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Difference between revisions of "BCM2835 datasheet errata"
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harware instead of hardware (second paragraph)
harware instead of hardware (second paragraph)
== p90 ==
== p90 ==
Revision as of 10:09, 7 July 2012
Back to RPi_Hardware#Components
- 1 BCM 2835 datasheet errata
- 1.1 the BCM2835 on the RPI
- 1.2 PDF Generation
- 1.3 p7 footnote typo
- 1.4 p8
- 1.5 p12
- 1.6 p13
- 1.7 p14
- 1.8 p25 table
- 1.9 p26
- 1.10 p34 off-by-one?
- 1.11 p38 typo
- 1.12 p92 to 95 & 102 to 103
- 1.13 p90
- 1.14 p95
- 1.15 p96
- 1.16 p103 typo
- 1.17 p104 table
- 1.18 p111 spelling
- 1.19 p119 I2S clock
- 1.20 p126
- 1.21 p142/143 register table
- 1.22 p153
- 1.23 p155
- 1.24 p156
- 1.25 p158
- 1.26 p160
- 1.27 p175
- 1.28 p177
- 1.29 p196
- 1.30 p197
- 1.31 p198
- 1.32 p202
BCM 2835 datasheet errata
The (partial) datasheet was published here: at raspberrypi.org and a mirror
It has a couple of typos. Some more serious than others.
Let's gather those datasheet typos and errors here.
The quality of the datasheet is high. It looks like it contains the information that programmers need.
It also "does the right thing" with reserved bits. Many datasheets specify "write: don't care, read as zeroes". Broadcom specifies the reserved bits the other way around: "Write zeroes, read: don't care".
This is the correct way to do it. If you expand the hardware the hardware may be enhanced and do "different things" if you write ones to the previously "reserved" bits. If you follow the datasheet, and write zeroes as specified to the reserved bits, the hardware guys can make sure you're not going to run into surprises. And by specifying "read: don't care" you can allow future hardware to provide status bits there.
the BCM2835 on the RPI
Not really an erratum, but not worth it to make a whole page for this. The Raspberry Pi runs the BCM2835 with a core clock of 250MHz. This is relevant for the peripheral modules like I2C and SPI for calculating the desired clock rate. The I2C section on page 34 mentions 150MHz as a "nominal core clock".
PDF Generation
Switch on option for linking, so cross-references and table of contents can be jumped through.
p7 footnote typo
precuations should be precautions.
The register names are AUX_SPI0_.... and AUX_SPI1_.... . The "description" is then SPI 1 ... and SPI 2 ....
These modules are in fact SPI1 and SPI2, and NOT SPI0 and SPI1. This is confusing as indeed there is a different module called SPI0 (documented on page 148 and onwards).
The title should be AUX_MU_IER_REG. The name in the Synopsis is correct
These are R/W bits not read only
The title should be AUX_MU_IIR_REG. The name in the Synopsis is correct
LCR register, bit 1 must be set for 8 bit mode, like a 16550 write a 3 to get 8-bit mode
p25 table
"AUX is IDLE:" should read "SPI is idle". (and for consistency below the line "Interrupts", SPI is Idle should be spelled "SPI is idle".
The table on page 25 has the bit numbers wrong. Some bits are mentioned twice, some not at all.
I'm guessing it should be something like:
|Field Name
|TX FIFO level
|The number of data units in the transmit data FIFO
|RX FIFO level
|The number of data units in the receive data FIFO.
|Reserved, write zero, read as don't care
|TX Full
|If 1 the transmit FIFO is full
If 0 the transmit FIFO can accept at least 1 data unit.
|TX Empty
|If 1 the transmit FIFO is empty R/W 0
If 0 the transmit FIFO holds at least 1 data unit.
|RX Empty
|If 1 the receiver FIFO is empty R/W 0
If 0 the receiver FIFO holds at least 1 data unit.
|Indicates the module is busy transferring data.
|Bit count
|The number of bits still to be processed. Starts with 'shift-length' and counts down.
The register reads as 0x280 after reset. Two bits high would be consistent with TX empty and RX empty. However, bits 7 and 9 does not match the original datasheet, nor my guess.....
The Peek register is documented here as being at 0x7e21508c, whereas the table on page 8 shows 0x7e215094.
The IO register is documented as 0x7e2150a0 (with automatic deassert) and 0x7e2150b0, whereas the table on page 8 shows 0x7e215090.
p34 off-by-one?
I strongly suspect that the CDIV counter is only 14 bits wide. The bottom bit doesn't work as per specifications, and because the "0" results in 32768, the top bit doesn't either. An easy implementation would implement the 0 value as the maximum divisor. Not as "half the maximum".
