Skull, released in 1994. The sequel was written by John Linnell, "in the tradition of 'Peggy Sue Got Married' and 'Let's Twist Again'". The lyrics to "She Was A Hotel Detective" (the sequel) include the phrase "motel directive", which is transcribed between the leadout grooves of the original Hotel Detective vinyl EP.


(She Was A) Hotel Detective, "Hotel Detective" series
A second sequel, "(She Was A) Hotel Detective in the Future", was released on the band's podcast, and subsequently on a CD compilation of songs from the podcast, Cast Your Pod to the Wind. This final sequel was followed by a fake "commentary track" for the song, which was actually far longer than the song itself.


(She Was A) Hotel Detective, Music video
The music video for "(She Was A) Hotel Detective" was directed by Adam Bernstein. Some portions of the video show cartoons of the two Johns, animated by Joey Ahlbum. The video is split between these animated segments and segments of John Flansburgh and John Linnell performing the song in a dark room in front of a large "ROCK MUSIC" sign. The video is intentionally over-indulgent, but John and John were unhappy with the final result.


(She Was A) Hotel Detective, Music video
Joey Ahlbum's animated versions of John Linnell and John Flansburgh from the "(She Was A) Hotel Detective" music video were used in the first episode of the 1991 sitcom Clarissa Explains It All to show that Clarissa liked Linnell (referred to as "John, the one without glasses"). The figures were also used by Bar/None on promotional postcards.


(She's So) Selfish
"(She's So) Selfish" is a hit song written by Doug Fieger and Berton Averre that was first released by the Knack on their #1 debut album Get the Knack in 1979. It also appeared on a number of live and compilation albums. It was intended for release as a single, but was prevented by its "scatological" lyrics. It was inspired by the same woman who inspired the band's #1 single "My Sharona." It was praised by critics for its hooks and style, but criticized for its nastiness and sexism.


(She's So) Selfish, Lyrics and music
The music of "(She's So) Selfish" is based on a Bo Diddley-like riff. According to Averre, Fieger wrote most of "(She's So) Selfish" and Averre wrote the "release" section with its "dirty words":


(She's So) Selfish, Lyrics and music
The song was inspired by Fieger's as-yet-unrequited passion for Sharona Alperin, girlfriend of Doug Fieger, who also inspired other Knack songs such as "My Sharona," and Averre has called it a "teasing, playful look" at her. Alperin concurs that she was the inspiration. According to Ed Stephens, Jr. of Saipan Tribune, the song is about a "manipulative tease." Taking a line from the song, Ira Robbins and Michael Sandlin of Trouser Press describe the girl in the song as "rich bitch."


(She's So) Selfish, Lyrics and music
Ultimate Classic Rock writer Dave Swanson included it as one of the Knack's "top shelf, hook-laden rockers" but acknowledged that it is "full of words that wouldn't fly past radio censors." Critic Robert Hilburn of the Los Angeles Times describes that the Knack uses crude, locker room language to portray a teenager's view of frustration. Robert Wilonsky of the Dallas Observer described it as a "teen-beat [anthem] about doin' it to your girlfriend while Mom and Dad were out of the house"


(She's So) Selfish, Reception
The Associated Press, TV Guide and others identified "(She's So) Selfish" as one of the Knack's radio hits. Terry Atkinson of the Los Angeles Times calls it "one of the Knack's better songs." Mike Daily of The Age claims that it deserves equal credit with "My Sharona" for the success of Get the Knack. Audio magazine called it a "basher" with "plenty of style". Tina Maples of the Milwaukee Journal Sentinel praised its "hooky effervescence". Charla Wasel of The Evening Independent described it as a song "with which we can all relate."


(She's So) Selfish, Reception
Billboard Magazine says that it is "delivered in a smart, sophisticated post-punk style that oozes Southern Californian snootiness." It also uses the song as an example of the Knack being "mad about the way things are" with lyrics that "are as innocent as the chief of police in a Latin American dictatorship," citing such lines as "she got a smile in her ass" and "she says she'll make your motor run but she won't give you none" as setting the tone.


(She's So) Selfish, Reception
Author John Borack described "(She's So) Selfish" as a "mean pop tune" in which Fieger comes off "like a leering, sexist twit with hormones a-raging." J. J. Syrja of The Seguin Gazette said that with this song the Knack "[struck] pure teenage delirium." Paul Wagner of Santa Cruz Sentinel claimed that "it had the same sparkle" as "My Sharona."


(She's So) Selfish, Reception
Cue New York criticized the "sexist get-a-girl lyrics." Jim Sullivan of The Boston Globe calls it "a tiresome, sexist rant." The 3rd edition of The Rolling Stone Album Guide, music critic Robert Christgau and other critics commented on the song's nastiness, with authors Michael Uslan and Bruce Solomon calling it "by far the nastiest and most up-front cut on the album." Eric Siegel of The Sun claims that lines such as "It's just me me me me/She's so (dramatic pause) selfish" make apparent the group's "lack of lyrical ability," comparing the lyrics unfavorably to Carly Simon's similarly themed "You're So Vain."


(She's So) Selfish, Reception
Producer Mike Chapman considers "(She's So) Selfish" his favorite song from Get the Knack besides "My Sharona." Actor/musician Robbie Rist considers it part of the "lethal opening salvo" that opens Get the Knack, which Rist feels few if any albums can match.


(She's So) Selfish, Censored version
Capitol Records wanted to release "(She's So) Selfish" as a follow-up single from Get the Knack to "My Sharona" and "Good Girls Don't" in time for Christmas 1979. However, they could not do so unless some of the more "scatological" references were edited out. The band, having already edited out some lyrics for the single release of "Good Girls Don't," refused to do it again, preventing the single release. According to Knack bassist Prescott Niles, Fieger felt that altering the lyrics to "(She's So) Selfish" would be "selling out." Averre didn't see anything problematic about including the profane lyrics, since that is how teenagers spoke and they heard such language all the time.


(She's So) Selfish, Censored version
Despite the band's concerns, an edited version of the song was released in Canada, removing lines such as "fuck-a me today" and "she don't give a shit aboutanybody else but herself." This version was accidentally included on the initial compact disc release of Get the Knack in the United States, despite the fact that according to Fieger the tape with the altered lyrics was in a box with big red letters stating "NOT MASTER! NOT TO BE USED! ONLY CANADIAN RADIO!."


(She's So) Selfish, Other releases
"(She's So) Selfish" was a staple of the Knack's live shows and was included in several of the band's live albums, generally towards the end of the set right before "My Sharona." It was included on the 2012 live album Havin' a Rave-Up! Live in Los Angeles, 1978, which was based on two concerts the band performed in Los Angeles, California in 1978, before signing their record deal that would lead to Get the Knack. The Knack performed it at the 1979 concert at Carnegie Hall which was used for the 1982 video disc The Knack Live at Carnegie Hall. It was later included on the 2002 CD of Live From the Rock 'N' Roll Funhouse and on the 2007 DVD On Stage at World Cafe Live.


(She's So) Selfish, Other releases
"(She's So) Selfish" appeared on the Knack's 1992 compilation albums The Retrospective: The Best of the Knack and My Sharona. Ben Folds covered the song on his 2007 album Get Nack.


