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 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.

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.

The major principles and requirements of asymmetric and inclined double-crystal monochromators are re-examined and presented to guide their design and development for significantly reducing heat load density and gradient on the monochromators of fourth-generation synchrotron light sources and X-ray free-electron lasers.

X-ray Laue microdiffraction aims to characterize microstructural and mechanical fields in polycrystalline specimens at the sub-micrometre scale with a strain resolution of ∼10−4. Here, a new and unique Laue microdiffraction setup and alignment procedure is presented, allowing measurements at temperatures as high as 1500 K, with the objective to extend the technique for the study of crystalline phase transitions and associated strain-field evolution that occur at high temperatures. A method is provided to measure the real temperature encountered by the specimen, which can be critical for precise phase-transition studies, as well as a strategy to calibrate the setup geometry to account for the sample and furnace dilation using a standard α-alumina single crystal. A first application to phase transitions in a polycrystalline specimen of pure zirconia is provided as an illustrative example.

Presented and discussed here is the implementation of a software solution that provides prompt X-ray diffraction data analysis during fast dynamic compression experiments conducted within the dynamic diamond anvil cell technique. It includes efficient data collection, streaming of data and metadata to a high-performance cluster (HPC), fast azimuthal data integration on the cluster, and tools for controlling the data processing steps and visualizing the data using the DIOPTAS software package. This data processing pipeline is invaluable for a great number of studies. The potential of the pipeline is illustrated with two examples of data collected on ammonia–water mixtures and multiphase mineral assemblies under high pressure. The pipeline is designed to be generic in nature and could be readily adapted to provide rapid feedback for many other X-ray diffraction techniques, e.g. large-volume press studies, in situ stress/strain studies, phase transformation studies, chemical reactions studied with high-resolution diffraction etc.

Still of Rita Moreno in the documentary “Rita Moreno: Just a Girl Who Decided to Go for It.”; Credit: Roadside Attractions

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

Yuno, a provider of payment orchestration, has...

The lineup from the "Justice League" animated series.; Credit: Warner Bros.

Bruce Timm's DC Comics animated universe, beginning with "Batman: The Animated Series" and continuing with "Superman," "Batman Beyond," "Justice League," "Justice League Unlimited" and more, remains one of the most beloved and critically acclaimed animated runs in existence. The run was so idenified with the producer that it was sometimes called the Timmverse, but the last show in that continuity ended in 2006 and Timm officially stepped down from working with DC animation in 2013.

Now Timm is back. He's providing a darker take than the optimistic world he became known for in "Justice League: Gods and Monsters," a three-part digital series launching spring 2015 that will be tied in with a full-length animated film that comes out later that year, according to a press release.

Timm's also re-teaming with Alan Burnett, who worked with Timm on "Batman: The Animated Series." It's part of DC Comics' efforts to set up their new film "Batman v Superman: Dawn of Justice," which hits in 2016, with the full Justice League film set for 2018.

DC Comics as a whole has been moving in a darker direction with Christopher Nolan's Batman trilogy, the "Man of Steel" reboot of Superman and a more serious direction in many of its comic books. The company has followed in its tradition of epic storytelling, passing on the quips Marvel has popularized in films from "Iron Man" to "Guardians of the Galaxy."

It's yet to be seen if Timm can recapture any of the magic from his classic cartoons, but there's reason to be optimistic for the creator of the series that introduced fan favorite Joker sidekick Harley Quinn, created a new origin for Mr. Freeze that cemented the character in the Batman mythos and led the team reimagining numerous characters in an iconic, broadly appealing way.

If you want to catch up on Timm's legacy, his previous two Justice League series are available on Netflix and Amazon Prime, along with "Batman Beyond," while the Batman and Superman animated series are available on Amazon Prime.

Timm also recently produced a short for the 75th anniversary of Batman called "Strange Days," setting the character in the retro world of the serialized pulp storytelling from the time Batman was originally created. You can watch that below:

Batman anniversary short

Watch the classic opening to "Batman: The Animated Series":

Batman: The Animated Series opening

And, a personal favorite joke from when Lex Luthor and the Flash trade bodies on "Justice League Unlimited":

Flash/Luthor body swap

File: Stephen Yan dresses as Deadpool at Comic-Con on July 19, 2013 in San Diego.; Credit: Sandy Huffaker/Getty Images

Hey, you! Yeah, you reading this! They're finally making a Deadpool movie!

