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Nettie Woods of Triangle Park  You might not have heard of Nettie Woods, but she’s no stranger to the music industry. Woods, who’s a part of theproduction team Triangle Park, has at least 20 years of experience as a producer, singer, songwriter and vocal arranger. According to the team’s website, she started in the music industry at the age of 15 while learning the biz from Durrell Bottoms and…

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[chemwhat]

RUTHENIUM CARBONYL CAS#: 15243-33-1

IdentificationPhysical DataSpectraRoute of Synthesis (ROS)Safety and HazardsOther Data Identification Product NameRUTHENIUM CARBONYLMolecular StructureCAS Registry Number 15243-33-1MDL NumberMFCD00011209Molecular FormulaC5H6N2Molecular Weight94.116 Physical Data SolubilityIt is soluble in water as well as soluble in alcohol, benzene. Melting Point, °C 144 - 145154 - 155154 - 156 Density, g·cm-3Measurement Temperature, °C2.56-173.162.552-173.162.552-153.162.486 Spectra Description (NMR Spectroscopy)Nucleus (NMR Spectroscopy)Solvents (NMR Spectroscopy)Temperature (NMR Spectroscopy), °C Frequency (NMR Spectroscopy), MHzSpectrum13CChemical shifts, Spectrum13Cbenzene-d6100.6Spectrum, Linewidth of NMR absorptionotherneat (no solvent, solid phase)othertetrahydrofuran39.84Spectrum13Cnot given Description (IR Spectroscopy)Solvent (IR Spectroscopy)Intensity of IR bands, Bands, Spectrumpotassium bromideBandsn-heptaneBandshexane Description (UV/VIS Spectroscopy)Solvent (UV/VIS Spectroscopy)Reflection spectrum, SpectrumSpectrumBand assignment, Spectrumethyl acetateSpectrumdichloromethane Route of Synthesis (ROS) Route of Synthesis (ROS) of Ruthenium carbonyl CAS 15243-33-1 ConditionsYieldWith triethylamine In propan-1-ol; water at 85℃; under 2625.26 Torr; Concentration; Reagent/catalyst; Solvent; Temperature; Pressure; Autoclave;Experimental ProcedureGeneral procedure: 10031] In this embodiment, a synthesis test to confirm the presence or absence of the effect by the addition of an amine to the reaction system for DCR synthesis was performed. The production process of DCR is as follows. Ruthenium chloride (manufactured by Tanaka Kikinzoku Kogyo K. K., ruthenium chloride content: 38.67 wt %, chlorine content: 47.4 wt %) and 1 -propanol were mixed and stirred to prepare a ruthenium chloride solution, and this was introduced into an autoclave (made of steel) having a capacity of 100 ml of the reaction vessel. Thereafier, an amine was added into the reaction vessel and further carbon monoxide was air tightly introduced into the reaction vessel until to have a predetermined reaction pressure. Thereafter, the temperature was raised to the reaction temperature while maintaining the predetermined reaction pressure with carbon monoxide, and the synthesis reaction of DCR was allowed to proceed. The solution was stirred during the reaction. The reaction conditions in the present embodiment were as follows. In the present embodiment, DCR was synthesized using a plurality of amines which has different numbers of carbon atoms. In addition, the possibility of the synthesis of DCR in the case of not adding an aminewas also investigated; The relation between the water content of 1-pro-panol before being used for the preparation of the rutheniumchloride solution and the yield of DCR was investigated. Theproduction process of DCR other than this was the same as inthe first embodiment. The reaction conditions were as follows. The measurement results of the yield of DCR in this testare shown in Table 5.10090] Ruthenium chloride: 1.58 g (Ru: 0.61 g)10091] 1 -propanol: 60 mE (water content: dry, 0.5 wt %, 1.0wt%, 3.Owt%, 5.Owt%, lOwt%and3owt%)10092] Triethylamine: 1.3 equivalents (molar equivalentwith respect to chlorine)10093] Reaction pressure: 0.35 MPaj0094]j0095]j0096]Reaction temperature: 85° C.Reaction time: 10 to 60 hoursStirring speed: 300 rpm. As can be seen from Table 5, there is a possibility that the yield of DCR is affected by the water content in the solvent. Moreover, it is not possible to obtain a practical yield of DCR in the case of using a solvent which contains water at 10% or more. From this fact, it is preferable to set the water content in the solvent to 5% by mass or less. However, it is not intended to require a dry state (water content of approximately 0%), and it is possible to obtain a high yield using a solvent having a water content of 1% or less.92.5%In methanol at 125℃; under 48754.9 Torr; for 8h; Autoclave; Safety and Hazards No data available Other Data No data available DruglikenessLipinski rules componentMolecular Weight639.335logPHBA12HBD0Matching Lipinski Rules1Veber rules componentPolar Surface Area (PSA)0Rotatable Bond (RotB)0Matching Veber Rules2 Use PatternRUTHENIUM CARBONYL is often used as a catalyst in organic synthesis. It facilitates the reaction between carbon monoxide and organic compounds, leading to the production of carbonyl compounds. These reactions are significant in the synthesis of pharmaceuticals and other organic compounds. And RUTHENIUM CARBONYL can also be employed as a catalyst in hydrogen transfer reactions, participating in reactions that enable the effective transfer of hydrogen in organic synthesis. Read the full article

