The mol­ecule of the title compound, [Ni(C5H7O2)2(C8H9N3)(H2O)]·C2H5OH, has triclinic (Poverline{1}) symmetry. This compound is of inter­est for its anti­microbial properties. The asymmetric unit comprises two independent complex mol­ecules, which are linked by N—H⋯O and O—H⋯O hydrogen bonds along [111]. Hirshfeld surface analysis indicates that 71.7% of inter­mol­ecular inter­actions come from H⋯H contacts, 17.7% from C⋯H/H⋯C contacts and 7.6% from O⋯H/H⋯O contacts, with the remaining contribution coming from N⋯H/H⋯N, C⋯N/N⋯C, C⋯C and O⋯O contacts.

Reaction of 4-methyl­pyridine N-oxide and Co(NCS)2 in ethanol as solvent accidentally leads to the formation of single crystals of Co(NCS)2(4-methyl­pyridine N-oxide)(ethanol) or [Co(NCS)2(C6H7NO)(C2H6O)]n. The asymmetric unit of the title compound consists of one CoII cation, two crystallographically independent thio­cyanate anions, one 4-methyl­pyridine N-oxide coligand and one ethanol mol­ecule on general positions. The cobalt cations are sixfold coordinated by one terminal and two bridging thio­cyanate anions, two bridging 4-methyl­pyridine N-oxide coligands and one ethanol mol­ecule, with a slightly distorted octa­hedral geometry. The cobalt cations are linked by single μ-1,3(N,S)-bridging thio­cyanate anions into corrugated chains, that are further connected into layers by pairs of μ-1,1(O,O)-bridging 4-methyl­pyridine N-oxide coligands. The layers are parallel to the bc plane and are separated by the methyl groups of the 4-methyl­pyridine N-oxide coligands. Within the layers, intra­layer hydrogen bonding is observed.

During our studies of the oxidation of gold(I) complexes of tri­alkyl­phosphane chalcogenides, general formula R1R2R3PEAuX, (R = tert-butyl or isopropyl, E = S or Se, X = Cl or Br) with PhICl2 or elemental bromine, we have isolated a set of seven mixed-valence by-products, the bis­(tri­alkyl­phosphane chalcogenido)gold(I) tetra­halogenidoaurates(III) [(R1R2R3PE)2Au]+[AuX4]−. These corres­pond to the addition of one halogen atom per gold atom of the AuI precursor. Com­pound 1, bis­(triiso­propyl­phosphane sulfide)­gold(I) tetra­chlorido­aur­ate(III), [Au(C9H21PS)2][AuCl4] or [(iPr3PS)2Au][AuCl4], crystallizes in space group P21/n with Z = 4; the gold(I) atoms of the two cations lie on twofold rotation axes, and the gold(III) atoms of the two anions lie on inversion centres. Compound 2, bis­(tert-butyl­diiso­propyl­phosphane sulfide)­gold(I) tetra­chlorido­aurate(III), [Au(C10H23PS)2][AuCl4] or [(tBuiPr2PS)2Au][AuCl4], crystallizes in space group P1 with Z = 4; the asymmetric unit contains two cations and two anions with no imposed symmetry. A least-squares fit of the two cations gave an r.m.s. deviation of 0.19 Å. Compound 3, bis­(tri-tert-butyl­phosphane sulfide)­gold(I) tetra­chlorido­aurate(III), [Au(C12H27PS)2][AuCl4] or [(tBu3PS)2Au][AuCl4], crystallizes in space group P1 with Z = 1; both gold atoms lie on inversion centres. Compound 4a, bis­(tert-butyl­diiso­propyl­phosphane sulfide)­gold(I) tetra­bromi­doaurate(III), [Au(C10H23PS)2][AuBr4] or [(tBuiPr2PS)2Au][AuBr4], crystallizes in space group P21/c with Z = 4; the cation lies on a general position, whereas the gold(III) atoms of the two anions lie on inversion centres. Compound 4b, bis­(tert-butyl­diiso­propyl­phosphane selenide)gold(I) tetra­bromido­aurate(III), [Au(C10H23PSe)2][AuBr4] or [(tBuiPr2PSe)2Au][AuBr4], is isotypic with 4a. Compound 5a, bis­(tri-tert-butyl­phosphane sulfide)­gold(I) tetra­bromido­aurate(III), [Au(C12H27PS)2][AuBr4] or [(tBu3PS)2Au][AuBr4], is isotypic with compound 4a. Compound 5a, bis­(tri-tert-butyl­phosphane sulfide)­gold(I) tetra­bromido­aurate(III), [Au(C12H27PS)2][AuBr4] or [(tBu3PS)2Au][AuBr4], crystallizes in space group P1 with Z = 1; both gold atoms lie on inversion centres. Compound 5b, bis­(tri-tert-butyl­phosphane selenide)gold(I) tetra­bromido­aurate(III), [Au(C12H27PSe)2][AuBr4] or [(tBu3PSe)2Au][AuBr4], is isotypic with 5a. All AuI atoms are linearly coordinated and all AuIII atoms exhibit a square-planar coordination environment. The ligands at the AuI atoms are anti­periplanar to each other across the S⋯S vectors. There are several short intra­molecular H⋯Au and H⋯E contacts. Average bond lengths (Å) are: P—S = 2.0322, P—Se = 2.1933, S—Au = 2.2915, and Se—Au = 2.4037. The complex three-dimensional packing of 1 involves two short C—Hmethine⋯Cl contacts (and some slightly longer contacts). For 2, four C—Hmethine⋯Cl inter­actions combine to produce zigzag chains of residues parallel to the c axis. Additionally, an S⋯Cl contact is observed that might qualify as a ‘chalcogen bond’. The packing of 3 is three-dimensional, but can be broken down into two layer structures, each involving an S⋯Cl and an H⋯Cl contact. For the bromido derivatives 4a/b and 5a/b, loose associations of the anions form part of the packing patterns. For all four compounds, these combine with an E⋯Br contact to form layers parallel to the ab plane.

In the racemic title compound, C28H30O2, the naphthyl ring systems subtend a dihedral angle of 68.59 (1)° and the mol­ecular conformation is consolidated by a pair of intra­molecular C—H⋯π contacts. The crystal packing features a weak C—H⋯π contact and van der Waals forces. A Hirshfeld surface analysis of the crystal structure reveals that the most significant contributions are from H⋯H (73.2%) and C⋯H/H⋯C (21.2%) contacts.

The title compound, [Sn(C6H5)Cl3(C12H8N2)], which was obtained by the reaction between 1,10-phenanthroline and phenyl­tin trichloride in methanol, exhibits intra­molecular hydrogen-bonding inter­actions involving the chlorine and hydrogen atoms. Crystal cohesion is ensured by inter­molecular C—H⋯Cl hydrogen bonds, as well as Y—X⋯π and π-stacking inter­actions involving three different aromatic rings with centroid–centroid distances of 3.6605 (13), 3.9327 (14) and 3.6938 (12) Å]. Hirshfeld surface analysis and the associated two-dimensional fingerprint plots reveal significant contributions from H⋯H (30.7%), Cl⋯H/H⋯Cl (32.4%), and C⋯H/H⋯C (24.0%) contacts to the crystal packing while the C⋯C (6.2%), C⋯Cl/Cl⋯C (4.1%), and N⋯H/H⋯N (1.7%) inter­actions make smaller contributions.

The title compound, [Cd(C14H16N3S)Cl] or [CdLCl] (1), where LH = 2-[bis­(pyridin-2-ylmeth­yl)amino]­ethane-1-thiol, was prepared and structurally characterized. The Cd2+ complex crystallizes in P21/c with a distorted trigonal–bipyramidal metal coordination geometry. Supra­molecular inter­actions in 1 include parallel offset face-to-face inter­actions between inversion-related pyridyl rings and potential hydrogen bonds with chlorine or sulfur as the acceptor. Additional cooperative pyrid­yl–pyridyl inter­actions with roughly 45° tilt angles and centroid–centroid distances of less than 5.5 Å likely also contribute to the overall solid-state stability. Hirshfeld surface analysis indicates that H⋯H (51.2%), Cl⋯H/H⋯Cl (13.9%), C⋯H/H⋯C (12.3%) and S⋯H/H⋯S (11.8%) inter­actions are dominant in the solid state.

Reaction of copper(I)chloride with 2,3-di­methyl­pyrazine in ethanol leads to the formation of the title compound, poly[[μ-chlorido-μ-(2,3-di­methyl­pyrazine)-copper(I)] ethanol hemisolvate], {[CuCl(C6H8N2)]·0.5C2H5OH}n or CuCl(2,3-di­methyl­pyrazine) ethanol hemisolvate. Its asymmetric unit consists of two crystallographically independent copper cations, two chloride anions and two 2,3-di­methyl­pyrazine ligands as well as one ethanol solvate mol­ecule in general positions. The ethanol mol­ecule is disordered and was refined using a split model. The methyl H atoms of the 2,3-di­methyl­pyrazine ligands are also disordered and were refined in two orientations rotated by 60° relative to each other. In the crystal structure, each copper cation is tetra­hedrally coordinated by two N atoms of two bridging 2,3-di­methyl­pyrazine ligands and two μ-1,1-bridg­ing chloride anions. Each of the two copper cations are linked by pairs of bridging chloride anions into dinuclear units that are further linked into layers via bridging 2,3-di­methyl­pyrazine coligands. These layers are stacked in such a way that channels are formed in which the disordered solvent mol­ecules are located. The topology of this network is completely different from that observed in the two polymorphic modifications of CuCl(2,3-di­methyl­pyrazine) reported in the literature [Jess & Näther (2006). Inorg. Chem. 45, 7446–7454]. Powder X-ray diffraction measurements reveal that the title compound is unstable and transforms immediately into an unknown crystalline phase.