(She's) Sexy + 17
"(She's) Sexy + 17 " is a 1983 song by the Stray Cats, released by EMI America in July 1983 as the lead single from the album Rant N' Rave with the Stray Cats. The song was their second-highest charting single, reaching No. 5 on the Billboard Hot 100 singles chart. It also reached No. 2 on the Billboard Top Rock Tracks chart for one week, and No. 29 in the UK Singles Chart.


(Si Si) Je Suis un Rock Star
"(Si Si) Je Suis un Rock Star" (transl. "(Yes Yes) I Am a Rock Star") is a song by Bill Wyman of the Rolling Stones, released in 1981 as the lead single from his eponymous third solo studio album, through A&M Records.


(Si Si) Je Suis un Rock Star
While most of the song is in English, the chorus is in Franglais: "Je suis un rock star / Je avais un residence / Je habiter là / à la south of France / Voulez-vous / partir with me? / And come and rester là / with me in France."


(Si Si) Je Suis un Rock Star
Wyman originally wrote the song for Ian Dury. However, finding himself unable to interest Dury or any other artist in it, he reluctantly recorded the song himself, using an accent he later described as "Cockney French".


(Si Si) Je Suis un Rock Star
The song's highest chart position in the UK was at number 14, and it spent nine weeks in total in the top 40.


(Sing Shi-Wo-Wo) Stop the Pollution
"(Sing Shi-Wo- Wo) Stop the Pollution" is a 1991 song recorded by the Sweden-based musician and producer Dr Alban, released as the fourth and last single from his debut album, Hello Afrika. It was a moderate hit in Europe, peaking at number 3 in Finland, number 13 in Switzerland, number 16 in Austria and number 36 in Sweden. Denniz Pop produced it and also co-wrote it with Dr. Alban. A music video was made to accompany the song.


(Sittin' On) The Dock of the Bay
"(Sittin' On) The Dock of the Bay" is a song co-written by soul singer Otis Redding and guitarist Steve Cropper. It was recorded by Redding twice in 1967, including once just three days before his death in a plane crash. The song was released on Stax Records' Volt label in 1968, becoming the first ever posthumous single to top the charts in the US. It reached number 3 on the UK Singles Chart.


(Sittin' On) The Dock of the Bay
Redding started writing the lyrics to the song in August 1967, while sitting on a rented houseboat in Sausalito, California. He completed the song in Memphis with the help of Cropper, who was a Stax producer and the guitarist for Booker T. & the M.G.'s. The song features whistling and sounds of waves crashing on a shore.


(Sittin' On) The Dock of the Bay, Origins
While on tour with the Bar-Kays in August 1967, Redding wrote the first verse of the song, under the abbreviated title "Dock of the Bay," on a houseboat at Commodore Seaplane slips in Sausalito, California. He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song.


(Sittin' On) The Dock of the Bay, Origins
In a September 1990 interview on NPR's Fresh Air, Cropper explained the origins of the song:


(Sittin' On) The Dock of the Bay, Origins
Otis was one of those the kind of guy who had 100 ideas. [ ...] He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: "I watch the ships come in and I watch them roll away again." I just took that... and I finished the lyrics.


(Sittin' On) The Dock of the Bay, Origins
If you listen to the songs I collaborated with Otis, most of the lyrics are about him. [ ...] Otis didn't really write about himself but I did. Songs like "Mr. Pitiful," "Fa-Fa-Fa-Fa-Fa (Sad Song)"; they were about Otis and Otis' life. "Dock of the Bay" was exactly that: "I left my home in Georgia, headed for the Frisco Bay" was all about him going out to San Francisco to perform.


(Sittin' On) The Dock of the Bay, Origins
Together, they completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay." From those sessions emerged Redding's final recorded work, including "Dock of the Bay," which was recorded on November 22, with additional overdubs on December 7. Redding's restrained yet emotive delivery is backed by Cropper's succinct guitar playing. The song is somewhat different in style from most of Redding's other recordings. While discussing the song with his wife, Redding stated that he had wanted to "be a little different" with "The Dock of the Bay" and "change his style".


(Sittin' On) The Dock of the Bay, Origins
There were concerns that "The Dock of the Bay" had too much of a pop feel for an Otis Redding record, and contracting the Stax gospel act the Staple Singers to record backing vocals was discussed but never carried out. Redding had considered the song to be unfinished and planned to record what he considered a final version, but never got the chance. The song features a whistled tune heard before it fades, however it is unclear who it is performed by. Some sources claim Sam Taylor, a guitarist/bandleader for Redding during the 1960s, overdubbed Redding's original, weaker whistle. Cropper, however, insists that Redding's original whistle was used on the final cut. Redding continued to tour after the recording sessions. On December 10, his charter plane crashed into Lake Monona, outside Madison, Wisconsin. Redding and six others were killed.


(Sittin' On) The Dock of the Bay, Origins
After Redding's death, Cropper mixed "Dock of the Bay" at Stax Studios. He added the sound of seagulls and waves crashing to the background, as Redding had requested, recalling the sounds he heard when he was staying on the houseboat.


(Sittin' On) The Dock of the Bay, Reception
Phil Walden and Jim Stewart were among those who had doubts about the song, the sound, and the production. Redding accepted some of the criticisms and fine-tuned the song. He reversed the opening, which was Redding's whistling part, and put it at the end as suggested. "The Dock of the Bay" was released early in 1968 and topped the charts in the US and UK. Billboard ranked the record as the number 4 song for 1968.


(Sittin' On) The Dock of the Bay, Reception, Universal success
"(Sittin' On) The Dock of the Bay" was released in January 1968, shortly after Redding's death. R&B stations quickly added the song to their playlists, which had been saturated with Redding's previous hits. The song shot to number one on the R&B charts in early 1968 and, starting in March, topped the pop charts for four weeks. The album, which shared the song's title, became his largest-selling to date, peaking at number four on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than four million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance.


(Sittin' On) The Dock of the Bay, Reception, Legacy
Redding's body of work at the time of his death was immense, including a backlog of archived recordings as well as those created in November and December 1967, just before his death. In mid-1968, Stax Records severed its distribution contract with Atlantic Records, which retained the label's back catalog and the rights to the unreleased Otis Redding masters. Through its Atco subsidiary (Atco had distributed Otis Redding's releases from Stax's Volt label), Atlantic issued three more albums of new Redding material, one live album, and eight singles between 1968 and 1970.


(Sittin' On) The Dock of the Bay, Reception, Legacy
Reprise Records issued a live album featuring Redding and Jimi Hendrix at the Monterey Pop Festival. Both studio albums and anthologies sold well in America and abroad. Redding was especially successful in the United Kingdom, where The Dock of the Bay went to number one, becoming the first posthumous album to reach the top spot there.


(Sittin' On) The Dock of the Bay, Reception, Legacy
In 1999, BMI named the song as the sixth-most performed song of the twentieth century, with about six million performances. Rolling Stone ranked The Dock of the Bay number 161 on its 500 Greatest Albums of All Time, the third of five Redding albums on the list. "(Sittin' On) The Dock of the Bay" was ranked twenty-sixth on Rolling Stone's 500 Greatest Songs of All Time, the second-highest of four Redding songs on the list, after "Respect" (in this case the version recorded by Aretha Franklin).