Another option is that SCL = cor clock * 2 / CDIV and that the counter is 15 bits after all. (only the lowest bit missing).
p38 typo
harware instead of hardware (second paragraph)
p92 to 95 & 102 to 103
The GPIO Alternate function select Registers. This shows a bit pattern of 111 as alternative function 3. If you look at the values after boot up the Pi's SPI interface pins connected to the SD card have this value in them. This does not match the diagram on page 102 - 103 which shows this function is selected with alternative function 4. So either the bit pattern / function information is wrong or Table 6-31 is wrong.
address 0x7e20 0000 is listed twice as gpfsel0.
There is a spurious ) in "..clear registers) are used..."
The level registers have "0 = GPIO pin n is HIGH" which should be "1 = GPIO pin n is HIGH"
p103 typo
In the "BSCSL SDA / MOSI" row of the "Special function legend" table, it says "salve" instead of "slave"
Where it says "BSC ISP slave" it should actually say "BSC/SPI slave"
p104 table
The table, legend for table 6-31, started on page 103 shows in red: TXD0, RXD0, CTS0, RTS0 which should be TXD1, RXD1, CTS1, RTS1.
The table, legend for table 6-31, has no mention of any of the SD1_x functions included in the previous table
p111 spelling
top line: device should be devise.
p119 I2S clock
Allusions to the APB clock domain are made. However the exact speed of the APB clock is never explained.
http://infocenter.arm.com/help/index.jsp?topic=/com.arm.doc.ddi0301h/Cbaifdib.html explains "APB" as the Advanced Peripheral Bus, but that doesn't help much either.
There is amiguity on what register bits can be modified while the I2S system is active. p126 states that only the bottom three bits of CS_A can be modified. However p122 suggests to use the SYNC bit in CS_A for waiting. Does this mean, that the SYNC bit can also be changed at runtime as well?
p142/143 register table
The CTL register controls both PWM channels 1 and 2, but in the description column, only channel 1 is mentioned. Bits 8 to 15, PWEN2 to MSEN2 should be described as controlling PWM channel 2, not 1. (I think- not confirmed)
Typo: wrirng -> writing.
Near the bottom of the page RXR. This bit would be useful if it signified more than half full. There is a space in "( full)" that would hint at that the word "half" was taken away. Another hint is that it says that the bit clears when "sufficient" data is read from the FIFO. The word sufficient is redundant when this is the "full and active" bit.
The way it is written now, this bit is just the same as bit RXF, except that the TA bit is anded into this one.
Two options. The hardware was changed (detecting "half full" was difficult?) and the documentation was changed accordingly. Or the hardware does what I expect: set this bit when more than half full.
There is a CSPOL bit described here, wereas there are also CSPOL[0,1,2] described on page 153. How do these combine???
The CDIV value is documented as "must be a power of 2". This is not true. I can perfectly set the register to 833 (not a power of 2) and get 250MHz/833 = 300kHz.
Maybe "must be a multiple of 2" was meant???
SPI_FIFO is misspelled as SPIFIFO in the last line of 10.6.2.
The registers base addresses -> the registers' base address or The base address of the registers is 0x7e21_4000.
top line. Two typos:
On mini UART and and PL011 UART
should be
One mini UART and one PL011 UART
13.4 register view
The base address is listed as 0x7e20100 . This should be 0x7e201000.
SP804 not AP804
bit 1, 32 bit counter not 23 bit counter
neither are register 0x40C raw is 0x410, masked is 0x414
The last entry of section 15.1.
The entries in the table should specify the choice that Broadcom made when instantiating the USB controller IP from Synopsys.
Possibly the "choice" hasn't been specified. Or maybe the "0=32, 1..5=512, 6,7=768" is the option that was chosen?


text:
Welcome to the Index of Medieval Art online database. Our online holdings complement and partly overlap with the print Index at Princeton University, which is currently being integrated into the database. The collections include images and descriptive data related to the iconography of works of art produced between late Antiquity and the sixteenth century. Although the Index of Medieval Art was formerly known as the Index of Christian Art, it now includes secular subjects as well as a growing number of subjects from medieval Jewish and Islamic culture. Full access to this database is available to users by subscription and to those on the Princeton campus; for further information about this, go to subscriber information.
You can search the Index in multiple ways, beginning at this landing page.
If you need guidance with a search, please contact us by using the research inquiries form. We welcome your comments and suggestions on our feedback form.
HTTP Session ID: debff07e6fccbb013487883ae400
Logged-in: false

subset: commoncrawl


text:
Andrew Rannells: Gay And Serious In 'New Normal'
The actor stars in the comedy TV series The New Normal, about a gay couple who want a child so badly that they hire a surrogate. Rannells tells Fresh Air that he didn't want to "dumb down" the series role with "stereotypical over-the-top gay flash and sass."