The mol­ecular salt sulfamethoxazolium {or 4-[(5-methyl-1,2-oxazol-3-yl)sulf­amo­yl]anilinium methyl sulfate monohydrate}, C10H12N3O3S+·CH3O4S−·H2O, was prepared by the reaction of sulfamethoxazole and H2SO4 in methanol and crystallized from methanol–ether–water. Protonation takes place at the nitro­gen atom of the primary amino group. In the crystal, N—H⋯O hydrogen bonds (water and methyl­sulfate anion) and inter­molecular N—H⋯N inter­actions involving the sulfonamide and isoxazole nitro­gen atoms, link the components into a tri-dimensional network, additional cohesion being provided by face-to-face π–π inter­actions between the phenyl rings of adjacent mol­ecules. A Hirshfeld surface analysis was used to verify the contributions of the different inter­molecular inter­actions, showing that the three most important contributions for the crystal packing are from H⋯O (54.1%), H⋯H (29.2%) and H⋯N (5.0%) inter­actions.

The title compound, (C9H8NO)[CuCl3(C7H5NO4)]·2H2O, was prepared by reacting CuII acetate dihydrate, solid 8-hy­droxy­quinoline (8-HQ), and solid pyridine-2,6-di­carb­oxy­lic acid (H2pydc), in a 1:1:1 molar ratio, in an aqueous solution of dilute hydro­chloric acid. The CuII atom exhibits a distorted CuO2NCl3 octa­hedral geometry, coordinating two oxygen atoms and one nitro­gen atom from the tridentate H2pydc ligand and three chloride atoms; the nitro­gen atom and one chloride atom occupy the axial positions with Cu—N and Cu—Cl bond lengths of 2.011 (2) Å and 2.2067 (9) Å, respectively. In the equatorial plane, the oxygen and chloride atoms are arranged in a cis configuration, with Cu—O bond lengths of 2.366 (2) and 2.424 (2) Å, and Cu—Cl bond lengths of 2.4190 (10) and 2.3688 (11) Å. The asymmetric unit contains 8-HQ+ as a counter-ion and two uncoordinated water mol­ecules. The crystal structure features strong O—H⋯O and O—H⋯Cl hydrogen bonds as well as weak inter­actions including C—H⋯O, C—H⋯Cl, Cu—Cl⋯π, and π–π, which result in a three-dimensional network. A Hirshfeld surface analysis indicates that the most important contributions to the crystal packing involving the main residues are from H⋯Cl/Cl⋯H inter­actions, contributing 40.3% for the anion. Weak H⋯H contacts contribute 13.2% for the cation and 28.6% for the anion.

The title mol­ecule, C25H23BrN2O2, adopts a cup shaped conformation with the distinctly ruffled imidazolidine ring as the base. In the crystal, weak C—H⋯O hydrogen bonds and C—H⋯π(ring) inter­actions form helical chains of mol­ecules extending along the b-axis direction that are linked by additional weak C—H⋯π(ring) inter­actions across inversion centres. The Hirshfeld surface analysis of the crystal structure indicates that the most important contributions for the crystal packing are from H⋯H (51.0%), C⋯H/H⋯C (21.3%), Br⋯H/H⋯Br (12.8%) and O⋯H/H⋯O (12.4%) inter­actions. The volume of the crystal voids and the percentage of free space were calculated to be 251.24 Å3 and 11.71%, respectively, showing that there is no large cavity in the crystal packing. Evaluation of the electrostatic, dispersion and total energy frameworks indicate that the stabilization is dominated by the dispersion energy.

A host–guest supra­molecular inclusion complex was obtained from the co-crystallization of A1/A2-bromo­but­oxy-hy­droxy difunctionalized pillar[5]arene (PilButBrOH) with adipo­nitrile (ADN), C47H53.18Br0.82O10·C6H8N2. The adipo­nitrile guest is stabilized within the electron-rich cavity of the pillar[5]arene host via multiple C—H⋯O and C—H⋯π inter­actions. Both functional groups on the macrocyclic rim are engaged in supra­molecular inter­actions with an adjacent inclusion complex via hydrogen-bonding (O—H⋯N or C—H⋯Br) inter­actions, resulting in the formation of a supra­molecular dimer in the crystal structure.

The title compound, a hydrate of 3,5-di­amino-1,2,4-triazole (DATA), C2H5N5·H2O, was synthesized in the presence of sodium perchlorate. The evaporation of H2O from its aqueous solution resulted in anhydrous DATA, suggesting that sodium perchlorate was required to precipitate the DATA hydrate. The DATA hydrate crystallizes in the P21/c space group in the form of needle-shaped crystals with one DATA and one water mol­ecule in the asymmetric unit. The water mol­ecules form a three-dimensional network in the crystal structure. Hirshfeld surface analysis revealed that 8.5% of the inter­molecular inter­actions originate from H⋯O contacts derived from the incorporation of the water mol­ecules.

The reaction of Zn(ClO4)2·6H2O with Na3SbS4·9H2O in a water/aceto­nitrile mixture leads to the formation of the title compound, (μ-tetra­thio­anti­monato-κ2S:S')bis­[(1,4,8,11-tetra­aza­cyclo­tetra­decane-κ4N)zinc(II)] perchlorate 0.8-hydrate, [Zn2(SbS4)(C10H24N4)2]ClO4·0.8H2O or [(Zn-cyclam)2(SbS4)]+[ClO4]−·0.8H2O. The asymmetric unit consists of two crystallographically independent [SbS4]3– anions, two independent perchlorate anions and two independent water mol­ecules as well as four crystallographically independent Zn(cyclam)2+ cations that are located in general positions. Both perchlorate anions and one cyclam ligand are disordered and were refined with a split mode using restraints. The water mol­ecules are partially occupied. Two Zn(cyclam)2+ cations are linked via the [SbS4]3– anions into [Zn2(cyclam)2SbS4]+ cations that are charged-balanced by the [ClO4]− anions. The water mol­ecules of crystallization are hydrogen bonded to the [SbS4]3– anions. The cations, anions and water mol­ecules are linked by N—H⋯O, N—H⋯S and O—H⋯S hydrogen bonds into a three-dimensional network. Powder X-ray diffraction proves that a pure sample had been obtained that was additionally investigated for its spectroscopic properties.

The mercury(II) halide complex [1,3-di-tert-butyl-2,4-bis­(tert-butyl­amino)-1,3,2λ5,4λ5-di­aza­diphosphetidine-2,4-diselone-κ2Se,Se']di­iodido­mercury(II) N,N-di­methyl­formamide monosolvate, [HgI2(C16H38N4P2Se2)]·C3H7NO or (1)HgI2, 2, containing cis-[(tBuNH)(Se)P(μ-NtBu)2P(Se)(NHtBu)] (1) was synthesized and structurally characterized. The crystal structure of 2 confirms the chelation of chalcogen donors to HgI2 with a natural bite angle of 112.95 (2)°. The coordination geometry around mercury is distorted tetra­hedral as indicated by the τ4 geometry index parameter (τ4 = 0.90). In the mercury complex, the exocyclic tert-butyl­amido substituents are arranged in an (endo, endo) fashion, whereas in the free ligand (1), the exocyclic substituents are arranged in an (exo, endo) pattern. Compound 2 displays non-classical N—H⋯O hydrogen-bonding inter­actions with the solvent N,N-di­methyl­formamide. These inter­actions may introduce geometrical distortion and deviation from an ideal geometry. An isostructural HgBr2 analogue containing cis-[(tBuNH)(S)P(μ-NtBu)2P(S)(NHtBu)] was also synthesized and structurally characterized, CIF data for the compound being presented as supporting information.

The title hydrated mol­ecular salt, C19H15N4+·Cl−·2.5H2O, has two tri­phenyl­tetra­zolium cations, two chloride anions and five water mol­ecules in the asymmetric unit. The cations differ in the conformations of the phenyl rings with respect to the heterocyclic core, most notably for the C-bonded phenyl ring, for which the N—C—C—C torsion angles differ by 36.4 (3)°. This is likely a result of one cation accepting an O—H⋯N hydrogen bond from a water mol­ecule [O⋯N = 3.1605 (15) Å], while the other cation accepts no hydrogen bonds. In the extended structure, the water mol­ecules are involved in centrosymmetric (H2O)2Cl2 rings as well as (H2O)4 chains. An unusual O—H⋯π inter­action and weak C—H⋯O and C—H⋯Cl hydrogen bonds are also observed.

The crystal structure of the title compound, [Ni(C8H20N4)(NO3)]NO3, at room temperature, has monoclinic (P21/n) symmetry. The structure displays inter­molecular hydrogen bonding. The nickel displays a distorted bipyramidal geometry with the symmetric bidentate bonded nitrate occupying an equatorial site. The 1,4,7,10-tetra­aza­cyclo­dodecane (cyclen) backbone has the [4,8] configuration, with three nitro­gen-bound H atoms directed above the plane of the nitro­gen atoms towards the offset nickel atom with the fourth nitro­gen-bound hydrogen directed below from the plane of the nitro­gen atoms. The nitrate anion O atoms are seen to hydrogen bond to the H atoms bound to the N atoms of the ligand.