(Sittin' On) The Dock of the Bay, Reception, Legacy
Jim Morrison made reference to "Dock of the Bay" in the Doors' song "Runnin' Blue", written by Robby Krieger, from their 1969 album The Soft Parade. Morrison sings an a capella intro for the song, singing directly about Otis Redding. "Poor Otis dead and gone, left me here to sing his song, pretty little girl with a red dress on, poor Otis dead and gone." And during the verse, the lyrics "Got to find a dock and a bay" appear more than once; as well as several other references to Redding's song.


(Sittin' On) The Dock of the Bay, Later versions
"The Dock of the Bay" has been hugely popular, even after its stay at the top of the charts.


(Sittin' On) The Dock of the Bay, Later versions
The song has been recorded by many artists, from Redding's peers, like Glen Campbell, Cher, Peggy Lee, David Allan Coe, Bob Dylan, Don Partridge, Percy Sledge, Dee Clark, and Sam & Dave, to artists in various genres, including Jimmy Velvit (whose cover version was included on his 2001 Grammy-nominated album Sun Sea & Sand), Widespread Panic (who opened their New Year's Eve 2005 concert with the song), Waylon Jennings and Willie Nelson (whose duet peaked at number 13 on the U.S. Hot Country Songs chart), Kenny Rankin, Dennis Brown, Michel Pagliaro, Jacob Miller, Pearl Jam, the Format, T. Rex (as the B-side of "Dreamy Lady", released in 1975), Brent Smith of Shinedown (during an acoustic set in 2008 and with Zach Myers in a 2014 EP) and Garth Brooks (for the 2013 Blue-Eyed Soul album in the Blame It All on My Roots: Five Decades of Influences compilation) as well as John Hartford on the Retrograss album with David Grisman and Mike Seeger (1999).


(Sittin' On) The Dock of the Bay, Later versions
Sammy Hagar released a version of the song as a non-album single in 1979. His version features the song's co-writer, Steve Cropper, on guitar and members of the band Boston—Brad Delp, Sib Hashian and Barry Goudreau—on backup vocals.


(Sittin' On) The Dock of the Bay, Later versions
In April 2013, Justin Timberlake performed the song as part of a tribute to Memphis soul music at the "In Performance" concert series performed at the White House. The series was attended by President Barack Obama and First Lady Michelle Obama.


(Sittin' On) The Dock of the Bay, Later versions, Chart performance of other versions
In addition to the original Otis Redding version, several other versions have charted on the Billboard Hot 100 in the United States. King Curtis's version charted for five weeks starting in March 1968 and peaked at number 84 (during the same month, the original was number one). A year later, Sergio Mendes & Brasil '66's version charted for five weeks starting in June 1969 and peaked at number 66. Sammy Hagar's version charted for five weeks starting in April 1979, peaking at number 65. The Reddings, who included two of Otis Redding's sons, released a version which charted for nine weeks starting in June 1982 and peaked at number 55.


(Sittin' On) The Dock of the Bay, Later versions, Reception on other versions
Music critic Thor Christensen in 1994 listed the Sammy Hagar version as one of the "five worst song remakes".


(Sittin' On) The Dock of the Bay, Later versions, Michael Bolton version
Michael Bolton included the song on his 1987 album The Hunger. His version peaked number 11 on the Billboard Hot 100 and number 12 on the Album Rock Tracks chart. The version peaked number 77 on the UK Singles Chart on the week ending April 3, 1988, its third week on the Chart.


(Sittin' On) The Dock of the Bay, Later versions, Michael Bolton version
Zelma Redding, Otis's widow, said she was so moved by Bolton's performance "that it brought tears to my eyes. It reminded me so much of my husband that I know if he heard it, he would feel the same." In a framed letter that hangs on the wall of Bolton's office, she referred to the record as "my all-time favorite version of my husband's classic."


(Skp1-protein)-hydroxyproline N-acetylglucosaminyltransferase
In enzymology, a [Skp1-protein]-hydroxyproline N-acetylglucosaminyltransferase (EC ) is an enzyme that catalyzes the chemical reaction


(Skp1-protein)-hydroxyproline N-acetylglucosaminyltransferase
Thus, the two substrates of this enzyme are UDP-N-acetylglucosamine and Skp1-protein-hydroxyproline, whereas its two products are UDP and Skp1-protein-O-(N-acetyl-D-glucosaminyl)hydroxyproline.


(Skp1-protein)-hydroxyproline N-acetylglucosaminyltransferase
This enzyme belongs to the family of glycosyltransferases, specifically the hexosyltransferases. The systematic name of this enzyme class is UDP-N-acetyl-D-glucosamine:[Skp1-protein]-hydroxyproline N-acetyl-D-glucosaminyl-transferase. Other names in common use include Skp1-HyPro GlcNAc-transferase, UDP-N-acetylglucosamine (GlcNAc):hydroxyproline polypeptide, GlcNAc-transferase, UDP-GlcNAc:Skp1-hydroxyproline GlcNAc-transferase, and UDP-GlcNAc:hydroxyproline polypeptide GlcNAc-transferase.


(So Tired of Standing Still We Got to) Move On
"(So Tired of Standing Still We Got to) Move On", titled simply "Move On" in some releases, is a song written and recorded by James Brown. It appeared as the lead track on his 1991 album Love Over-Due and was released as a single which charted #48 R&B. Rolling Stone praised the song for its "slapping guitar groove".


(Someone's Always Telling You How To) Behave
"(Someone's Always Telling You How To) Behave" is a single from Chumbawamba, a different version than the song "Behave" from their album Shhh, with a faster tempo and no trumpet or samples.


(Someone's Always Telling You How To) Behave, Background and composition
According to the band, their then-distributor, Southern, disliked the song, and refused to properly promote it. The label was also reluctant to release the song on CD and vinyl. The conflict led to the group's leaving the label. Though the song was initially released on Southern while the group was on tour in the US, they re-released the song after their departure from the label, on Agit-Prop, their own record label. The song was released as a CD single by Agitprop Records.


(Someone's Always Telling You How To) Behave, Reception
In a review for AllMusic, Brian Whitener commented that the song "features a beautiful, and amusing, chorus about brainwashing children," also feeling that the song showed the group's dance and pop sensibilities. The song remains a favorite among Chumbawamba fans.


(Something Inside) So Strong
"(Something Inside) So Strong" is a song written and recorded by British singer-songwriter Labi Siffre. Released as a single in 1987, it was one of the biggest successes of his career, peaking at number four on the UK Singles Chart.


(Something Inside) So Strong
The song was written in 1984, inspired by a television documentary on Apartheid South Africa seen by Siffre in which white soldiers were filmed shooting at black civilians in the street. He told the BBC's Soul Music programme in 2014 that the song was also influenced by his experience as a homosexual child, adolescent, and adult. Siffre originally intended to give the song to another artist to sing, but could find no one suitable and was convinced to release it himself.


(Something Inside) So Strong
The song has remained enduringly popular and is an example of the political and sociological thread running through much of Siffre's lyrics and poetry. It won the Ivor Novello Award for "Best Song Musically and Lyrically", and has been used in Amnesty International campaigns, a television advertisement and Alice Walker's film against female genital mutilation: Warrior Marks.