If you like fourth-wall breaking, second-person addresses like the above, you may be in the target audience for the long-in-development "Deadpool," which Twentieth Century Fox announced Thursday that it was finally moving ahead with, according to the Hollywood Reporter. The studio announced a Feb. 12, 2016 release date for the film with Tim Miller set to direct the character who's served as both friend and foe to the X-Men.

The so-called "Merc with a Mouth" is a mercenary character created in the early '90s by artist Rob Liefeld, with Liefeld being an outspoken champion for the character. The character was part of the same Weapon X program that created Wolverine, with a similar healing factor power, but with a horribly scarred face he covers with a mask. He's also been played as crazy, which manifests itself as the character often knowing he's in a comic book and talking directly to the reader.

Ryan Reynolds has long been tied to the project, including playing a version of the character in the much-hated "X-Men Origins: Wolverine," but no deal has been made yet, according to the Reporter.

This follows footage leaking over the summer of a "Deadpool" test with Reynolds voicing the character in a CGI clip. Reynolds said in an interview in the Niagara Falls Review earlier this month that that it's unfortunate the footage leaked, "but who cares," because the positive response to the clip had helped push the film forward after being stuck in development hell.

"The movie has been in a state of limbo for a while. There was such an overpowering reaction to the footage, you sort of feel like, 'Oh, so we weren't crazy for our reasons for loving this character, for loving this role.' It's interesting to see the power of the Internet. It's awe-inspiring, actually," Reynolds told the Review. "And it's neat that Twitter and Facebook and Instagram can move mountains when used in the right way."

Watch the "Deadpool" test footage below (Warning: Contains some adult language):

Deadpool test footage

There'd also been debate about whether a movie would stay true to the character's outrageous attitude mixed with violence and go for an R rating, or whether it would go for a wider audience by staying at PG-13. Deadpool creator Liefeld has argued that the film would work just fine without restricting its audience with an R.

Liefeld tweet 1

Liefeld tweet 2

Liefeld told the Daily Superhero in a previous interview that the footage for the test was filmed three years ago, using motion capture over footage of Reynolds. He also talked up Miller as a director, noting that he directed the pre-credits scene for "Thor: The Dark World."

"Fox had released a relatively small budget for Tim to present his vision of the script written by Rhett Reese and Paul Wernick," Liefeld said. "The digital costume over Ryan Reynold's motion capture (Mo-Cap) performance was an approach they wanted to explore and they had a relatively small window to create this short so they opted to 'test' the look of a digital Deadpool costume over Ryan. I'm quite pleased at how it turned out, especially considering Baraka-Deadpool from Wolverine Origins."

Liefeld was referring to the transformation of Deadpool in "X-Men Origins: Wolverine" to a mouthless, pointy-limbed character in the film, which many fans argued took away what they loved most about Deadpool: His sense of humor. Liefeld also said he'd seen even more impressive sequences than the one that made its way online.

It's unclear whether this will tie in with the other X-Men films, but with the studio's recent attempt to tie together the "First Class" franchise with the older X-Men films in "Days of Future Past" and the character's long history of involvement with the X-Men and other related teams, it seems like a likely move.

Graphic novelist and artist Charles Burns, at the Mohn Broadcast Center, 9/18/2014. He's just completed his trilogy with the new book Sugar Skull.; Credit: John Rabe

Graphic novelist Charles Burns stopped by the Mohn Broadcast Center to talk with Off-Ramp host John Rabe about "Sugar Skull," which completes the trilogy that includes "X'ed Out" and "The Hive."  He's doing a signing tonight (Thurday, Sept. 18) at Skylight Books, 1818 N. Vermont Avenue in Los Feliz.

Why the trilogy? Burns says, "I had finished another book, "Black Hole," which was this very long graphic novel, all in black and white, and I wanted to do something in color, so I conceived a series of books, based on a series of my life, late '70s, the Punk Era. It started that way, and then it turned into something else."

RELATED: Miniaturist Alan Wolfson, or "Honey! I shrunk the strip club!"

The look of Burns' books:

... is drawn from one of his childhood favorites, the Belgian Tintin, who had all sorts of politically incorrect adventures:

"It's called the clear-line school of comics. And it's exactly what it sounds like: very clear lines, but perfectly rendered in color."