The structures of the title compounds 2-hy­droxy-N'-methyl­acetohydrazide, 1, and 2-hy­droxy-N-methyl­acetohydrazide, 2, both C3H8N2O2, as regioisomers differ in the position of the methyl group relative to the N atoms in 2-hy­droxy-acetohydrazide. In the structure of 1, the 2-hy­droxy-acetohydrazide core [OH—C—C(=O)—NH—NH] is almost planar and the methyl group is rotated relative to this plane. As opposed to 1, in the structure of 2 all non-hydrogen atoms lie in the same plane. The hydroxyl and carbonyl groups in structures 1 and 2 are in trans and cis positions, respectively. The methyl amino group and carbonyl group are in the cis position relative to the C—N bond in structure 1, while the amino group and carbonyl group are in the trans position relative to the C—N bond in stucture 2. In the crystal, mol­ecules of 1 are linked by N—H⋯O and O—H⋯N inter­molecular hydrogen bonds, forming layers parallel to the ab crystallographic plane. A Hirshfeld surface analysis showed that the H⋯H contacts dominate the crystal packing with a contribution of 55.3%. The contribution of the H⋯O/O⋯H inter­action is somewhat smaller, amounting to 30.8%. In the crystal, as a result of the inter­molecular O—H⋯O hydrogen bonds, mol­ecules of 2 form dimers, which are linked by N—H⋯O hydrogen bonds and a three-dimensional supra­molecular network The major contributors to the Hirshfeld surface are H⋯H (58.5%) and H⋯O/O⋯H contacts (31.7%).

The isolation and crystalline structure of N,N'-di­benzyl­ethyl­enedi­ammonium dichloride, C16H22N22+·2Cl−, is reported. This was obtained as an unintended product of an attempted Curtius rearrangement that involved benzyl­amine as one of the reagents and 1,2-di­chloro­ethane as the solvent. Part of a series of reactions of a course-based undergraduate research experience (CURE), this was not the intended reaction outcome. The goal of the course was to engage students as active participants in a laboratory experience which applies the foundational techniques of a synthetic organic laboratory, using the Curtius rearrangement as a tool for the assembly of medicinally significant scaffolds. The isolation of the title compound, N,N'-di­benzyl­ethyl­enedi­ammonium dichloride, the result of the 1,2-di­chloro­ethane solvent outcompeting the Curtius iso­cyanate inter­mediate in the reaction with the nucleophilic amine, confirms the importance of conducting research at the undergraduate level where the outcome is not predetermined. The solid-state structure of N,N'-di­benzyl­ethyl­enedi­ammonium dichloride was found to feature an all-trans methyl­ene-ammonium backbone. Strong N—H⋯Cl hydrogen bonds and C—H⋯Cl inter­actions lead to a layered structure with pseudo-translational symmetry emulating a C-centered setting. Different phenyl torsion angles at each end of the mol­ecule enable a more stable packing by allowing stronger hydrogen-bonding inter­actions, leading to a more ordered but lower symmetry and modulated structure in P21/n.

Two new phenyl­sulfonyl­indole derivatives, namely, N-{[3-bromo-1-(phenyl­sulfon­yl)-1H-indol-2-yl]meth­yl}-N-(4-bromo-3-meth­oxy­phen­yl)benzene­sulfonamide, C28H22Br2N2O5S2, (I), and N,N-bis­{[3-bromo-1-(phenyl­sulfon­yl)-1H-indol-2-yl]meth­yl}benzene­sulfonamide, C36H27Br2N3O6S3, (II), reveal the impact of intra­molecular π–π inter­actions of the indole moieties as a factor not only governing the conformation of N,N-bis­(1H-indol-2-yl)meth­yl)amines, but also significantly influencing the crystal patterns. For I, the crystal packing is dominated by C—H⋯π and π–π bonding, with a particular significance of mutual indole–indole inter­actions. In the case of II, the mol­ecules adopt short intra­molecular π–π inter­actions between two nearly parallel indole ring systems [with the centroids of their pyrrole rings separated by 3.267 (2) Å] accompanied by a set of forced Br⋯O contacts. This provides suppression of similar inter­actions between the mol­ecules, while the importance of weak C—H⋯O hydrogen bonding to the packing naturally increases. Short contacts of the latter type [C⋯O = 3.389 (6) Å] assemble pairs of mol­ecules into centrosymmetric dimers with a cyclic R22(13) ring motif. These findings are consistent with the results of a Hirshfeld surface analysis and together they suggest a tool for modulating the supra­molecular behavior of phenyl­sulfonyl­ated indoles.

The title compound, catena-poly[[tri­aqua­sodium]-di-μ-aqua-[tri­aqua­sodium]-μ-(ethane-1,2-di­yl)bis­[(3-meth­oxy­prop­yl)phosphinodi­thiol­ato]], [Na2(C10H22O2P2S4)(H2O)8]n, crystallizes in the triclinic space group P1. The dianionic [CH3O(CH2)3P(=S)(S—)CH2CH2P(=S)(S—)(CH2)3OCH3]2− ligand fragments are joined by a dicationic [Na2(H2O)8]2+ cluster that includes the oxygen of the meth­oxy­propyl unit of the ligand to form infinite chains.

The crystal structure of the title organic–inorganic hybrid salt, (C13H12N3)2[CdCl4], (I), has been reported with four mol­ecules in the asymmetric unit in a monoclinic cell [Vassilyeva et al. (2021). RSC Advances, 11, 7713–7722]. While using two different aldehydes in the oxidative cyclization–condensation involving CH3NH2·HCl to prepare a new monovalent cation with the imidazo[1,5-a]pyridinium skeleton, a new polymorph was obtained for (I) in space group P1 and a unit cell with approximately half the volume of the monoclinic form. The structural configurations of the two crystallographically non-equivalent organic cations as well as the geometry of the moderately distorted tetra­hedral CdCl42– dianion show minor changes. In the crystal, identically stacked cations and tetra­chloro­cadmate anions form separate columns parallel to the a axis. The loose packing of the anions leads to a minimal separation of approximately 9.53 Å between the metal atoms in the triclinic form versus 7.51 Å in the monoclinic one, indicating that the latter is packed slightly more densely. The two forms also differ by aromatic stacking motifs. Similar to the monoclinic polymorph, the triclinic one excited at 364 nm shows an intense unsymmetrical photoluminescent band with maximum at 403 nm and a full width at half maximum of 51 nm in the solid state.

In the title compound, C10H8N2·2C6H5NO3, 4-nitro­phenol and 4,4'-bi­pyridine crystallized together in a 2:1 ratio in the space group P21/n. There is a hydrogen-bonding inter­action between the nitro­gen atoms on the 4,4'-bi­pyridine mol­ecule and the hydrogen atom on the hydroxyl group on the 4-nitro­phenol, resulting in trimolecular units. This structure is a polymorph of a previously reported structure [Nayak & Pedireddi (2016). Cryst. Growth Des. 16, 5966–5975], which differs mainly due to a twist in the 4,4'-bi­pyridine mol­ecule.

The absolute configuration of the title compound, C13H16O4, determined as 1S,2R,3S,4R based on the synthetic pathway, was confirmed by single-crystal X-ray diffraction. The mol­ecule is a relevant inter­mediary for the synthesis of speciosins, ep­oxy­quinoides or their analogues. The mol­ecule contains fused five- and six-membered rings with two free hydroxyl groups and two protected as an iso­propyl­idenedioxo ring. The packing is directed by hydrogen bonds that define double planes of mol­ecules laying along the ab plane and van der Waals inter­actions between aliphatic chains that point outwards of the planes.

Two different multi-component crystals consisting of papaverine [1-(3,4-di­meth­oxy­benz­yl)-6,7-di­meth­oxy­iso­quinoline, C20H21NO4] and fumaric acid [C4H4O4] were obtained. Single-crystal X-ray structure analysis revealed that one, C20H21NO4·1.5C4H4O4 (I), is a salt co-crystal composed of salt-forming and non-salt-forming mol­ecules, and the other, C20H21NO4·0.5C4H4O4 (II), is a salt–co-crystal inter­mediate (i.e., in an inter­mediate state between a salt and a co-crystal). In this study, one state (crystal structure at 100 K) within the salt–co-crystal continuum is defined as the ‘inter­mediate’.

The title compound, [Zn2(C22H18ClN4O)Cl3], is a dinuclear zinc(II) complex with three chlorido ligands and one penta­dentate ligand containing quinolin-8-olato and bis­(pyridin-2-ylmeth­yl)amine groups. One of the two ZnII atom adopts a tetra­hedral geometry and coordinates two chlorido ligands with chelate coord­ination of the N and O atoms of the quinolin-8-olato group in the ligand. The other ZnII atom adopts a distorted trigonal–bipyramidal geometry, and coordinates one chlorido-O atom of the quinolin-8-olato group and three N atoms of the bis­(pyridin-2-ylmeth­yl)amine unit. In the crystal, two mol­ecules are associated through a pair of inter­molecular C—H⋯Cl hydrogen bonds, forming a dimer with an R22(12) ring motif. Another inter­molecular C—H⋯Cl hydrogen bond forms a spiral C(8) chain running parallel to the [010] direction. The dimers are linked by these two inter­molecular C—H⋯Cl hydrogen bonds, generating a ribbon sheet structure in ac plane. Two other inter­molecular C—H⋯Cl hydrogen bonds form a C(7) chain along the c-axis direction and another C(7) chain generated by a d-glide plane. The mol­ecules are cross-linked through the four inter­molecular C—H⋯Cl hydrogen bonds to form a three-dimensional network.