(Something Inside) So Strong, The Rosa Parks Tribute Singers version
In 1995, Verity Records released Verity Records Presents: A Tribute to Mrs. Rosa Parks. A cover version performed by a chorus of gospel singers, including Fred Hammond (who produced the track), Yolanda Adams, Shirley Caesar, Daryl Coley and Vanessa Bell Armstrong, was the first track.


(Something Inside) So Strong, Rik Waller version
Pop Idol contestant Rik Waller reached #25 in the UK Single Chart with a cover version in July 2002.


(Something Inside) So Strong, Barry from EastEnders version
A 2014 rendition of "(Something Inside) So Strong" by the British actor Shaun Williamson, Barry from EastEnders, was performed live at the 2014 World Indoor Bowls Championship,


(Something Inside) So Strong, Barry from EastEnders version
After being televised live nationally, it became a popular meme and was notably mashed up in video form with two successive U.S. presidential inauguration ceremonies.


(Songbook) A Collection of Hits
{Songbook} A Collection of Hits is the first greatest hits album by country singer Trisha Yearwood. The album was Yearwood's first to reach #1 on the Billboard country albums chart. Due to the success of the single "How Do I Live" in Australia, the album was released there (in 1998) with six extra tracks, including a duet with Australian country star Lee Kernaghan. {Songbook} A Collection of Hits also peaked at number 5 on the ARIA country charts and 22 on the all genre. The album has been certified 4× Multi-Platinum by the RIAA for US shipments of 4 million copies. It has also been certified 2× Platinum in Canada and Platinum in Australia.


(Songbook) A Collection of Hits, Certifications
* Sales figures based on certification alone.^ Shipments figures based on certification alone. Sales+streaming figures based on certification alone.


(Still a) Weirdo
"(Still a) Weirdo" is a song by Scottish recording artist KT Tunstall. It was released as the UK lead single from her third studio album Tiger Suit (2010), on 19 September 2010. Written by Tunstall herself and Greg Kurstin, and produced by Kurstin, the song is an acoustic rock ballad and talks about still the same (weird) person after many years. It received critical acclaim, with the majority of the critics complimenting Tunstall for the ability to make an intelligent, simple song. It charted inside the top-forty on the UK Singles Chart at No.39 and currently remains her last UK top 40 hit. It charted also on the Belgian charts. In the music video, Tunstall travels back in time to the 1960s.


(Still a) Weirdo, Background
The song was described as a "heartfelt piece of self-assessment". Tunstall explained to MusicRemedy.com that the lyrics of this song are some of her most personal. "It's one of those rare moments where you can see yourself objectively and look into your own emotional machinery and realize what you are."


(Still a) Weirdo, Reception
Nick Levine from Digital Spy gave a positive review and rated the song with 4 stars out of 5. He says that "in the decidedly less jazzy hands of KT Tunstall, it becomes a sweetly self-deprecating and quietly optimistic little ditty about accepting your faults and making the best of it. ' I don't always get it right, but a thousand different ways and I just might,' she sings over an off-kilter and subtly inventive mix of piano, vocal loops and beatbox beats that has a wee hint of The X-Files theme to it.


(Still a) Weirdo, Reception
The overall effect is not unlike getting a bear hug and being told you're OK really by your best mate the morning after you disgraced yourself down the local in front of your ex - in short, just lovely." Matthew Horton from BBC Music said that: "More surprising is "(Still a) Weirdo", a quirky slice of Beatlesy clever-pop that recalls Elliott Smith". Greg Kot from Entertainment Weekly said,:"Tunstall keeps enough off-kilter grit in her voice to make the claim in "(Still a) Weirdo" stick".


(Still a) Weirdo, Reception
Victoria Dillingham from musicOMH gave an extremely positive review for the song, saying: "The pre-released single "(Still a) Weirdo" is a light playful track which prompts comparisons with the likes of Feist, Allie Moss and electronica/folk favourites Peter Bjorn And John. As infectious as it is original, this is easily the standout track of the album and exemplifies best the Brit Award winner's ability to marry disparate styles as well as her desire to experiment with her sound, aided and abetted by a revised band and Arctic Monkeys producer Jim Abbiss". Charlotte Andrews from The Guardian said: "The sweetly reflective first single "(Still a) Weirdo" – affirm Tunstall's skill at penning catchy yet credible pop hits".


(Still a) Weirdo, Promotion
Tunstall performed the song on This Morning, on 20 September 2010.


(Still a) Weirdo, Music video
The music video premiered on 17 August 2010, on Channel 4. It was directed by Paul Minor and was shot in Columbia, Tennessee, and shows Tunstall in the 1960s, walking around a town with her guitar.


(Straight to Your Heart) Like a Cannonball
"(Straight to Your Heart) Like a Cannonball" is a song written by Van Morrison that was first released on his 1971 album Tupelo Honey. It was also released as the third single from the album but did not chart.


(Straight to Your Heart) Like a Cannonball, Lyrics and music
The lyrics of "(Straight to Your Heart) Like a Cannonball" propose taking advantage of nature to solve one's problems. An example is the opening verse "Well you know sometimes it gets so hard/And everything don't seem to rhyme/I take a walk out in my backyard and go/Do do loo do do, do do loo, do do." The lyrics show country music influences with references to love, weather and being outdoors. In reviewing Tupelo Honey, Rolling Stone Magazine critic Jon Landau suggested that "(Straight to Your Heart) Like a Cannonball" "transmutes the expression of generalized need for excitement and fulfillment on [the previous song and hit single] "Wild, Wild Night" into an expression of desire for a single person."


(Straight to Your Heart) Like a Cannonball, Lyrics and music
The music is lively with a triple metre time signature. The feel of the music shows jazz and R&B influences. Los Angeles Times critic Robert Hilburn suggested that it as an "uptempo spirit." Producer Ted Templeman felt that Ronnie Montrose's electric guitar playing was particularly effective on this song, stating that his "infectious strummimg and catchy fills made 'Cannonball' worthy of release as a single." Templeman also praised the 2-note hook Montrose played after the "Do do loo do do, do do loo, do do" line that ends most of the verses.


(Straight to Your Heart) Like a Cannonball, Lyrics and music
Templeman felt that "it was a simple lick that any guitarist could have played but the way he played was special. It brightened the tune right up and gave it this pop sheen." Morrison played acoustic guitar on the song. Copley News Service critic Judy Hugg praised "Boots" Houston's flute playing on the song.


(Straight to Your Heart) Like a Cannonball, Recording
"(Straight to Your Heart) Like a Cannonball" was recorded at Wally Heider Studios in San Francisco, California, during the first set of recording sessions for Tupelo Honey.


(Straight to Your Heart) Like a Cannonball, Reception
Billboard chose "(Straight to Your Heart) Like a Cannonball" as a recommended pop single when the single was released. Nonetheless, "(Straight to Your Heart) Like a Cannonball" failed to make the Billboard Hot 100, topping out on the Bubbling Under Hot 100 chart at #119.