If there's more shadow in Burns' books than in Herge's, that's because the lines between good and bad, dark and light, reality and unreality are blurrier in Burns. The trilogy moves back and forth in time and place, including between the normal world and a bizarre world in which a character named Johnny 23 struggles with many of the same issues the protagonist in the real world, Doug, faces... including a pregnant girlfriend.

(From Sugar Skull, by Charles Burns. )

Are they two separate stories or Doug's subconscious world? Burns won't say. "That's for the reader to figure out. I don't really ever clearly explain those things at all, and I like to leave those things open. Interpretation is great, as far as I'm concerned."

Burns turns 59 on Sept. 27. How does he like approaching 60? "As far as the day-to-day landscape, things are more settled in. But as far as my sweltering, swelling, itching brain, that hasn't changed at all unfortunately."

"Red Band Society," premieres on Fox September 17th, starring Octavia Spencer, Charlie Rowe and Nolan Sotillo.; Credit: Fox Television Studios

The Los Angeles County Metropolitan Transportation Authority is pulling ads for the Fox television show "Red Band Society" from nearly 200 buses amid complaints they are racist and offensive to women.

The ads show the ensemble cast's members in front of a wall with graffiti describing their characters.

A denigrating word for a woman is used to describe the show's star, Octavia Spencer's character.

The Los Angeles Times reports transit officials began pulling the ads on Wednesday. They had been up for five weeks.

The Red Band Society also shared the ad on its Facebook page in August. 

Facebook: #RedBandSociety ad

But it's since edited it to look like this.

Photo: New ad via Facebook

Protesters who attended Thursday's transit agency board meeting complained the depiction of Spencer's character is racist and offensive to women.

The actress, who plays a nurse in the hospital drama, is black.

She won a supporting actress Oscar for her role in "The Help."

TORONTO, ON - SEPTEMBER 07: Actor Simon Pegg attends the "Hector and the Search for Happiness" premiere during the 2014 Toronto International Film Festival at Winter Garden Theatre on September 7, 2014 in Toronto, Canada. (Photo by Tommaso Boddi/Getty Images); Credit: Tommaso Boddi/Getty Images

British actor Simon Pegg has had the chance to take on some pretty fun roles. He’s battled zombies in Shaun of the Dead. He’s taken on the role of Scotty in the J.J. Abrams reboot of "Star Trek." And he plays an Impossible Missions Force technician alongside Tom Cruise in the Mission Impossible film series.

In his latest film release, Pegg plays Hector, a psychiatrist who decides his life is just too “beige,” so he sets out into the world to find out what makes people truly happy.

Pegg joins Take Two to talk about what Hector’s journey brings him in “Hector and the Search for Happiness.”

“Hector and the Search for Happiness” opens in the U.S. September 19th.

Interview Highlights:

On prepping to play the psychiatrist, Hector:

“Rosamund Pike and I…had dinner with a psychiatrist prior to starting shooting just to see, sort of, how he felt about dealing with people who have problems which aren’t necessarily, real problems, you know; which are what people call first world problems on Twitter.”

Why Hector sets out on his journey:

"I think Hector, at the beginning of the film, has a life that is very satisfactory; and to that degree, he’s unhappy…And, you know, what he learns is, you need more than that emotionally in your life to truly be happy. You know, if everything’s kind of just beige, you’re never going to be happy. You need to know misery, you need to know fear, and you need to know abandonment."

A little perspective:

"It was a very interesting thing to be shooting in Johannesburg, and to get out into…the townships…and see societies which contend with just abject poverty, and hardship everyday; but seeing so many smiles, and so many people genuinely joyful. And then get into the interior of Johannesburg, where there’s a lot of white people living in, sort of, gated communities, terrified...And see less smiles. It’s a very odd thing. And very, in keeping with the message of the film, which is, avoiding unhappiness is not the root to happiness.”

On his favorite emotion to convey as an actor – happiness, sadness, or anger:

“It’s a weird thing, I think, acting, sometimes. I sometimes almost resent it because you go through this sort of Pavlovian trauma sometimes because you have to recreate certain things that are sometimes a bit stressful.”