The title compound, C18H21N3O3, was prepared from 1,3,5-benzene­tricarbonyl trichloride and cyclo­propyl­amine. Its crystal structure was solved in the monoclinic space group P21/c. In the crystal, the three amide groups of the mol­ecule are inclined at angles of 26.5 (1), 36.9 (1) and 37.8 (1)° with respect to the plane of the benzene ring. The mol­ecules are linked by N—H⋯O hydrogen bonds, forming two-dimensional supra­molecular aggregates that extend parallel to the crystallographic ab plane and are further connected by C—H⋯O contacts. As a result of the supra­molecular inter­actions, a propeller-like conformation of the title mol­ecule can be observed.

The asymmetric unit of the title compound, [Co(C8Br4O4)(C3H4N2)2(H2O)2]n or [Co(Br4bdc)(im)2(H2O)2]n, comprises half of CoII ion, tetra­bromo­benzene­dicarboxylate (Br4bdc2−), imidazole (im) and a water mol­ecule. The CoII ion exhibits a six-coordinated octa­hedral geometry with two oxygen atoms of the Br4bdc2− ligand, two oxygen atoms of the water mol­ecules, and two nitro­gen atoms of the im ligands. The carboxyl­ate group is nearly perpendicular to the benzene ring and shows monodentate coordination to the CoII ion. The CoII ions are bridged by the Br4bdc2− ligand, forming a one-dimensional chain. The carboxyl­ate group acts as an inter­molecular hydrogen-bond acceptor toward the im ligand and a coordinated water mol­ecule. The chains are connected by inter­chain N—H⋯O(carboxyl­ate) and O—H(water)⋯O(carboxyl­ate) hydrogen-bonding inter­actions and are not arranged in parallel but cross each other via inter­chain hydrogen bonding and π–π inter­actions, yielding a three-dimensional network.

In the title compound, C25H17NO3, the torsion angle associated with the phenyl benzoate group is −173.7 (2)° and that for the benz­yloxy group is −174.8 (2)° establishing an anti-type conformation. The dihedral angles between the ten-membered cyanona­phthalene ring and the aromatic ring of the phenyl benzoate and the benz­yloxy fragments are 40.70 (10) and 87.51 (11)°, respectively, whereas the dihedral angle between the aromatic phenyl benzoate and the benz­yloxy fragments is 72.30 (13)°. In the crystal, the mol­ecules are linked by weak C—H⋯O inter­actions forming S(4) chains propagating parallel to [010]. The packing is consolidated by three C—H⋯π inter­actions and two π–π stacking inter­actions between the aromatic rings of naphthalene and phenyl benzoate with centroid-to-centroid distances of 3.9698 (15) and 3.8568 (15) Å, respectively. Inter­molecular inter­actions were qu­anti­fied using Hirshfeld surface analysis. The mol­ecular structure was further optimized by density functional theory (DFT) at the B3LYP/6–311+ G(d,p) level, revealing that the energy gap between HOMO and LUMO is 3.17 eV. Mol­ecular docking studies were carried out for the title compound as a ligand and SARS-Covid-2(PDB ID:7QF0) protein as a receptor giving a binding affinity of −9.5 kcal mol−1.

Crystal growth of 2-(3,4,5-triphen­ylphen­yl)acetic acid (1) from aceto­nitrile yields a monosolvate, C26H20O2·CH3CN, of the space group P1. In the crystal, the title mol­ecule adopts a conformation in which the three phenyl rings are arranged in a paddlewheel-like fashion around the central arene ring and the carboxyl residue is oriented nearly perpendicular to the plane of this benzene ring. Inversion-symmetric dimers of O—H⋯O-bonded mol­ecules of 1 represent the basic supra­molecular entities of the crystal structure. These dimeric mol­ecular units are further linked by C—H⋯O=C bonds to form one-dimensional supra­molecular aggregates running along the crystallographic [111] direction. Weak Car­yl—H⋯N inter­actions occur between the mol­ecules of 1 and aceto­nitrile.

In the crystal structure of the title compound, C33H33N9, the tripodal mol­ecule exists in a conformation in which the substituents attached to the central arene ring are arranged in an alternating order above and below the ring plane. The three benzotriazolyl moieties are inclined at angles of 88.3 (1), 85.7 (1) and 82.1 (1)° with respect to the mean plane of the benzene ring. In the crystal, only weak mol­ecular cross-linking involving C—H⋯N hydrogen bonds is observed.

The crystal structure of the title compound, hexa­aqua­nickel(II) dichloride–1,4,7,10,13,16-hexa­oxa­cyclo­octa­deca­ne–water (1/2/2), [Ni(H2O)6]Cl2·2C12H24O6·2H2O, is reported. The asymmetric unit contains half of the Ni(OH2)6 moiety with a formula of C12H32ClNi0.50O10 at 105 K and triclinic (P1) symmetry. The [Ni(OH2)6]2+ cation has close to ideal octa­hedral geometry with O—Ni—O bond angles that are within 3° of idealized values. The supra­molecular structure includes hydrogen bonding between the water ligands, 18-crown-6 mol­ecules, Cl− anions, and co-crystallized water solvent. Two crown ether mol­ecules flank the [Ni(OH2)6]2+ mol­ecule at the axial positions in a sandwich-like structure. The relatively symmetric hydrogen-bonding network is enabled by small Cl− counter-ions and likely influences the more idealized octa­hedral geometry of [Ni(OH2)6]2+.

In the title salt, C6H16N22+ ·H2P2O72−, the complete dication is generated by a crystallographic centre of symmetry with the methyl groups in equatorial orientations. The complete dianion is generated by a crystallographic twofold axis with the central O atom lying on the axis: the P—O—P bond angle is 135.50 (12)°. In the crystal, the di­hydrogen diphosphate anions are linked by O—H⋯O hydrogen bonds, generating (001) layers. The organic cations bond to the inorganic layers by way of N—H⋯O and C—H⋯O hydrogen bonds. A Hirshfeld surface analysis shows that the most important contributions for the crystal packing are from O⋯H/H⋯O (60.5%) and H⋯H (39.4%) contacts.

Lopinavir is a potent protease inhibitor that is used as a first-line pharmaceutical drug for the treatment of HIV. The multi-component solvated Lopinavir crystal, systematic name (2S)-N-[(2S,4S,5S)-5-[2-(2,6-di­methyl­phen­oxy)acetamido]-4-hy­droxy-1,6-di­phenyl­hexan-2-yl]-3-methyl-2-(2-oxo-1,3-diazinan-1-yl)butanamide–ethane-1,2-diol–water (8/3/7) 8C37H48N4O5·3C2H6O2·7H2O, was prepared using evaporative methods. The crystalline material obtained from this experimental synthesis was characterized and elucidated by single-crystal X-ray diffraction (SC-XRD). The crystal structure is unusual in that the unit cell contains 18 mol­ecules. The stoichiometric ratio of this crystal is eight Lopinavir mol­ecules [8(C37H48N4O5)], three ethane-1,2-diol mol­ecules [3(C2H6O2)] and seven water mol­ecules [7(H2O)]. The crystal packing features both bi- and trifurcated hydrogen bonds between atoms.

Reaction of 2-amino-5-iodo­pyridine (5IAP) with concentrated HBr at room temperature yielded 2-amino-5-iodo­pyridinium bromide, C5H6IN2+·Br− or (5IAPH)Br. The complex formed pale-yellow crystals, which exhibit significant hydrogen bonding between the amino and pyridinium N—H donors and bromide ion acceptors. Halogen bonding is also observed. Similarly, reaction of 5IAP with cobalt(II) chloride in mixed HCl/HBr in 1-propanol yielded 2-amino-5-iodo­pyridinium (2-amino-5-iodo­pyridine-κN1)bromido/chlorido­(0.51/2.48)cobalt(II), (C5H6IN2)[CoBr0.51Cl2.48(C5H5IN2)] or (5-IAPH)[(5IAP)CoCl2.48Br0.51], as blue block-shaped crystals. Two of the three halide positions exhibit mixed occupancy [Cl/Br = 0.797 (5):0.203 (5) and 0.689 (6):0.311 (6)], while the third position is occupied solely by a chloride ion. Extensive hydrogen and halogen bonding is observed.

In the title mol­ecule, C20H18ClN3O2, the 2-chloro­phenyl group is disordered to a small extent [occupancies 0.875 (2)/0.125 (2)]. The phenyl­acetamide moiety is nearly planar due to a weak, intra­molecular C—H⋯O hydrogen bond. In the crystal, N—H⋯O hydrogen bonds and π-stacking inter­actions between pyridazine and phenyl rings form helical chains of mol­ecules in the b-axis direction, which are linked by C—H⋯O hydrogen bonds and C—H⋯π(ring) inter­actions. A Hirshfeld surface analysis was performed, which showed that H⋯H, C⋯H/H⋯C and O⋯H/H⋯O inter­actions to dominate the inter­molecular contacts in the crystal.