(Straight to Your Heart) Like a Cannonball, Reception
Windsor Star critic John Laycock praised the "cheerful banality" of the song. The Dispatch critic Dink Lorance described it as a "bouncy little number with nice guitar and vocal." Patrick Humphries praised the song's "verve and panache." Music journalist Erik Hage described the song a "focused medicine-show Americana."


(Such an) Easy Question
"(Such an) Easy Question" is a song recorded by Elvis Presley in 1962 for the Pot Luck with Elvis album. It was released as a single in 1965.


(Such an) Easy Question, Background
The song was recorded on March 18, 1962 at RCA Studio B in Nashville, Tennessee. The song was published by Elvis Presley Music, Inc. It was written by Otis Blackwell and Winfield Scott. It was first released on the Pot Luck album in 1962 and again in 1965 as a single due to its inclusion in the Elvis Presley movie Tickle Me. The B side was "It Feels So Right". The Jordanaires provided the background vocals.


(Such an) Easy Question, Background
The single release was the follow-up to "Crying in the Chapel" and peaked at number 11 on the US Billboard Hot 100. As with "Crying in the Chapel", "(Such an) Easy Question" reached the top of the Billboard Easy Listening chart, spending two weeks at number one in July 1965. The single was also released in Germany, Chile, New Zealand, and Trinidad and Tobago.


(Sweet Sweet Baby) Since You've Been Gone
"(Sweet Sweet Baby) Since You've Been Gone" is a song by singer Aretha Franklin. Released from her Lady Soul album in 1968, the song was successful, debuting at number 31 and peaking at number 5 on the Hot 100 for five weeks, and spending three weeks at number 1 on the Hot Rhythm & Blues Singles chart. The B-side, "Ain't No Way", was also a hit, peaking at number 16 on the Billboard Hot 100 and number 9 on the Hot Rhythm & Blues Singles chart.


(Sweet Sweet Baby) Since You've Been Gone
A live recording was featured on the 1968 album Aretha in Paris.


(Sweet Sweet Baby) Since You've Been Gone
The song was co-written by Franklin and her husband Ted.


(Sweet Sweet Baby) Since You've Been Gone, Covers
Gary Puckett & The Union Gap released a version of the song on their 1968 album, Young Girl, and the pianist Ramsey Lewis recorded an instrumental version on his 1968 album, Maiden Voyage.


(Sweet Sweet Baby) Since You've Been Gone, Covers
Kate Ceberano released a version of the song on her 1989 album, Brave.


(Sweet Sweet Baby) Since You've Been Gone, Covers
Booker T. and The MG's released a version of the song on their 1968 album, Soul Limbo.


(Sweet Sweet Baby) Since You've Been Gone, Covers
Whitney Houston performed the song in a tribute to Franklin on her 1997 HBO special, Classic Whitney Live from Washington, D.C.. The song was included in a medley with Franklin's "Baby I Love You" and "Ain't No Way".


(Sweet Sweet Baby) Since You've Been Gone, Covers
In 2012, Christine Anu covered the song on her album Rewind: The Aretha Franklin Songbook.


(T)error
(T)error —stylized as (T)ERROR — is a 2015 American documentary film directed by Lyric R. Cabral and David Felix Sutcliffe. The film follows undercover FBI informant Saeed "Shariff" Torres as he engages in a sting operation targeting a Muslim man named Khalifah Ali Al-Akili as well as Tarik Shah. The film won the Special Jury Award for Breakout First Feature at the 2015 Sundance Film Festival, where it premiered.


(T)error
It is the first documentary to follow an active FBI case while in progress. It is the first film for Cabral and the second for Sutcliffe. Sutcliffe said the film's intention was to show informants and their targets, and focus on the "decisions, tactics and objectives of counterterrorism cases."


(T)error
The film aired on US television on the PBS series Independent Lens. The film was re-titled FBI Undercover when broadcast in the UK by the BBC as part of their Storyville TV series.


(T)error, Background
Co-director Cabral was a student living in Harlem when her downstairs neighbor of four years, Saeed Torres, disappeared in May 2005. Cabral's investigation into his disappearance eventually became the subject of her film. Shortly before Torres' disappearance, Sutcliffe and Cabral met at an afterschool arts program, where one of their students, Adama Bah, a 16-year-old Muslim teenage girl was arrested by the FBI and accused of being a "potential" suicide bomber. Her arrest triggered a growing interest for both Cabral and Sutcliffe in the FBI's counterterrorism tactics, and an increasing awareness of the central role of informants in the majority of domestic terror plots.


(T)error, Reception, Critical reception
The film was received positively by critics. It received a 91% Fresh rating on Rotten Tomatoes based on 33 reviews. It also received a score of 73 (generally favorable) on Metacritic, based on 12 reviews. The consensus according to Rotten Tomatoes being "(T)ERROR should dishearten and disturb viewers concerned with the erosion of American civil rights — and it doesn't even hit its targets as hard as it could. ".


(T)error, Reception, Critical reception
Writing for RogerEbert.com, film critic Brian Tallerico, who gave the documentary three and a half stars out of four, says that the film is a "fascinating piece of work that approaches CITIZENFOUR in its deconstruction of governmental failure and the systems underneath the war on terror that are not only failing to keep us safe but impacting the entire world political scene."


(Tell Me) Have You Ever Seen Me?
"(Tell Me) Have You Ever Seen Me?" (also known as "Tell Me Have You Ever Seen Me?" or "Have You Ever Seen Me?") is a song by English rock band Small Faces. It has a complicated release history and was issued by both Decca and Immediate Records in 1967. The track apparently had a working title of "Mystery" in 1966. Initially planned as the Small Faces debut single on Immediate in mid-1967, it was shelved due to threats from Decca.


(Tell Me) Have You Ever Seen Me?, Song profile
In an interview for Saturday Club, Ronnie Lane stated that he came up with the song after listening to some tracks off of the group's eponymous debut album in reverse. It was recorded in the same sessions as "My Mind's Eye", "That Man", and "Yesterday, Today and Tomorrow". Footage of them recording the backing instrumental of the song on 10 October 1966 was used in part of a BBC documentary called The Managers regarding feuds between the Rolling Stones manager Andrew Loog Oldham and Small Faces' Don Arden.


(Tell Me) Have You Ever Seen Me?, Song profile
"If I've ever exploited anyone it's for their own benefit, it's because they want to be exploited. I've never exploit anybody who doesn't want to be exploited."


(Tell Me) Have You Ever Seen Me?, Song profile
The song was first issued on 2 June 1967 when the compilation album From the Beginning was released, this album contains unreleased recordings and other hit recordings from the band's earlier output. This version was released by Decca and is thought to be a demo for British singer Chris Farlowe. A revamped version was included as the opening track on the group's second studio album Small Faces on 23 June 1967. This version was released by Immediate and was used as the closing track for There Are But Four Small Faces, the group's album released exclusively in the US.


(Tell Me) Have You Ever Seen Me?, Song profile
The principal difference between the two versions is that the Decca version has a slower tempo than the Immediate, and that the Immediate version has a different vocal track. The Decca rendering was released exclusively in mono sound (as with all Small Faces' work on Decca), while the Immediate one was mixed in both stereo and mono. There are thought to exist 4 versions of the song, these are the two aforementioned versions, one on the deluxe edition of From the Beginning, and the last on the deluxe edition of Small Faces. Instrumentally, there's no difference, as these are only different vocal takes.