“Happiness is always a nice one because it’s fun to laugh on screen or to recreate moments of joy or euphoria, cause you do get a buzz from it, you know, you get this…vicarious, sort of, happiness in yourself. But that works as well for having to replicate sadness, or fear, or anger, or love even. “

“Your body thinks, ‘Oh, are we doing this now? Are we in love with someone here? Are we scared of something [laughs]?’ And you have to constantly intellectualize and remind your hormones that you’re actually – ‘No. This is fake, okay. You’re actually not about to die.’”

File: Queen's Freddie Mercury has his mustache groomed.
; Credit: Steve Wood/Express/Getty Images

The new Queen compilation "Queen Forever" includes three previously unreleased tracks, but the one that has people talking is a collaboration between two legends: Freddie Mercury and Michael Jackson.

The new song, "There Must Be More to Life Than This," was an unfinished track recorded during studio sessions for the 1981 Queen album "Hot Space," according to a press release on the new compilation. Queen also looked at the song for 1984's "The Works," but still don't go with it — the song finally landed, sans Jackson, on 1985's Mercury solo album "Mr. Bad Guy."

Listen to the new version of the song here:

Michael Jackson/Queen Soundcloud

Listen to the originally recorded version of the Queen/Jackson collaboration below:

Michael Jackson/Queen collabo

The new version was produced by William Orbit, who also did a remix of the song.

"Hearing Michael Jackson's vocals was stirring. So vivid, so cool, and poignant, it was like he was in the studio singing live. With Freddie's vocal solo on the mixing desk, my appreciation for his gift was taken to an even higher level," Orbit said in a press release.

The song is a call for peace, talking human rights in a general way. It almost didn't end up on the album — Queen's Brian May said that working with the Jackson family and Jackson's estate was like "wading through glue," according to Philly.com, but the track ended up making the cut.

The album also includes unreleased song "Let Me In Your Heart Again" and a new version of a song Mercury released solo, an acoustic take on "Love Kills." "Let Me In Your Heart Again" was previously recorded and released by May's wife Anita Dobson.

"Freddie sounds as fresh as yesterday," May said at a press conference while the new compilation was in the works.

Listen to Mercury's solo version of "There Must Be More to Life Than This" below:

There Must Be More To Life Than This, solo

Listen to Anita Dobson's version of "Let Me In (Your Heart Again)" below:

Anita Dobson track

Lisa Emery, left, and Lois Smith are in the world premiere of Jordan Harrison’s “Marjorie Prime” at the Center Theatre Group/Mark Taper Forum. ; Credit: Craig Schwartz

Lois Smith has had a long and varied acting career. She made her Broadway debut in 1952 and three years later was cast opposite James Dean in “East of Eden.” She was in “Five Easy Pieces” with Jack Nicholson and — more recently — she had a role on HBO’s “True Blood.”

Now, the 83-year-old Smith is starring at the Mark Taper Forum in the world premiere of “Marjorie Prime” — a play by Jordan Harrison about aging, memory and artificial intelligence.

Smith spoke with The Frame's John Horn about the play and her role.

Interview Highlights

Smith on how "Marjorie Prime" addresses the notion of memory

"One character at some point says, 'I don't know what memory's made of. Is it sedimentary layers?' The play [is] not a meditation, but a riff, perhaps, on that subject. Jordan [Harrison, the playwright] said at some point, 'This play is the intersection of perhaps humanity and technology.' The play takes place a bit in the future. Not a long time — we'll all recognize ourselves very well — but that's one of its surprises."

Smith on the evolution of becoming a character

"It's been extremely interesting. I suppose in every play [the process] deepens and stretches out. This one, no doubt about it...it's elusive in a lot of ways and I think, 'Oh good, I'm getting there, I'm finding out.' And then I think, 'Oh, farther to go.'" 

Smith on how audience members of different ages react to the play's take on aging

"One friend saw it in regards to [her] mother, who's becoming forgetful. [That] mother saw her own very aged father. They laughed about what they each brought up, because they had just been sitting at the same performance of the same play."

Smith on her role, which isn't too physically taxing

"I'm not doing much walking around. I walk on, I walk off, I walk on — and that's about it. I sometimes say, 'It's almost as good as a bed part,' because I spend time in a recliner, which is pretty nice."

Liam Neeson stars as Matthew Scudder in "A Walk Among the Tombstones." ; Credit: Universal Pictures

Screenwriter and director Scott Frank has been trying to make “A Walk Among the Tombstones” for more than a decade, but it wasn't until Liam Neeson signed on that his efforts finally came into view.