Two new zinc(II) complexes, tri­ethyl­ammonium di­chlorido­[2-(4-nitro­phen­yl)-4-phenyl­quinolin-8-olato]zinc(II), (C6H16N){Zn(C21H13N2O3)Cl2] (ZnOQ), and bis­(tri­ethyl­ammonium) {2,2'-[1,4-phenyl­enebis(nitrilo­methyl­idyne)]diphenolato}bis­[di­chlorido­zinc(II)], (C6H16N)2[Zn2(C20H14N2O2)Cl4] (ZnBS), were synthesized and their structures were determined using ESI–MS spectrometry, 1H NMR spectroscopy, and single-crystal X-ray diffraction. The results showed that the ligands 2-(4-nitro­phen­yl)-4-phenyl­quinolin-8-ol (HOQ) and N,N'-bis­(2-hy­droxy­benzyl­idene)benzene-1,4-di­amine (H2BS) were deprotonated by tri­ethyl-amine, forming the counter-ion Et3NH+, which inter­acts via an N—H⋯O hydrogen bond with the ligand. The ZnII atoms have a distorted trigonal–pyramidal (ZnOQ) and distorted tetra­hedral (ZnBS) geometries with a coord­ination number of four, coordinating with the ligands via N and O atoms. The N atoms coordinating with ZnII correspond to the heterocyclic nitro­gen for the HOQ ligand, while for the H2BS ligand, it is the nitro­gen of the imine (CH=N). The crystal packing of ZnOQ is characterized by C—H⋯π inter­actions, while that of ZnBS by C—H⋯Cl inter­actions. The emission spectra showed that ZnBS complex exhibits green fluorescence in the solid state with a small band-gap energy, and the ZnOQ complex does exhibit non-fluorescence.

The title organic–inorganic hybrid salt, C2H7IN+·I−, is isotypic with its bromine analog, C2H7BrN+·Br− [Semenikhin et al. (2024). Acta Cryst. E80, 738–741]. Its asymmetric unit consists of one 2-iodo­ethyl­ammonium cation and one iodide anion. The NH3+ group of the organic cation forms weak hydrogen bonds with four neighboring iodide anions, leading to the formation of supra­molecular layers propagating parallel to the bc plane. Hirshfeld surface analysis reveals that the most important contribution to the crystal packing is from N—H⋯I inter­actions (63.8%). The crystal under investigation was twinned by a 180° rotation around [001].

The unit cell of the title compound, [Ni(C16H10ClN6)2]·2CH3OH, consists of a neutral complex and two methanol mol­ecules. In the complex, the two tridentate 2-(3-(4-chloro­phen­yl)-1H-1,2,4-triazol-5-yl)-6-(1H-pyrazol-1-yl)pyridine ligands coordinate to the central NiII ion through the N atoms of the pyrazole, pyridine and triazole groups, forming a pseudo­octa­hedral coordination sphere. Neighbouring tapered mol­ecules are linked through weak C—H(pz)⋯π(ph) inter­actions into monoperiodic chains, which are further linked through weak C—H⋯N/C inter­actions into diperiodic layers. The inter­molecular contacts were qu­anti­fied using Hirshfeld surface analysis and two-dimensional fingerprint plots, revealing the relative contributions of the contacts to the crystal packing to be H⋯H 32.8%, C⋯H/H⋯C 27.5%, N⋯H/H⋯N 15.1%, and Cl⋯H/H⋯Cl 14.0%. The average Ni—N bond distance is 2.095 Å. Energy framework analysis at the HF/3–21 G theory level was performed to qu­antify the inter­action energies in the crystal structure.

Monoclinic single crystals of Cd5(TeO3)4(NO3)2 (space group P21/c), penta­cadmium tetra­kis­[oxidotellurate(IV)] dinitrate, and of Cd4Te5O14 (space group C2/c), tetra­cadmium penta­oxidotellurate(IV), were obtained under the same hydro­thermal conditions. Whereas the crystal structure of Cd5(TeO3)4(NO3)2 is distinctively layered, that of Cd4Te5O14 exhibits a tri-periodic framework. In Cd5(TeO3)4(NO3)2, the three CdII atoms have coordination numbers (CN) of 7, 6 and 6. The two types of [CdO6] and the [CdO7] polyhedra [bond lengths range from 2.179 (3) to 2.658 (2) Å] share corners and edges, resulting in layers extending parallel to (100). Both TeIV atoms are coordinated by three oxygen atoms in a trigonal–pyramidal shape. The oxygen atoms of the isolated [TeO3] groups [bond lengths range from 1.847 (3) to 1.886 (3) Å] all are part of the cadmium–oxygen layer. The electron lone pairs ψ of the TeIV atoms are directed away from the layer on both sides. The available inter­layer space is co-occupied by the nitrate group, which is directly connected with two of its O atoms to the layer whereas the third O atom is solely bonded to the N atom and points towards the adjacent layer. In Cd4Te5O14, all three unique CdII atoms are coordinated by six oxygen atoms, considering Cd—O distances from 2.235 (2) to 2.539 (2) Å. By edge- and corner-sharing, the distorted [CdO6] polyhedra form an open framework that is partially filled with three different stereochemically active TeIV atoms. All of them exhibit a CN of 4, with Te—O bonds in a range from 1.859 (2) to 2.476 (2) Å. The corresponding [TeO4] units are linked to each other by corner- and edge-sharing, forming infinite helical 1∞[Te10O28] chains extending parallel to [203]. The connectivity in the chains can be described as (⋯–⋄–⋄=⋄–⋄–⋄–⋄–⋄=⋄–⋄–⋄–⋯)n where ‘⋄’ denotes a [TeO4] unit, ‘–’ a linkage via corners and ‘=’ a linkage via edges. Such a structural motif is unprecedented in the crystal chemistry of oxidotellurate(IV) compounds.

A new uranium metal–organic complex salt, [U(C10H9O2)2O2(C2H6O)], with benzoyl acetone, namely, bis­(benzoyl­acetonato)(ethanol)dioxidouranium(VI), was synthesized. The compound has monoclinic P21/n symmetry. The geometry of the seven-coordinate U atom is penta­gonal bipyramidal, with the uranyl oxygen atoms in apical positions. In the complex, the ligands bind to the metal through oxygen atoms. Additional weak O—H⋯O contacts between the cations and anions consolidate the three-dimensional arrangement of the structure. On the Hirshfeld surface, the largest contributions come from the short contacts such as van der Waals forces, including H⋯H, O⋯H and C⋯H. Inter­actions including C⋯C and O⋯C contacts were also observed; however, their contribution to the overall cohesion of the crystal structure is minor. A packing analysis was performed to check the strength of the crystal packing.

In the title compound, (C5H7N2)5[TeV9O28], the tellurium and vanadium atoms are statistically disordered over two of the ten metal-atom sites in the [TeV9O28]5– heteropolyanion. The anions stack along [100] and are extended into a three-dimensional supra­molecular network through N—H⋯O and weak C—H⋯O hydrogen bonds involving the self-assembled 2-amino­pyridinium penta­mers, which are linked by C—H⋯π and π–π stacking inter­actions. The most important contributions to the Hirshfeld surface arise from O⋯H/H⋯O (54.8%), H⋯H (17.8%) and C⋯H/H⋯C (13.4%) contacts.

L-R Access Hollywood film critic Scott Mantz moderates a talk by Neil deGrasse Tyson at the Aero Theatre in Santa Monica, June 9, 2017. Courtesy of the American Cinematheque; Credit: Robert Enger

Neil deGrasse Tyson came onto the science-themed, late night talk show circuit with some clout. The "Cosmos" host, author, educator, and Hayden Planetarium director's first guest when StarTalk "jumped species" from podcast to television was Whoopi Goldberg. 

On Friday June 9, 2017, Tyson opened up a screening of "Star Trek II: The Wrath of Khan" at the American Cinematheque's Aero Theatre in Santa Monica with a talk on his career as an astrophysicist-turned-broadcaster. Access Hollywood's film critic, Scott Mantz, moderated the event and asked Tyson for his three favorite StarTalk guests.

1. Nichelle Nichols

While StarTalk was still just a podcast, Nichols appeared on StarTalk twice. Tyson learned that Star Trek had been a holdover gig for Nichols while paying her dues to land dancing parts on Broadway. Tyson didn't think being Lieutenant Uhura was anything to sneeze at. "She is actually in the chain of command to be captain of the ship," remarked Tyson.

Early on into the series, Nichols decided it was time to go back to New York and find her dream job, Tyson said. However, before leaving she attended a party where she bumped into Dr. Martin Luther King Jr. 

"And he says, 'Oh, my children! We line up at night, and you make us all proud.' And she said, 'Oh, thank you, but I'm going back to New York,' and he said, 'You can't do that. There are no other black people on television. Much less, what there are, they're not in any kind of role of responsibility, and integrity, and dignity.' And he convinced her to stay with the series." - Neil deGrasse Tyson

Tyson teared up, searched for tissues, and said he opened up a bottle of wine at eleven in the morning during the taping with Nichols. "And then, I think it was only one and a half glasses of wine," Tyson said, before he asked Nichols about her and William Shatner's interracial kiss on Star Trek, one of the first interracial kisses on television. Tyson said Nichols told him that the producers of the show wanted to film a version of the scene without the kiss, but that she and Shatner purposefully kept messing up the non-kiss until they ran out of filming time so that the editors of the show wouldn't have any such scene to work with.

Nichols then asked Tyson if he wanted to see what a "racial kiss" was, and then she kissed him.

Tyson also recognized Nichols for her role in recruiting women and people of color for NASA space missions from engineering schools across the United States. Tyson said Nichols was able to find these recruits by looking where NASA had not been looking.

"You were only looking at the U.S. Naval Academy and not Tuskegee Institute where they have a huge engineering group. So she laid out this recipe, and that first astronaut class: it had black people, it had Asians, it had women. And they were at the top of their class when they came out of college and graduate school, so she shaped the modern view of NASA."

2. Biz Stone

"The name doesn't even sound real," said Tyson, referring to the co-founder of Twitter. Tyson counts Stone among the great entrepreneurs who never finished college: Bill Gates, Michael Dell, Mark Zuckerberg.