Related Topics
Other segments from the episode on September 10, 2012
September 10, 2012
Guest: Andrew Rannells
TERRY GROSS, HOST: This is FRESH AIR. I'm Terry Gross. Tonight, NBC will preview the first episode of its new comedy series "The New Normal." My guest is one of the stars, Andrew Rannells, who was also the star of the original Broadway production of "The Book of Mormon."
ANDREW RANNELLS: (as Elder Price) Hello, my name is Elder Price, and I would like to share with you the most amazing book...
GROSS: Rannells left "The Book of Mormon" when he got the part in "The New Normal." At about the same time, he was cast in the HBO series "Girls" as Lena Dunham's college boyfriend who learns he's gay. In "The New Normal," Rannells stars with Justin Bartha as a gay couple. They decide they're ready to have a child, so they hire a surrogate.
Rannells' character, Brian Collins, is a TV producer loosely based on Ryan Murphy, the co-creator of "The New Normal." Murphy also co-created "Glee" and created "Nip/Tuck." Here's a scene from the first episode of "The New Normal." Rannells and Bartha are sitting on a bench in the park watching parents with their children. Bartha speaks first.
JUSTIN BARTHA: (as David Murray) You really think it's such a good idea to bring a kid into the world with such a non-traditional family?
RANNELLS: (as Brian Collins) I know somebody else from a non-traditional family, a Halfrican-American who was raised by a grandma. And that person seems to be doing just fine.
BARTHA: (as David) Oh yeah, Barack Obama.
RANNELLS: (as Brian) No, Mariah Carey, but your example works too.
GROSS: Andrew Rannells, welcome to FRESH AIR, and congratulations on the new series. So if your character is based on the creator of the show, Ryan Murphy, who also created "Glee," do you, like, study him? Does he want you to play him?
RANNELLS: Well, luckily no, because if I had to do an impersonation of Ryan, I think I would be terrified on a daily basis. But lucky for me, when I first met with Ryan, you know, before "The New Normal" sort of came about, we realized very quickly that I think we had a lot in common, and I realized that, like, our senses of humor was very similar.
He's from Indiana; I'm from Nebraska. We were both raised Catholic. We both moved to, you know, big cities sort of as soon as we could. And we just had a lot in common, and I think that there was a dryness to both of our senses of humor that we just had in common.
So the writing, it feels like it's - you know, as much as it's being written sort of, you know, as Ryan Murphy, it feels really well-written for me. So it feels pretty natural to say some of the things that I say and do a lot of the things that I do.
GROSS: So your partner on the show is played by Justin Bartha. And you are more theatrical than he is and more into, like, clothing and shopping and, you know, joking and everything. So how did you figure out how to play your role so that it wouldn't kind of cross the line into stereotype?
RANNELLS: Yeah, yeah, it's tricky because you don't - I certainly didn't want to be gay clown on this, you know, because the subject matter is actually a really sweet one and I think a really lovely one about these people who are so in love and so committed to each other that they realize that what's missing in their life is to share that love with a child.
So it's a rather serious and loving subject matter. So I didn't want to, you know, dumb it down with sort of stereotypical, over-the-top gay flash and sass. So luckily, the writing, coming from Ryan Murphy and from Allie Adler and all of our wonderful writers really allows me to sort of like play a little bit of that, but I think the more sort of straightforward you play all those jokes, particularly the flamboyant ones, the more it just sort of becomes a character trait and not a joke, if that makes any sense.
Like it doesn't become - it just becomes, you know, something sort of ingrained in this guy and not a put-on idea to get a laugh. And I've been really luckily, particularly in moving forward with these scripts, that there's just more and more of that, and I feel like the characters just sort of get richer and more sort of human as we go along.
GROSS: So I don't know much about Justin Bartha, but I read someplace that he's straight. Does that matter?
RANNELLS: He is straight. You know, at first I wasn't sure. I wasn't sure if it was going to matter. I'm gay, so I felt like, you know, there's a - you know, I enjoyed the fact that I, you know, being a homosexual got to play a homosexual, and so often you see, you know, straight actors playing gay actors, and people talk about how brave they are to play, you know, homosexuals. And it's, like, ah, Jesus, really? That it's such, like, you know, they're doing something so, you know, revelatory.
But not with Justin. I don't know. Justin just, just did it. There was not much of a conversation about it. There remains not to be much of a conversation about it. He just sort of does it, which is really great. And it's not - he's not looking for, like, a pat on the back or isn't this great that I'm, you know, taking a risk as an actor and playing, you know, a homosexual. He just is doing it because it's a great part. So that's been fantastic.