Based on the Lawrence Block novel, “Tombstones” stars Liam Neeson as Matthew Scudder, an ex-cop working as an unlicensed private investigator. He agrees to help a well-to-do drug trafficker hunt down the kidnappers who have brutally murdered his wife.

Frank wrote the screenplay and, after the departures of other attached directors, Frank decided to step behind the cameras himself. 

When he came by The Frame studio, Frank spoke with host John Horn about Neeson's great strengths as an action hero and how he convinced Neeson to sign on to the project.

Interview Highlights:

John Horn: Liam Neeson has evolved in a fascinating way as an action hero. When did you start having conversations with him about this movie, and what was it about him as an actor that made it feel like the right fit?

"Well, what's interesting is that Larry Block, the novelist, had always said, going way back to 2003 or something, that the perfect actor for this, after [he saw] 'Michael Collins'...would be Liam Neeson. Chris Andrews, who is Liam's agent, always loved the script and was always trying to find a way to put it together, and he's the one who gave it to Liam back when D.J. [Caruso] was going to direct. So the first time I met Liam to talk about the movie, I was talking to him as the writer, not as the director of the movie. And then when D.J. fell out to go do a different movie at Sony...we had a conversation about directing the movie.

JH: Was this before or after the first "Taken" had come out?

This was well after the first 'Taken,' this was right before the second 'Taken.'

JH: So Liam is...succeeding as a version of that character, and I wonder if that success cuts both ways, that maybe there's a reluctance on his part to not do something that's quite as similar? Or is that part of your conversation that you have with him? 

It absolutely cuts both ways, and that was a huge part of the conversation because there's a kidnapping in this story, and there he is on the telephone for a few minutes at the end of the movie talking to kidnappers, and there are similarities [to 'Taken']. And he knew that was the way to sell the movie, and so he was very reluctant. And I talked to him and I had him watch 'Klute,' and I said, "That's the movie we're gonna make. We're not going to make 'Taken,' we're going to make a movie that's like 'Klute,' or a little bit like 'Dirty Harry,' or one of those old-school '70s films. It's going to feel more like that than an action movie."

JH: Liam Neeson's not physically imposing, but there's something about him that really kind of makes the hair on the back of your neck stand up. What is it about him as an actor in this kind of part?

Well, there's a couple things. One: you believe him. No matter what he's talking about, it seems authentic and true...he has this thing about him that, whatever he's doing, you believe him. Two: he's one of those actors like Gene Hackman where he can convey exposition and make it feel like character. He can talk pages of exposition and make it all feel like it's character and drama — it's a great thing. The other thing about him is that he has this real gravitas, and it almost borders on sadness sometimes; it's interesting when you watch him and you feel like there's all this other life going on behind him.

JH: That he has nothing to lose, in other words.

Nothing to lose, and he says that at one point in the film, but I think it's those things that are all at work at the same time.

The relationship between pianist Justin Kauflin and trumpeter Clark Terry is at the heart of the documentary, "Keep On Keepin' On."; Credit: COURTESY OF RADiUS-TWC

Trumpeter Clark Terry played in Count Basie's and Duke Ellington's bands. He was the first African American hired for The Tonight Show band. He mentored the teenage prodigies Miles Davis and Quincy Jones. But Terry isn't as well known as you might think he'd be. 

Thanks to the new documentary, "Keep On Keepin' On," you can see Clark Terry — or C.T., as everyone calls him — in action. The film tells the story of Terry's early love of the trumpet, his quick rise through the jazz ranks, and how he's devoted much of his life to inspiring other musicians — all with a sparkle in his eye.

The movie is directed by first time filmmaker Alan Hicks and made on a shoestring budget. Hicks is himself a drummer and had been one of Terry's students. Originally it was going to be a short film about Terry and Hicks' relationship, funded by the Australian Broadcasting Company. (Hicks is from Australia.) When that financing fell through, Hicks improvised. Determined to tell the world about Terry, he and a childhood buddy, Adam Hart, decided to do it themselves — despite having no filmmaking experience. They bought a camera and plane tickets to the U.S. and began following Terry.

For many years their schedule was to shoot until they ran out of funds, usually about three months, work for a few months to save more money, then go back to shooting. To demonstrate how Terry mentors his students, they followed one young man in particular. Justin Kauflin is a blind jazz pianist with stage fright who would spend days and nights practicing at Terry's bedside. Over the course of the film, as we learn about Terry's past, we see the aging trumpeter in the present (he's now 93) — struggling with advanced diabetes, but always composing riffs from his bed late into the night.  