"Until he described how he envisioned Twitter, I had not fully appreciated what it was," said Tyson. Stone asked Tyson if he had ever seen birds suddenly take flight and flock together after behaving independently, and then, just as swiftly as they started, return to their posts and be "individuals again."

"Twitter is a flocking mechanism for humans," Tyson said. "I live near Ground Zero in New York City," Tyson recalled what could be described as a Twitter moment from 2011. "I'm watching TV, all of a sudden I heard noises in the street. Crowds were developing. I said, 'What's going on?'" While Tyson was sitting in his home, it had been announced that Osama Bin Laden had been killed.

Tyson got on the internet and read the news. "I missed all that, but all these people got the tweet, and everyone gathered back at Ground Zero." That realization of the nature of social media made Biz Stone Tyson's number two guest.

3. Kareem Abdul-Jabbar

Jabbar's appearance on StarTalk is from the upcoming season, so Tyson did not want to reveal the topics of the episode, but he could not resist including Jabbar because of his numerous qualifications.

• He has written a novel about Sherlock Holmes' older brother, Mycroft Holmes (which Jabbar talked with Off-Ramp about in 2015)
• He had a column in Time Magazine
• His high scores on Celebrity Jeopardy
• He's the highest scorer ever for the NBA, with 38,387 career points (Kobe Bryan is third with 33,643 points)
• He played in the All-Star Game 19 times out of his 20 NBA seasons
• He has six NBA Championship rings
• And he was in "Airplane!" and Bruce Lee's "Game of Death"

Tyson gives us one giveaway though, from Jabbar's interview. The one film role that Jabbar is disappointed about never being cast in was Chewbacca in "Star Wars."

Neil deGrasse Tyson's new book is Astrophysics for People in a Hurry. Thanks to him and the American Cinematheque for allowing us to excerpt their presentation on Off-Ramp.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Off-Ramp's Rosalie Atkinson, her dad, and her dad's mustache circa quite a few facial hair fads ago. (Credit: Rosalie Atkinson); Credit:

These cool tips would have landed in your in-box with no extra effort on your part IF you'd subscribed to Off-Ramp's weekly e-newsletter. We send out a recommendation every week, along with all the latest Off-Ramp news. Sign up now!

Father's Day is coming quick! But before you run to Walgreen's Sunday morning to find they are sold out of touching cards for the father figure in your life, let us help you curate a fun day out with dad.

Thinking about significant-figure holidays, there seems to be more of a method for planning Mother's Day surprises. You get the breakfast-in-bed together quietly for mom or grandma or aunt, etc., wake her up early on a Sunday, she quickly scrambles to hide the fact that she decided to sleep pantsless, then you present her with some poorly made waffles and juice which she will inevitably spill on her white sheets.

But what about your father-figure? A card? Yes. Maybe a golf ball? Okay. A mug you Amazon Prime'd to him in a last-ditch effort that says "Captain Dad?" Don't do that. It might be weird to ask the men in our life, "What the hell do you want?" under the veil of Father's Day, so to spare you we've compiled some ideas.

Idea #1: Take your father to get pampered! Spa days are are not gender-specific and when was the last time someone even looked at your dad's feet? Hollywood salon Hammer & Nails focuses on men's cuticle care. Treat your dad to a MANi-pedi, and he'll also enjoy a glass of bourbon, a personal flatscreen TV with noise-cancelling headphones, all while relaxing in an over-sized leather chair. Although Hammer & Nails targets men, women are also welcome. 8257 Melrose Ave, Los Angeles, CA 90046.

Idea #2: Take in a tasting. Greenbar Distillery is LA's first spirit distillery since the Prohibition was repealed in 1933. They boast the "World's largest portfolio of organic spirits." Take a tour, pose with their gigantic copper stills and whiskey barrels, sign up for a class, or just taste some of their 16 spirits and five bitters. Their tours are reserved for Saturday so consider this a pregame to your other Father's Day plans. 2459 E 8th St, Los Angeles, California, 90021.

Idea #3: Younger kids? Let's play! Sunday, the Autry Museum of the American West is opening a new exhibit about the history of play. Experience the next generation of toys and games, but also see how they differ across generations and cultures. The exhibit is very interactive and the museum is in beautiful Griffith Park, so there are plenty of hiking trails, picnic spots, or viewpoints to snap some pictures with your man/men.  234 Museum Drive, Los Angeles, CA 90065 .

Idea #4: The Abbey's annual Father's Day Brunch. For the past six years, The Abbey in West Hollywood has hosted a brunch in celebration of LGBT families or those considering starting one. There will be a breakfast buffet from 9am-1pm and attendees can get more info about fostering opportunities. $18 per person. 692 N Robertson Blvd, West Hollywood, CA 90069 .

Much love to all the dads, uncles, grandpas, friends, and men nurturing other people!

This content is from Southern California Public Radio. View the original story at SCPR.org.

"Dispersion" (detail). Acrylic ink and paint on canvas. (Courtesy of Kenyatta A.C. Hinkle); Credit:

Kenyatta A.C. Hinkle's "The Evanesced" was inspired by the #SayHerName movement against police violence, as well as Los Angeles's Grim Sleeper serial killer. Hinkle depicts black women in the nude, twisting and writhing, as though they're sinking back into the canvas. Or are they reemerging from it?

Deputy Director of the California African American Museum Naima Keith says Hinkle's exhibit looks at the "historical present," the way in which history still affects us today, harkening back to slavery and Jim Crow. Keith says the main issue Hinkle is addressing is the invisibility of black women, especially those who are abused or in danger. 

Hinkle was particularly inspired by the South LA serial killer "The Grim Sleeper." He is accused of murdering over one hundred women from the 1980's onward, until being captured in 2007. Many of his victims were women of color according to the Los Angeles Police Department.

"He had been killing prostitutes and runaways and drug addicted women," says Keith, noting that some saw these deaths as occupational hazards.

Most of Hinkle's subjects in the paintings and sketches in "The Evanesced" are clearly nude. This was a deliberate choice to showcase femininity, according to Keith. She says:

She’s talking about being women... There’s love, there’s joy, there’s pain. All things we experience as all women... But [nudity], I think, allows us to focus on the female form, not necessarily get caught up on what they are wearing or what they’re doing.

In the artwork, viewers can see that every face, body, and hair style is completely unique to each sketch or painting. Keith says this helps the viewer appreciate the diversity amongst women of color. She says:

You have women that are smiling. You have women that are looking at you- you know- lovingly, shyly. Not every one, not every image in the show is about negativity, disappearance, or sadness. There is a bit of celebration. There’s interaction between multiple women. That’s what makes the body of work so interesting: it’s not just seeing women of color through one lens. There’s the possibility of seeing them through, like I said, disappearance, and also the freedom to have a wide range of emotions.

There is one painting that continues to draw Naima Keith back to it. It is called "Uproot 2017" and it features a feminine figure with three exposed breasts. She says this painting speaks to her about motherhood and the connection women have with their changing bodies. Keith says:

I asked Kenyatta why she depicts women with multiple [extra] breasts and we had a conversation about being moms. Kenyatta and I are both mothers of young children... As moms, we just kinda talked about how things aren't what they used to be, in terms of where they used to be. Like I said, becoming mothers, you have this different relationship with your body in relation to someone else.

Kenyatta A.C. Hinkle's "The Evanesced" runs at the California African American Museum through June 25, 2017.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Drew Arriola Sands, left, sings in the South Gate band Trap Girl at La Conxa, 2017.; Credit: Amina Cruz

Growing up, Drew Arriola-Sands' music was "too weird for the weird kids." Her first band couldn't even get a backyard gig, but since Sands transitioned in 2013, her current band, Trap Girl, have been at the center of an exploding queer hardcore scene in Los Angeles. 

NOTE: Trans Pride L.A. is taking place this weekend, Saturday June 17, at the Los Angeles LGBT Center. To hear a preview of the event with organizer Gina Bigham, listen to the extra audio on this post.

Sands is 28 now, but she's always been drawn to glamorous women with big hair. Her mirror is adorned with pictures of Ronnie Spector, Dolly Parton, and Jayne Mansfield. Wig idols, she calls them. Sands has a large collection of wigs, and even makes her own, but it all started 20 years ago.

"When I was a little kid, my mom always had short black hair," Sands remembers. "And then one day, getting ready for school, she walked out of the bathroom with a long, thick, black braid with a ribbon on it, and it freaked me out, because I never saw her with long hair. So I was like, 'That’s weird! What is it?'" She was eight years old. For weeks to come, Sands would lock herself in the bathroom and stare at the extension braid in it's clear, Avon box until her mother threw it away without warning. The seed had been planted, though.

Her love of singing came at an early age too. As a child, Sands would stand up on a chair while watching baseball with her father to sing the national anthem. Her mother would scold her for being loud and tell her that she could sing at a baseball game when she was older. At 11, her father put her in little league.

We look at a picture of young Drew in a baseball jersey. Sands was a chubby little kid, biting down a smile, and burying her hand in her mitt. "I was a 'catcher' even then," laughs Sands.

"I was told I was gay before I even knew I was gay, because people saw I was feminine, did things a little different, spoke a little different, a little more sensitive," says Sands. Bullying was a consistent part of her childhood, with no one incident standing out because there was always "80 more horrible ones," she says. But she found ways to cope through her hobbies.

Her father said if she wasn't going to play a sport, she had to play an instrument. The first instrument she started with in earnest was the guitar, before picking up bass and more. "Nirvana was still the biggest band in the world. Everyone at my junior high who played guitar learned how to play 'Rape Me' or 'Smells like Teen Spirit' as their first song" says Sands. The first song sands learned on guitar was Nirvana's "About a Girl," and the first album she bought was Hole's "Live Through This."