(Tell Me) Have You Ever Seen Me?, Song profile
One of the aforementioned outtakes were featured on The Decca Years, a box set of all Small Faces Decca recordings. The song was well-received upon release, and is considered one of the best songs on Small Faces. "(Tell Me) Have You Ever Seen Me?" was featured in German music magazine Musikexpress' list of "the 700 best songs of all time" at a position of number 568, where they write that "Marriott is in his best form". It was later featured on Here Come the Nice: The Immediate Years 1967-1969 on 27 January 2014.


(Tell Me) Have You Ever Seen Me?, Song profile
The Immediate version "(Tell Me) Have You Ever Seen Me?" also demonstrates an early use of the mellotron, where the Mark II type was used, played by Ian McLagan. This instrument is absent from the Decca release, where the hammond organ instead dominates most of the sound. The track was later used as the B-side of a re-release of "Lazy Sunday" on 19 March 1976, almost 9 years after it was first issued.


(Tell Me) Have You Ever Seen Me?, The Apostolic Intervention version
British rock band the Apostolic Intervention took interest in Steve Marriott, who liked their sound and persuaded Andrew Loog Oldham to sign them. Marriott would then subsequently offer "(Tell Me) Have You Ever Seen Me" to them, much to Ronnie Lane's dismay. Bass guitarist Bob Argent was unable to play for the session, and his role was taken over by Marriott, who also produced it with Lane. The B-side "Madame Garcia" was recorded in the same session and was likewise penned and produced by Marriott and Lane, the former whom is featured as a backing vocalist.


(Tell Me) Have You Ever Seen Me?, The Apostolic Intervention version
The single was released on 7 April 1967, but failed to chart on the UK Singles Chart. This is most likely due to the fact that the single was not promoted, and only released by Immediate to escape Decca's legal action. Further work by them resulted in nothing, and they would split by the end of 1967. Drummer Jerry Shirley would again collaborate with Marriott, joining him in Humble Pie.


(Tell Me) She Means Nothing To You At All
"(Tell Me) She Means Nothing to You At All" is a 1988 single by American singer La Toya Jackson. Released in 1988, it was one of three songs Jackson recorded with British hitmaking producers Stock Aitken & Waterman. The song was co-written by Jackson and Stock Aitken & Waterman.


(Tell Me) She Means Nothing To You At All, Background
Tell Me was originally released as the b-side to her single "(Ain't Nobody Loves You) Like I Do". It was later released as a standalone single in France in early 1988, where it failed to chart. Both songs were later included on her fifth album, La Toya, released several months afterwards, in October 1988. The Miami News described the song as being a "pop gem" that displays "Jackson at her best."


(Tell Me) She Means Nothing To You At All, Background
The song's title has a typographical error. It was issued with the title "(Tell Me) He Means Nothing to You At All", but Jackson is clearly singing SHE on the song. This error was never corrected neither on the single, nor the "(Ain't Nobody Loves You) Like I Do" single, nor the La Toya album.


(Terpyridine)ruthenium trichloride
(Terpyridine)ruthenium trichloride is the coordination complex with the formula RuCl3(terpy), where terpy is terpyridine. It is a brown paramagnetic solid that is a precursor to other complexes of ruthenium, mainly by substitution of the chloride ligands. The complex has octahedral geometry. It is prepared by heating ruthenium trichloride with a DMF solution of terpyridine.


(That's What You Do) When You're in Love
"(That's What You Do) When You're in Love" is a debut song written by Ken Bell, Terry Skinner and J. L. Wallace, and recorded by American country music group The Forester Sisters. It was released in January 1985 as the first single from the album The Forester Sisters. The song reached #10 on the Billboard Hot Country Singles & Tracks chart.


(The Angels Wanna Wear My) Red Shoes
"(The Angels Wanna Wear My) Red Shoes" is a song written and recorded by Elvis Costello for his 1977 debut album My Aim Is True. Written by Costello on a train ride to Liverpool in 1976, the song features lyrics, according to Costello, about "romantic disappointment". The song features Byrds-inspired music with an intro contributed by John McFee of Costello's then-backing band Clover.


(The Angels Wanna Wear My) Red Shoes
"(The Angels Wanna Wear My) Red Shoes" was released as the third single from My Aim Is True. Despite greater exposure than Costello's past singles, the song failed to chart in the UK. The song received positive reception from critics and remains a staple of Costello's live set.


(The Angels Wanna Wear My) Red Shoes, Background
"(The Angels Wanna Wear My) Red Shoes" was written by Costello on a train travelling from London to Liverpool in 1976. Costello reportedly sketched out the song in the final ten minutes of the trip; he later described this sudden inspiration as "startling". Costello recalled,


(The Angels Wanna Wear My) Red Shoes, Background
I wrote it in 10 minutes on a train out of Liverpool — the whole song in one gulp. ... And then there was the whole comedic thing of getting it down. Nowadays you can demo things on your phone. I had to block it out in my mind. Then I had to get off the train, get to my mother's house, grab an old guitar I had there and play the song until I imprinted it in my memory. I had no tape recorder. I had no way other than repetition to drill it into my head so I wouldn't lose it.


(The Angels Wanna Wear My) Red Shoes, Background
The Wall Street Journal described the song as "a surrealist tale about an imagined jilting and the appearance of earthbound angels offering the singer immortality—in exchange for his footwear". Costello explained, "I had the essential image, then I worked backward — a dancehall scene with the put-down lines. That kind of framed this other, weirder idea of 'I won't get any older' — I went, 'Why am I saying this when I'm 22?'" He later said of the lyrics, "The verses were a pretty standard tale of romantic disappointment.


(The Angels Wanna Wear My) Red Shoes, Background
Okay, it had a couple of snappy put-down lines, but they were nothing so out of the ordinary". He speculated that the lyric "Oh, I said, 'I'm so happy I could die' / She said, 'Drop dead' then left with another guy" may have been inspired by a "drunken journey home" in 1973.


(The Angels Wanna Wear My) Red Shoes, Background
The opening to the song was created by Clover guitarist John McFee, a member of Costello's backing band for My Aim Is True. Bass player John Ciambotti of Clover reportedly called the song "that one that sounds like the Byrds".


(The Angels Wanna Wear My) Red Shoes, Release and reception
"(The Angels Wanna Wear My) Red Shoes" was recorded a few months after it was written to appear on Costello's 1977 debut album, My Aim Is True. The song was later released as the third single from the album in July 1977. The B-side of the single was "Mystery Dance", another song from My Aim Is True. Preceding singles "Less Than Zero" and "Alison" were unsuccessful, but the popularity of My Aim Is True gave Costello hope for the single; Costello recalled, "'(The Angels Wanna Wear My) Red Shoes' was my third Stiff Records single to be released. The first two ... had sunk without a trace, but after initially scant sales, all the publicity around the release of My Aim Is True had actually threatened to push 'Red Shoes' into the singles charts". Despite the greater visibility, the single failed to chart.