In one moving scene, Kauflin is riddled with anxiety as he prepares to compete in the Thelonious Monk International Jazz competition. Terry sends him an audio letter and some lucky socks for inspiration.

Years into the project, when Quincy Jones came to visit Terry, he met Kauflin and the filmmakers. Eventually Jones signed on as an executive producer of "Keep On Keepin' On" — as is only fitting given that, at age 13, he'd been Terry's first student.

Jones, Hicks and Kauflin spoke with The Frame about Terry and his unparalleled talent as a musician and as a mentor.

Kevin Smith with a room full of his own strain of pot, created for his new film, "Tusk." ; Credit: James Kim/KPCC

When Kevin Smith records his podcast, Smodcast, he says, "I'm usually blazed." Which, if you've heard the episode where Smith comes up with the entire story for his new film, "Tusk," it should come as no surprise.

The film is about a man who takes another man hostage and turns him into a walrus. While the movie itself doesn't mention or include any weed, Smith thought medical marijuana would be a nice complement to the viewing experience. 

A24, the film distribution company, came to Smith with a marketing idea: create strains of weed for the film. Smith thought it was genius. Buds and Roses — a cannabis dispensary in Studio City — was approached by Smith and his team to make medical marijuana specifically for the film. The dispensary came up with two strains called "Mr. Tusk" and "White Walrus." 

We met up with the director at Buds and Roses to see why the green substance was a perfect pairing for the film: 

Interview Highlights:

Smith knows that some people enjoy going to the movies stoned: 

"This movie, out of all movies, seems like a real head trip of a flick. So if they have their medical marijuana card, by all means, enjoy the movie. Don't feel the need to go back if you don't remember anything. It's not a gimmick to make them go twice or anything. But in a world where people are gonna smoke medicinal marijuana, having a 'Tusk' sticker on there just makes me smile. Kind of makes sense for this movie." 

How Fleetwood Mac and weed helped his writing:

"I put on Fleetwood Mac's 'Tusk' over and over on repeat and would just sit there and blaze while I wrote. And you know, I blaze in the way that I used to smoke cigarettes. So, I'll light it and put it in an ashtray, let it burn and stuff. So it fills the room like incense if you will. But, yeah, for a movie like 'Tusk,' I guess you gotta be pretty stoned to make the guy-who-makes-a-guy-into-a-walrus movie. And I'm kinda glad I did. It's weird. People are calling it the best movie I've ever made and I was like, 'Well, this is the only one I made stoned.' So I'm like, 'Guess what I'm doing, kids!'"

Smith used to be against drugs: 

"I smoked weed in my life, but I would never consider myself a stoner. In fact, I still had the '80s [attitude] lingering, 'Just say no,' and,  you know, 'Oh my lord! It's a drug!' It wasn't until I became older — age 38 — when I started smoking weed on a regular basis. I was like, 'This is not a drug. This is ridiculous! It grows in the Earth.' So once I got past the bias that was pounded into us in the '80s, suddenly I was like, 'Heavens. I like who I am here.' It doesn't make you a better person, kids. It doesn't make you more creative. What it does is it kind of knocks fear on its ass. You face your fears a little better." 

Disclaimer: Smith wants you to know that he does not endorse marijuana for anyone under 21:

"Kids, teenagers... I'm talking to you. The teenage brain is stunted by marijuana smoking so you guys have to wait 'til you're older. I didn't start smoking 'til I was 38 years old. I'm not saying wait 'til then. That was a stupid mistake on my behalf. But wait until you're legit. Wait until you're 21 before you start smoking." 

Source: Streetwise Reports 10/28/2024

Atlas Lithium Corp. (ATLX:NASDAQ) announced that it has received the operational permit for its Neves Project. This marks a significant milestone for the company's ambitions in lithium production. The permit, approved by the Minas Gerais government in Brazil, allows Atlas Lithium to assemble and operate its processing plant, develop open-pit mining operations, and produce lithium concentrate. The unanimously voted October 25 decision officially progressed with the publication in Minas Gerais' government gazette the following day.

The Neves Project permit, a comprehensive triphasic license (LI/LP/LO), enables a more streamlined development, encompassing initial, installation, and operating permissions.