"One of my first jobs, actually, was making burnt cd’s for a guy who sold them at the alley, and he made me copy Trina cd’s, ten at a time. She had songs on there like 'Nasty Bitch,' things like that, and I just loved it! But it was like a guilty pleasure, 'cause I was still a rock kid."  - Drew Arriola-Sands

By her early twenties, she started her first real band, The Glitter Path; Sands describes it as something like Daniel Johnston, the schizophrenic outsider musician, mixed with Patsy Cline - extremely emotional, "lying across the road, ready to die type of music." It didn't fit in in the "very straight, very cis, surf rock-indie" backyard scene, says Sands. She can't remember the band playing more than two or three shows, anywhere, but she says she doesn't hold any grudges.

The Glitter Path's "Wear a Wig"

We look at another photo of Sands from her Glitter Path days. She points out the increasing number of women’s accessories she was wearing at the time. She was starting to feel a change coming.

"I was in a relationship in 2013 with an artist, but I was male presenting, and I had these feelings of identity and gender, and I expressed them to him, and he accepted them," Sands says,  "but didn’t know how to deal with me and I didn’t know how to deal with myself." Sands boyfriend broke up with her, and she reevaluated her emotional state. "My mental health was not going to get better if I did not come out [as a trans person]," she decided.

She had a much easier time dating after transitioning, and one chance hook-up set Sands down a new musical road.

"So this guy I was hooking up with at the time would play the Damned in the room while we were hooking up. I had a guitar in the room, and he didn’t know I played music and said, 'Do you play guitar?' I said, 'Yeah.' He said, 'Well, you should start a band, like the Damned, and play guitar. It’d be good, looking the way you do, and wear ball gowns.'” - Drew Arriola-Sands

Sands started Trap Girl, not as guitarist, but as lead singer, in 2014.

The early shows were backyard gigs in South Central. Songs like “Dead Men Don’t Rape” went over well, but Sands wasn’t out as a trans performer yet. Maybe people could read between the lines though, with a name like Trap Girl. Sands offers a few definitions for Trap Girls/Trap Queens (though she has never settled on just one).

• A woman who helps out a "trap lord," or drug dealer
• A very convincing transvestite
• A girl trapped in a man's body

Throughout 2015, Trap Girl built their following Downtown and on the Eastside, with Sands finally out as a trans artist.

Trap Girl live at Xicana PUNK Night

"I started this band alone," explains Sands. "I didn’t know any queer people, I didn’t know any trans people, I didn’t know who was gonna help this band. Who was gonna give us a shot? So, I was ready to defend this band, even though there was no one defend it from."

Rather, Trap Girl were embraced and found sisterhood in bands like Sister Mantos and Yaawn. In 2016, Sands took it a step further and organized the first annual Transgress Fest (at the Santa Ana LGBT Center), for trans performers. "We had people as young as twelve to people as old as sixty in the audience," she says. "We had a huge turnout. I never expected that."

Transgress Fest is coming back in November. In the meantime, Trap Girl are getting ready to release their second EP, "The Black Market." The title track grapples with the question of whether or not a trans person needs surgery.

"Being a woman doesn’t mean you have to look like a woman. I didn’t know any trans people at all before I transitioned, so automatically, my idea was to think that I needed to present as feminine to be accepted as a trans person, but little did I know, that that’s the last thing you need to be a trans person. Not all people can pass, and that’s ok." - Drew Arriola-Sands

Sands says the takeaway from "The Black Market" is not to risk your life with black market cosmetic procedures. "These girls are killing themselves to achieve their looks," says Sands. "They’re getting it offline [sic], off Craigslist. You know, they go to someone’s basement and get their ass injected with cement, and then they go home and get a blood clot in their lungs, and they die." "The Black Market" EP is due for release this summer.

Trap Girl is singer Drew Arriola-Sands, bassist Ibette Ortiz, drummer Jorge Reveles, and guitarist Estevan Moreno.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Hollywood billboard queen, Angelyne was featured on the first Off-Ramp episode producer Chris Greenspon ever heard.; Credit: Creative Commons via Flickr user Thomas Hawk

After a few semesters of college radio at Mt. San Antonio College, I landed my first radio job: Board Operator! At struggling KFWB Newstalk 980. My career in radio began the way it does for so many, working odd hours and weekends.

A few months into my new gig, I was leaving for work and I thought, “You know, if I’m going to work in radio, I should listen to the radio.” I drove over the bridge on Hacienda Boulevard in La Puente, heading towards the 60, and right in front of my on-ramp, there was a big, orange billboard for KPCC. Why not 89.3?

The first thing I heard (and I should clarify that this was also my first time ever hearing public radio) was Janis Joplin getting her star on the Hollywood Walk of Fame, on Off-Ramp. Clive Davis, the CBS A&R executive who signed Joplin, told the crowd about how Joplin had suggested sealing their new relationship by having sex (though he demurred), and that his heart was broken when she died. Then Kris Kristofferson sang “Me & Bobby McGee,” and I was smiling, until I heard a chorus of hippies singing "Mercedes Benz." Pee-yew!

“Should I stay?” I asked myself. How could I not, when someone named Dylan Brody came on and told a story about letting his dogs poop on the neighbor’s lawn? But then, the real cheese, for a 20-something year old, biracial kid who loved space ships and tough punk girls; "Love and Rockets" cartoonist Jaime Hernandez talking about drawing for Junot Diaz.

All this was to say nothing of the loud, defiant-sounding host, who kept saying. "This is Off-Ramp, I’m John Rabe." I listened to him slide between all of these topics, and even report from the field himself, talking about museums in a way that wasn’t – boring. After a few more pieces and a few more uses of the Off-Ramp theme song, I had a new favorite show. And I suspect a few other people did too.

That was November 2013. Five months later, I was on the show. At the end of the episode, I noticed that they had an intern in the credits, and after many repeated scourings of the KPCC careers page, the position finally opened up. So what’d I do? I went out with my chintzy audio recorder, and recorded a story so if I got an interview, I wouldn’t go in empty-handed. I didn’t get the internship then, but John did buy the piece. Remember the one about the Burmese Café run by an ex-biologist?

I kept freelancing after that, and honestly, I got a lot of my ideas from stuff that Off-Ramp wasn’t doing. John would have Angelyne, and her famous Hollywood billboard, but what about the giant neon sign at Rose Hills Cemetery in Pico Rivera? Kevin Ferguson would hang out with Mike Watt from the Minutemen, but what about punk supergroup, the Flesh Eaters? And could we talk about a domestic violence shelter in a Thanksgiving Special, or the fact that a home-abortion movement started in Los Angeles?

John eventually asked me to intern after turning the Jim Tully mini-documentary in, and even after joining the company, writing these kinds of stories for Off-Ramp was still not easy, but there was room for all of them. I would be beyond thrilled if somebody heard even one of them when they heard Off-Ramp for the first time.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Catcus garden at the Getty Museum (Creative Commons via Flickr user Prayitno); Credit:

'Off the 405' is a free night of music, agua-fresca cocktails, and immeasurable views. The Getty Museum stacks their performance calendar with great artists, sometimes indie, sometimes local, always energetic; this Saturday's line-up features the great, all-Angelena rock group, La Luz.

The band's sound was deemed "surf-noir" by Stereogum, complete with bright lyrics and haunting harmonies. The band quickly gained notoriety in LA for the energy of their live performances, and Soul-Train style dance competitions during their sets.

https://www.youtube.com/watch?v=WlUiwINM5lM

'Off the 405' takes place from 6pm to 9pm and will feature a cash bar, some light bites, and an opening DJ set as the sun goes down.

It doesn't get more scenic and quintessentially Los Angeles than this. So enjoy a free night out, a craft cocktail, and some fantastic music. Don't forget to snap a skyline-selfie and send it to Team Off-Ramp!

The Getty Center is located at 1200 Getty Center Drive in LA, roughly 12 miles northwest of downtown. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Elizabeth Harper, a relics expert, at Mountain View Cemetery in Altadena; Credit: John Rabe

"Reach a certain moment in your life, and you discover that your days are spent as much with the dead as they are with the living." – Paul Auster

This has been one of my favorite quotes for a long time. To me it means that when you get older and your friends, relatives, and heroes start dying, you have a choice. You can either stop thinking about them because they're dead, giving up, as it were, the pleasure of their company; or you can keep them in your life. To me, that's not denial; it's being realistic.

So, it makes sense that I felt a kindred spirit with Elizabeth Harper, who keeps the website All the Saints You Should Know, when we met at a beautiful mausoleum at Mountain View Cemetery in Altadena to talk about the history of cemeteries, relics, castrated Italian avuncular mummies, and the best spots in Los Angeles to commune healthily with death.

Elizabeth will be part of the team when Atlas Obscura leads tours of The Cathedral of Our Lady of the Angels on Saturday, July 1. It's billed as "A celebration of life, death, architecture, and the patron saint of Los Angeles."

Here are some highlights of my mausoleum conversation with Elizabeth Harper:

At first glance, she says, all of the tombs are very similar.

And that was one of the things, when we started making modern cemeteries, outside the city lines, they wanted them to be regular and not so expressive and macabre. But people leave little things behind. On a lot of these (crypts), you can see a little emblem of something that was important to them. If they were a Mason or if they served in the Army. I like the (cremains) urns that are shaped like books. I have a friend who is a librarian and she was very taken with the idea of being in a book.