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SEE ::: in between SYSTEMATIC HUNTERS and POINTED SUBSTANCES hides NEW GARDEN

commentator–sun

In between an accustomed wrecker, a one that bumps into a circular missionary, and a specifically not traditional ancient dance of a designed thief against a solid seer hides the absurdity of new garden. With a curious blend of naivety and cunning, the learned promoters of such movements always express the conviction that their claims are of an irrefutably scientific nature, while at the same time ignoring the questions raised by all such claims to scientific status, and especially the question of the justification for assigned priority to what is known orseen over what is lived.[1] So, will you accept the fact that the question of the justification is indeed a matter of vertical perspective and, thus, urges us to further float with this spectacle? Will you run in between systematic hunters and pointed substances? [1] Lefebvre, TheProduction of Space

[allthemusic]

Week ending: 22 January 1953

Two more songs, this time - we seem to be entering into a run of short weeks. As January ends, we are getting a bit more normal, at least. And so I start out with:

Make It Soon - Tony Brent (peaked at No 9)

I quite liked Tony Brent's last outing, Walkin' to Missouri, so let's see how I feel about this one. It starts promising enough, a strummy guitar with a mix of different percussion instruments. The percussion is possibly the star of the show, actually - it's vaguely Caribbean? Or perhaps I'm talking nonsense, but there just seems to be something of a calypso to this track.

Tony Brent's accent here also seemed a little strange to me - I'd assumed from Walkin' to Missouri that he was American, but here he clearly isn't American, and a bit of research tells me he was actually, despite the very standard British name, of mixed Anglo-Indian descent, born and raised in Mumbai. He only came to the UK aged 20, and owned a bunch of Indian restaurants in Australia towards the end of his life.

The song itself is fine? The concept is basically what you would expect - he is asking his lover to come close to him, and make it soon. It's a slinky sort of number, with the Spanish guitar and the sax solo, along with fun chromatic runs down on lines like "slipping away" that add a bit of melodrama.

And then, before the final, slightly manic guitar strum, a pause, and a delightful little spoken "Oh, make it soon." I feel like ladies back in the day would find that swoon-worthy? I don't know, I think it just about works, and isn't creepy.

Don't Let the Stars Get in Your Eyes - Perry Como and the Ramblers (1)

Well, this song starts at a frantic pace and doesn't let up at any point at all.

It also has the best, or at least the most striking, opening lyric yet, as the backing singers jump in with a absolutely nutty call of "Pa-pa-papaya". I think it's meant to be mimicking the trumpet that comes in later, but it just sounds like the fruit whenever it comes up.

When the papayas are done, we settle into what sounds a bit like either a strumming guitar or possibly a banjo? The whole vibe is quite Western, despite having no obvious Western connection, and I'm not super surprised to learn that it started as a country song by one Slim Willet.

The lyrics sound like some old proverb, and I am here for them: "Love blooms at night / In daylight it dies". Best I can tell, the point here is not to fall in love too hastily, lest it die away in the cold light of day. Not letting the stars get in your eyes is about not getting dazzled by the promises of love, right at the start - a strangely cautious message.

But then we learn why Perry is urging his listener to no give their heart away hastily - it's not out of some sort of altruism or wisdom on his part. It's because he's away from his lover, for some reason, and doesn't want her taking up with anyone else while he's away, "For someday I'll return / And you know you're the only one I'll ever love".

Honestly, as we get into the "Too many miles" and "Too many nights" section, I wouldn't blame this lady for dropping Perry. "Someday" is a very vague promise - not promising, at all. The "If I'm gone too long / Don't forget where you belong / When the stars come out remember you are mine" line is also potentially quite creepy, though I guess I don't know how committed Perry and this girl were.

Either way, it fits this song into the tried and tested mould of "Please remain faithful while we are separated" songs, which so far has been quite theproductive niche here in the early 1950s.

Both songs today were quite serviceable, if not songs that I would choose to listen to very much. There's a lot of men urging women very earnestly to love them and stay true - and make it soon - which ends up feeling needy at best, and creepy at worst, and seems to also be a hallmark of this era of music. The winner of the two is clear, though, purely on the merits of the speed of it, the mysterious lyrics and the "pa-pa-papaya" opening.

Favourite song of the bunch: Don't Let the Stars Get in Your Eyes.

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