"Permitting is widely considered the most critical risk in any mining project," said Atlas Lithium CEO Marc Fogassa in the news release. The company's success in obtaining this permit underscores its commitment to sustainable, responsible operations in Brazil's "Lithium Valley."

The Allure of The Lithium Market

According to Visual Capitalist on September 29, battery metal prices have recently "struggled as a surge in new production overwhelmed demand." However, with battery demand projected to increase ninefold by 2040, companies positioned to produce high-quality lithium concentrate, such as Atlas Lithium, are likely to see enhanced market relevance as the demand trajectory for lithium-ion batteries strengthens significantly over the coming decades.

Jake Sekelsky from Alliance Global Partners reaffirmed his "Buy" rating for Atlas Lithium, setting a price target of US$45.00.

As Forbes wrote on October 8, 2024, recent industry dynamics have shown that "a 50% rise in the price of a downtrodden lithium producer has boosted investor hopes that a revival in the battery metal is possible after two grim years of oversupply and low prices."

This improvement in lithium prices reflects a broader trend that may positively impact companies like Atlas Lithium, whose operational progress aligns with the gradual sector recovery. The recent permitting for Atlas Lithium's Neves Project positions it to capitalize on these trends as it advances its lithium production capabilities.

On that same day, Barry Dawes of Martin Place Securities commented that "the lithium market is showing strong signs of upturn," anticipating "lithium shortages post-2027." This outlook emphasizes the sector's potential for heightened demand and supply constraints, which is particularly beneficial for projects advancing toward production. Atlas Lithium's strategy, which includes a modular processing plant and environmentally responsible operations, underscores the company's readiness to meet this anticipated demand.

What's Driving Atlas Forward?

Atlas Lithium's Neves Project's recent permit positions the company to advance toward its production goals with key environmental and operational clearances in place. According to the company's September 2024 investor presentation, this approval aligns with an expedited project timeline and enhances the company's potential to become a low-cost lithium concentrate producer. With Brazil's favorable mining conditions and Atlas Lithium's established partnerships with Tier 1 global companies, the Neves Project is poised for cost-effective operations and market alignment.

Atlas's modular processing plant, currently in the final pre-shipment stage, also demonstrates a strategic focus on efficiency and ESG standards. This advanced plant is set for rapid assembly and installation. It reflects Atlas Lithium's intention to minimize environmental impact and expedite production ramp-up, contributing to a streamlined path toward production in Brazil's burgeoning lithium sector.

Analysts On Atlas

Jake Sekelsky from Alliance Global Partners reaffirmed his "Buy" rating for Atlas Lithium, setting a price target of US$45.00. He described the recent operational permit issuance for the Neves Project as a "significant de-risking event," emphasizing that this milestone positions the project to move forward with construction and operations. Sekelsky highlighted that the approval "marks the final step in the permitting process" and grants Atlas Lithium the authorization to proceed with assembling its processing facility and initiating open-pit mining operations. This development aligns with a clear production path, with Sekelsky noting that the project is now at "shovel-ready status," a critical advancement toward fulfilling Atlas Lithium's strategic objectives. [OWNERSHIP_CHART-11040]

Sekelsky also pointed to the current market environment for lithium, expressing optimism regarding "signs of an upcoming recovery" in lithium prices. He interpreted recent merger and acquisition activities within the sector, including other acquisitions in Brazil's Lithium Valley, as indicators that larger players anticipate a rebound. Sekelsky remarked that this resurgence could benefit advanced hard-rock lithium projects, such as Neves, which "continue to command attention from potential suitors."

Ownership and Share Structure

About 34% of Atlas Lithium is owned by management and insiders. About 11% of the shareholders are institutional. Strategic partners hold another 12%. The rest, about 43%, is retail.

Top shareholders include Waratah Capital Advisors Ltd. with 4.34%, Mitsui & Co. Ltd. with 12.27%, and Candace Shira Associates LLC with 1.39%, according to Reuters.

Its market cap is about US$165 million. It trades in a 52-week range of US$34 and US$6.25.

Sign up for our FREE newsletter at: www.streetwisereports.com/get-news

Important Disclosures:

1) James Guttman wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an employee.

2) This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

For additional disclosures, please click here.

( Companies Mentioned: ATLX:NASDAQ, )

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.

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.