Napoleon instituted the Edict of Saint-Cloud, which mandated that cemeteries must be outside city limits (for health reasons) and must be toned-down (for no good reason).

People did not like the edict. There's a very famous poem called Sepulchers by Ugo Foscolo that was written in protest, that said, essentially, looking upon the graves of strong men strengthens the mind and the spirit.

From Slate: Photographing the Real Bodies of Incorrupt Saints, by Elizabeth Harper

Elizabeth often writes about cemeteries and tombs and sometimes posts photos of bodies, which causes a "certain segment" to assume she has no experience with death, or she wouldn't presume to do such a thing.

What I want to put out there is that we have this pervasive idea that we grieve and move on, and this moving on is very important, and I think there are multiple ways to incorporate the idea of death in your life, to get used to the idea, without forgetting, that's more of a way of memorializing. When I take these pictures, I'm very aware that these are real people, and I think of myself, what I will be one day, and people I love, who are already there.

Make sure to listen to our entire interview in the audio player to hear Elizabeth's 3 top spots in Los Angeles to consider the place of death in our lives, and to hear about poor old Uncle Vincent, a neutered naked mummy in a small town in Italy who has a large fan base.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The back cover photo splash from Ruth Batchelor's album "Songs for Women's Liberation: Reviving a Dream"; Credit:

I’ve been a member of the LA Film Critics Association since 1999. LAFCA is a good group - collegial and filled with real movie lovers. But it has a problem.

It's a professional organization, meaning a baseline for membership is you have to have a job, and film criticism is overwhelmingly white and male. 78 percent of the top critics listed on RottenTomatoes are male, and women write only 18 percent of the major reviews. So LAFCA is like the profession itself: overwhelmingly a platform for white men.

It's trying to diversify. It has been for years. But how do you do that when the pool you draw from has a huge institutional bias? According to film critic Claudia Puig, "Criticism has been a white male dominated field for very long. And it continues to be. And not just white males, but middle aged."

Claudia is the current LAFCA president - and a legendary critic, who wrote lead reviews for 14 years at USA Today, and now appears regularly on KPCC’s Film Week.

"Very few movies pass the Bechdel Test. Women are often just girlfriends, wives, mothers. They don't get to have a story arc of their own. But if you had more women reviewing these movies, they would point out certain things that people might not notice as potentially offensive. Because we have been harassed, or we have experienced any number of things. It's something I've grappled with through my entire career." - Claudia Puig

I'm on a committee with Claudia for the LA Film Critics. The concept is to mentor young writers - to generate diversity, from the ground up. One idea is to have a scholarship for aspiring female film critics. We thought it would be good to name it after a prominent woman from the group's past.

So I went to Myron Meisel, who joined LAFCA in 1979, just four years after it formed, and I asked him, "Is there a woman you can think of who played an especially prominent role in the history of the LA Film Critics Association?" "Oh!," Myron said. "Ruth Batchelor was the founder and driving force..." "Wait, what?" I asked. "LAFCA was founded by a woman?"

"We weren't shocked. You had Ruth, who was very much concerned with creating a Los Angeles equivalent to the New York Film Critics Association. Which she largely pulled together by force of will. While Ruth was the moving force, you really can't discount her ability to martial the enthusiastic support of Charles Champlin as a co-founder, and the imprimatur of the Los Angeles Times behind him. Ruth had an enviable ability to make everything she undertook seem inevitable." - Myron Meisel

It's poignant, isn't it? And a little creepy. A prestigious group commits to gender diversity, and somehow, it doesn't have the institutional memory to know that the pivotal figure in its history was a woman.

How could we forget Ruth? Batchelor was nothing if not memorable. Before she became a pundit, she was a successful pop songwriter in the style of Neil Sedaka, or Goffin and King. She wrote dozens of songs, recorded by everybody from Phil Spector to the Partridge Family. She wrote Elvis Presley numbers, including "Cotton Candy Land," which might be the most hated track in the Presley catalogue.

But Batchelor also wrote "Where Do You Come From?", which is beautiful.

Elvis Presley performing Ruth Batchelor's "Where do you come from?"

Where do you come from, Ruth?

It wasn't easy to find out.

Batchelor's New York Times obituary was full of false leads. It said she was a critic for National Public Radio. She wasn't, but when NPR searched their archives, they unearthed a lead: a Film Comment article from 1982, where Batchelor is described as "Ruth Batchelor of National Public Radio's 'As it Happens.'" "As It Happens" airs on Canada's CBC.

So I placed a call. And I waited.

Meanwhile, I found a blog post about Batchelor as a songwriter on an excellent site called "Zero to 180 - 3 Minute Magic." The title of the post was riveting: "First 'Women's Liberation LP.'"

It turns out in 1971, Ruth Batchelor self-produced and financed a concept album called "Songs for Women's Liberation: Reviving a Dream." 

Myron Meisel told me about Ruth's earthy sense of humor, and it's right there in the first write-up's, where her working title is "A Quarter for the Ladies Room." A Billboard article from August 1971 quotes Batchelor about the album: "Right now I have an album of dirty Women's Liberation poems recorded, and I'm trying to sell the master." Then she laughs. "The last record company I recorded for folded."

Batchelor shopped her record. There were no takers.

But Batchelor proved unstoppable. She created her own record company and called it Femme Records. Then she put out what the leftist journal Broadside called "the first feminist record album," all by herself. "Reviving a Dream" is forgotten, bordering on lost. It's never been available for streaming, or released on CD.

Batchelor's record is a pastiche of radio styles from her era. There's Joan Baez folk, two drawling country laments, even some call and response stuff Batchelor probably learned from Phil Spector and his girl groups.

Are Batchelor's songs any good? They're amazing. Amazing just because they exist.

She fits into the churning sea of anonymous faces so seamlessly it takes awhile to realize: She's Ruth Batchelor. The woman who founded the LA Film Critics. A group currently struggling with gender diversity.

LAFCA prez Claudia Puig agreed to an interview knowing it had to do with LAFCA, but not what it was about. I played her Batchelor's song "Drop the Mop." Batchelor intended it as an anthem, scored to a tempo of marching feet.

The listen was awkward - like force feeding a roommate your iTunes playlist. Claudia took notes the whole time, to occupy her critical mind, but I could see when it ended that she was moved.

 "Yeah, it's a really interesting song," Claudia said. "My reaction is sort of...ummm..."

Claudia hesitated, looking for words.

"And this was the origin of the group. Yeah. It really kind of... It is really interesting. I'd never heard of her. She was right there, fighting that fight." 

"And here, we were looking for an avatar," I said.

"Right. Right. It means something. This is a really important discovery that you made."

A piece of the portrait was missing - an essential one. It came courtesy of Kevin Robertson, a producer for "As It Happens" at the CBC. Batchelor had been the show's "Hollywood Correspondent" in the early 1980s. There was audio in the archives. Kevin provided me with five MP3s.

Batchelor's CBC brand was gender traditional. She was the tinseltown gadfly, a niche created by Hedda Hopper and Louella Parsons in the 1930s. There was gossip about Burt Reynolds and Loni Anderson. Richard Burton's widow. Marvin Hamlisch. TV's "Gomer Pyle."

It was kitsch heaven, so I wasn't disappointed. Not exactly. But it was still a bit like listening to Wonder Woman try to be ordinary, because hey, we all gotta eat.

Ruth Batchelor's "Mr. Principal"

The LA Film Critics get a cameo in Batchelor's Oscar season broadcast, when she mentions her LAFCA Awards vote. For awhile, I thought that would be the only audio connecting the "As It Happens" Ruth Batchelor to the feminist fireball she wanted to be.

Then Batchelor starts riffing on "Partners," a buddy cop farce about a straight cop who goes undercover as a gay man. The film had sparked protests from the gay community. Batchelor is unsympathetic, which is surprising in a civil rights pioneer. Her reasoning is devastating.

"You know if women got angry every time there was a movie against women," Batchelor says, "there wouldn't be any movies."

Batchelor died of cancer early - she was just 58. 25 years later, men still direct most mainstream movies - 93 percent as of 2015. They have 70 percent of the speaking parts, and play 88 percent of the leads.

While women get to be naked twice as often in American movies.

Men review almost all movies too. Maybe that's why Ruth Batchelor founded the LA Film Critics. Because she lived in that world. She covered it. Spoke to it. Fought hard against it.

And then left behind a hidden legacy.

"She is our avatar," Claudia says, as our interview time runs out. "It sort of makes me want to redouble our efforts to honor her spirit."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Former LA Times food writer Russ Parsons offers John Rabe a piece of pie, in John's Mercedes; Credit: John Rabe/KPCC

Semi-retired, former LA Times food writer Russ Parsons appeared often on Off-Ramp over the years, helping to explain the city’s communities through their food, as well as giving solid cooking advice. For the final edition of Off-Ramp, John picked up Russ at Jongewaard's Bake-N-Broil, a Long Beach institution.

Parsons brought John an olallieberry pie (a cross of 'Black Logan' blackberries and youngberries), whilst the inimitable Parsons -- author of "How to Pick a Peach: The Search for Flavor from Farm to Table" and "How to Read a French Fry: And Other Stories of Intriguing Kitchen Science" -- opted for the coconut cream.

Listen to the audio for John and Russ' observations on how food brings the disparate cultures of Los Angeles together, and to hear about which part of hosting Off-Ramp is as humbling for John as it is for Parsons when readers tell him they cook his food at Thanksgiving.

This content is from Southern California Public Radio. View the original story at SCPR.org.