(The Angels Wanna Wear My) Red Shoes, Release and reception
"(The Angels Wanna Wear My) Red Shoes" received positive reception from music critics. Pitchfork praised the song as "the catchiest pop song on My Aim Is True" while Rolling Stone praised the song's "knowing arrogance". Dave Lifton of Ultimate Classic Rock named the song as the 9th best Elvis Costello song, stating, "Rejection doesn't come more pithy than 'I said 'I'm so happy I could die' / She said, 'Drop dead' then left with another guy'". The Daily Telegraph's Martin Chilton named the song Costello's 21st best.


(The Angels Wanna Wear My) Red Shoes, Release and reception
James Honeyman-Scott of the Pretenders cited the song, alongside Nick Lowe's "So It Goes", as one of the inspirations for his jangly guitar sound. He explained, "They had this big, jangly guitar sound, which is what I'd been wanting to get into for a long while. All of a sudden the radio's on and there's this huge guitar sound coming out, like sending out a big Rickenbacker 12-string or something. And I thought, 'Ah, my time is here.' So that's what happened. And then I hooked up with the Pretenders."


(The Angels Wanna Wear My) Red Shoes, Release and reception
In 2011, Costello appeared on Sesame Street to perform a parody of "(The Angels Wanna Wear My) Red Shoes", entitled "(A Monster Went and) Ate My Red 2". In the song, Costello sings with Elmo, who is dressed in Costello's style, in a performance described by Huffington Post as "awesome".


(The Angels Wanna Wear My) Red Shoes, Live performances
"(The Angels Wanna Wear My) Red Shoes" has long been a favorite of Costello's live setlist. Costello performed the song live at solo shows before My Aim Is True was released. Costello performed the song with his new band the Attractions on Top of the Pops, miming to a specifically recorded performance that was "much faster" than the original. Costello notably wore his Musicians' Union card in his breast pocket during the segment.


(The Angels Wanna Wear My) Red Shoes, Live performances
Costello has since performed the song frequently, including at his set for Woodstock '99.


(The Best Part of) Breakin' Up
"(The Best Part of) Breaking Up" is a song written by Phil Spector, Pete Andreoli and Vince Poncia. It was first recorded by The Ronettes, produced by Phil Spector and arranged by Jack Nitzsche with Ronnie Spector on lead vocals and with backing vocals by Nedra Talley and Estelle Bennett, ably abetted by Darlene Love and the Blossoms, Bobby Sheen (a.k.a. Bob B. Soxx), and Sonny & Cher. The song was released in April 1964, the year widely recognized as the group's most successful year, and proved to be the group's third consecutive top forty hit in the US. The single peaked at number 39 on the U.S. Billboard Hot 100 and number 43 on the UK Singles Chart.


(The Best Part of) Breakin' Up, Original recording
With the British invasion in full force during 1964, many of the previous American groups from the late 1950s/early 1960s found their popularity beginning to seriously wane. For the Ronettes, however, 1964 proved to be their biggest year. While none of their singles matched the success of their 1963 classic "Be My Baby", the group released four songs, all of which reached the top forty on the Billboard Charts in the US. Before making "(The Best Part of) Breakin' Up," their previous single had been the successful "Baby, I Love You", which peaked at number twenty-four on the Billboard charts.


(The Best Part of) Breakin' Up, Original recording
However, according to Ronnie Spector, the group's lead singer, producer Phil Spector had already begun to somewhat lose enthusiasm for the Ronettes in early 1964. The group had recorded the Phil Spector, Jeff Barry, and Ellie Greenwich song "Chapel of Love" in early 1964, but Spector refused to release it. "It doesn't sound like a hit,"  he told the group, so The Dixie Cups recorded their version of the song, which peaked at number one on the Billboard top 100, a position never held by the Ronettes.


(The Best Part of) Breakin' Up, Original recording
After losing out on "Chapel of Love" the Ronettes went to work on "(The Best Part of) Breakin' Up." According to Ronnie Spector, Phil Spector was especially enthusiastic about the song. "When Phil loved a song as much as he loved "(The Best Part of) Breakin' Up," she later wrote in her autobiography, "he could work on it for days without ever getting tired. He spent hours working out the harmonies with Nedra and Estelle, then he'd jump up and down every time he heard something he liked."


(The Best Part of) Breakin' Up, Original recording
Billboard said of the song that "The gals swing in with a stompin' rock ballad that has that the famous Specter sound." Billboard described the song as having a "smash sound" and praised the lead vocal and arrangement


(The Best Part of) Breakin' Up, Original recording
"(The Best Part of) Breakin' Up" proved to be a hit for the Ronettes, though it did not achieve the success of their previous two singles. The song is  remembered in the US for being the influence for Folgers advertising campaign "The best part of waking up, is Folgers in your cup," a slogan the company has used since 1984.


(The Best Part of) Breakin' Up, Cover versions
The song was a no. 25 UK Singles Chart hit for The Symbols in 1968.


(The Best Part of) Breakin' Up, Cover versions
In 1982, American singer Roni Griffith hit number two on the US Dance Club Songs chart for two weeks with her Hi-NRG version of the song, produced by American record producer Bobby Orlando.


(The Best Part of) Breakin' Up, Cover versions
The Devil Dogs covered the song on their eponymous debut album in 1989.


(The EP)
(the ep) is an EP, the third release by Mike Kinsella under the name Owen. It was released on May 4, 2004, on Polyvinyl Records. On April 17, 2004, "In the Morning, Before Work" was made available for download.


(The EP), Vinyl pressing
In addition to being released on by Polyvinyl Records, it was also pressed on translucent yellow vinyl by Mi Amante Records.


(The Legend of) Miss Baltimore Crabs
(The Legend of) Miss Baltimore Crabs is a song from the 2002 musical Hairspray. It is sung by Velma Von Tussle, the producer of The Corny Collins Show.


(The Legend of) Miss Baltimore Crabs, Synopsis
Velma Von Tussle recounts how she won a beauty pageant when she was younger, which she clearly considers to be her proudest moment. Velma recounts her tales of sleeping to the top and not being afraid to play dirty. She later interrogates Tracy, eventually kicking her out of The Corny Collins Show audition.


(The Legend of) Miss Baltimore Crabs, Analysis
DVDTalk wrote "Other songs help flesh out characters that have been changed from the film. ' The Legend of Miss Baltimore Crabs' gives Velma Von Tussle additional motivation, background and a reason to be bad while still advancing the plot. Since her character is something of a composite from the film (she combines the characters played by Debbie Harry, Mink Stole, and Sonny Bono), she becomes much richer and funnier."


(The Legend of) Miss Baltimore Crabs, Critical reception
Reviewing a stage production, Curtain Up wrote "Van Cleave is a powerhouse recounting "The Legend of Miss Baltimore Crabs"". Reviewing the film, BBC wrote "Michelle Pfeiffer is deliciously icy as scheming TV mogul Velma Von Tusselle, cha-cha-cha-ing in ("The Legend of) Miss Baltimore Crabs".". Reviewing a stage version, Drew Sterwald of The News-Press commented "Tracy's nemesis...really sinks her teeth into the rotten role and delivers a show-stopping solo, "(The Legend of) Miss Baltimore Crabs"".


(The Legend of) Miss Baltimore Crabs, Critical reception
IBJ noted that one performer "turns what the one-note evil TV producer Velma von Tussle and her "(The Legend of) Miss Baltimore Crabs" number into a show highlight." Reviewing a 90 minute intermissionless version performed in Las Vegas, TheaterMania wrote "The only other two numbers to be cut completely, "(The Legend of) Miss Baltimore Crabs" and "Cooties," aren't missed at all; the first is the closest thing to a clinker in the show, an uninspired attempt to musicalize the comic villainess Velma Von Tussle". CinePhillyist described it as "Michelle Pfeiffer's funny and more than a little dirty [number]".


(The Legend of) Miss Baltimore Crabs, Critical reception
Similarly, EY Jacksonville called it "one of the funniest numbers in the show". IndyWeek commented "This show that features a number titled "The Legend of Miss Baltimore Crabs" had earned a standing ovation from a room ranging from children to the elderly. That's an achievement that Waters himself would approve." Reviewing Pfeiffer's performance in the 2007 film, Phawker wrote "Her fab rendition...commands your attention. Keeping Up With NX said "we even get so see Velma in all her crowning glory with the hilarious '(The Legend of) Miss Baltimore Crabs. '".


(The Man Who Shot) Liberty Valance
"(The Man Who Shot) Liberty Valance" is a song written by Burt Bacharach and Hal David, which was released by Gene Pitney in 1962. It spent 13 weeks on the Billboard Hot 100 chart, peaking at No. 4, while reaching No. 2 on Canada's CHUM Hit Parade, and No. 4 on New Zealand's "Lever Hit Parade".


(The Man Who Shot) Liberty Valance
Although it was not used in the film, The Man Who Shot Liberty Valance, there is disagreement about whether the song had been intended to appear in it. Nevertheless, Pitney has stated that the recording session was paid for by Paramount, and that it was midway through the effort when he found out that the song was not going to be included in the film; one of the orchestra members told him that the movie had been released. Session drummer Gary Chester plays on the recording.


(The Man Who Shot) Liberty Valance
The Pitney and the Jimmie Rogers version of the song is noted for a solo violin that plays in the upper register. Both versions are noteworthy for the chorus, where a quick half-second strike on the tympani is heard, depicting the gun shots, which go:


(The Man Who Shot) Liberty Valance
"The man who shot Liberty Valance, (bong)He shot Liberty Valance, (bong),He was the bravest of them all".


(The Man Who Shot) Liberty Valance
The first verse describes the outlaw's intimidating presence and ability with a gun, the second focuses on the man who comes to town prepared to defeat Valance with the law alone. Further along we learn how the law-book toting hero falls in love with a girl who, when he is forced to confront Valance, waits alone and prays, knowing that: "When two men go and face (or "fight") each other, only one returns".


(The Man Who Shot) Liberty Valance
The song was ranked No. 36 in the Western Writers of America's list of the top 100 Western songs of all time, as compiled from a survey of its members.


(The Man Who Shot) Liberty Valance
Jimmie Rogers released a cover similar in form to the Gene Pitney version.


(The Man Who Shot) Liberty Valance
The Greg Kihn Band included their take on their 1980 album Glass House Rock. James Taylor  recorded it for his 1985 album That's Why I'm Here.


(The System of) Dr. Tarr and Professor Fether
"(The System of) Dr. Tarr and Professor Fether" is a 1976 single by The Alan Parsons Project which first appeared on their album Tales of Mystery and Imagination: Edgar Allan Poe. The single reached number 37 on the US Billboard Hot 100 and number 62 in Canada. Like the other songs on the album, it is based on a story by American author Edgar Allan Poe, in this case "The System of Doctor Tarr and Professor Fether" (1845); the song was written by Alan Parsons and Eric Woolfson, and was originally recorded at Abbey Road Studios, London in September 1975. The 1987 reissue featured a "cathedral organ".


(The System of) Dr. Tarr and Professor Fether, External Links
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(The) New Release
(the) New Release is the second and final studio album by American nu metal band Primer 55. Released on August 14, 2001, the album peaked at number one on the Billboard Heatseekers chart and number 102 on the Billboard 200. It had one single, "This Life," which peaked at number 37 on Mainstream Rock Tracks. This would be the band's final record with Island Records, who allegedly cut support shortly after the album's release due to the September 11 attacks.


(The) New Release, Recording
Primer 55 had underdone various lineup changes preceding and during the recording process of (the) New Release. After the band's first eighteen months of touring, guitarist Bobby Burns started writing the band's second major label album. He played all guitars and bass in the studio and brought in ex-Helmet drummer John Stanier. While in the studio, Burns also began talks with drummer Preston Nash of Dope with whom Primer 55 had previously toured. By May 2001, the band had officially recruited former Cut.Love.Kill bassist Chris Sprinkle but mere weeks later announced Kobie Jackson as their new bassist.


(The) New Release, Musical style
Whereas the band's major label debut, Introduction to Mayhem, boasted strong hip hop tendencies, (the) New Release demonstrated a broader variety with bluesy vocals, saxophone, and piano scattered throughout. Regarding the band's new musical direction, Bobby Burns stated  "I just grew very, very sick of the whole music scene last year... All the plastic bands that were put together by record companies, etc. I didn't want to hear any of that music any longer... So I didn't... I went back to what was real to me and what made me feel good growing up... Sabbath, Zeppelin, and Kiss...


(The) New Release, Musical style
Back then you could tell all those bands apart, and music of today just sounds like the same records made over and over with all the same guitar sounds and shit." Vocalist Jason "J-Sin" Luttrell remarked in 2001 that "During the writing and recording period, we never listened to the radio or watched MTV because we didn't want any outside influences creeping into the songs. We wanted everything to be fresh."


(The) New Release, Promotion and touring
By mid-May, Primer 55 announced the title and release date of their upcoming album as well as its lead single. A tentative track listing was announced in June but later modified. The band released various tracks from (the) New Release, including a rough mix of its upcoming single, on their official website in the months leading up to its release.


(The) New Release, Promotion and touring
Although Burns had hoped to see "Texas" become the second single, (the) New Release featured only one single, the aggressive, industrial laden "This Life" which was released to radio on July 16. It had no accompanying video but gained moderate radio rotation in late summer and early fall of 2001. The track was also included on More Fast and Furious: Music from and Inspired by the Motion Picture The Fast and the Furious and Nu Rock Traxx, Vol. 32. Promotion was allegedly cut short by Island, forcing the album's success to rely heavily on touring.


(The) New Release, Promotion and touring
From June through August, the group joined Fear Factory's The Evolution of Revolution tour. Primer 55 then supported Vision of Disorder for some August dates. and played at the Riverfront Rampage to celebrate the 15th anniversary of the WSOU college radio station in Newark, New Jersey. They also joined Slipknot's Pledge of Allegiance tour and performed into the following year.


(The) New Release, Promotion and touring
In October 2002, bassist Kobie Jackson was asked to leave the band due to "personal and creative problems." He was temporarily replaced with Toomey, formerly of 12v Negative Earth. In November and December, Primer 55 played on the Jägermeister-sponsored $12 Riot Tour with Dope, Skinlab, and Society 1.