GROSS: Are you hoping that this show will help convince mainstream audiences who aren't already convinced that gay people can make, do make great parents?
RANNELLS: I - yeah, I hope so. I mean, I hope that - and certainly, you know, I think that, you know, "Modern Family" has done a really fantastic job. Jesse Tyler Ferguson and Eric Stonestreet's characters have really done a great job, I think, of opening a lot of eyes to how "normal," quote-unquote, like, you know, gay couples are and, like, well, they're just like us.
And if this is the next part of that, to show sort of, you know, the beginnings of that relationship and also the beginning of the family and what exactly, you know, gay couples have to go through to start a family because it's not an easy process. It's an expensive process, and it's a lengthy process, and it doesn't always work.
So if that - I think it's exciting to get to sort of show that for, you know, one of the first times on television, I think is exciting. My sister Becky in Omaha recently said that - she coined the phrase swing straights, that she thought that, like, after watching this pilot, she was like: I think this will, you know, potentially sway some folks who don't think they have anything in common with gay people, or they don't know any gay people, or - this could potentially change some minds. So Becky Britt(ph) in Omaha, Nebraska, you know, swing straights, which I think is a great - I think that's a great term.
GROSS: Very good, very good. Network standards, are network standards any different for gay characters than they are for straight characters when it comes to embraces and the bedroom?
RANNELLS: Well, you know, it's funny that you say that because I, I didn't think so. And we have - we have not, to my knowledge, come up against any - there haven't been any questions. You know, Justin and I, there's a scene in our pilot that - where Justin and I are, you know, we are in bed, and we kiss, and it's actually a really loving moment about when we decide who is going to be the biological father of this child that we're creating.
And nobody even said anything about it, you know, as far as I know, at the network or standards and practices or anything. But then yesterday, I was recording the show on my DVR, just sort of, you know, scrolling through because it airs, you know, on the next week. And so I was recording it. And I noticed that in the description, it said intense sexual situations, which I thought was very odd.
I mean, it said, like, you know, strong, adult humor or something, which, you know, there - it does skew, you know, I suppose in that direction. But intense sexual situations, I thought that was odd, and I wanted to ask Ryan and Allie about that, about if they had - and I'm not sure if that's for everything, if that's, you know, if that's included on, you know, "Desperate Housewives."
Is that on, you know, the description of "Gray's Anatomy," or is that - was that because it's two gay men kissing? I don't know. I mean, we're not on a cable network. We're on NBC. So there's not - and we're not setting out to do an intense sexual show. That's just not the story we're telling.
But it'll be interesting to see sort of what the reception is of just, you know, simple physical contact or, you know, little intimacies.
GROSS: So Ellen Barkin plays the grandmother of the woman who becomes your surrogate. And Ellen Barkin, at least in the first episode of "The New Normal," is - she's, like, racist and homophobic. She's got a bad word for everybody.
RANNELLS: Yeah, yeah, she's an equal-opportunity offender.
GROSS: Yeah, and there's on - I mean, I thought it was, like, a funny joke. She sees what she thinks are two men walking down the street with a baby, and she thinks, like, that's disgusting, like, two men with a baby, like, they shouldn't be parents like that. And then her daughter says to her: Mom, they're lesbians.
RANNELLS: Yes.
GROSS: And so I wonder if there's, like a homophobic joke that strikes you as the funniest of the homophobic jokes in the pilot.
RANNELLS: In the pilot...
GROSS: Or further in.
RANNELLS: Well, she at one point calls us, calls Justin and I, salami smokers, which is, you know, so ridiculous but kind of hilarious. And what's better, I think, is that Ryan let me react rather honestly to that, which I said - I was, like, oh, that's a good one.
RANNELLS: Which - it was a last-minute change in the script, and that's what came out of my mouth when she said it. So he let me say that in the pilot: Oh, that's new. That's a good one. Because I think that particularly, like, as a - you know, as a gay man, I've heard, like, all - I feel like I've heard them all at this point. So you have to have a certain sense of humor about it, I suppose.
But our writers do come up with really creative ways to offend lots of people. So as the scripts keep coming in, it's - I think we're all still regularly surprised, even Ellen, that, you know, that she gets to say some of the things that she's going to say.
GROSS: If you're just joining us, my guest is Andrew Rannells, and he stars in the new NBC series "The New Normal," about a gay couple who hires a surrogate so that they can have a child. Let's take a short break, then we'll talk some more, including talking about "The Book of Mormon."
RANNELLS: Sounds good.
GROSS: This is FRESH AIR.
GROSS: If you're just joining us, my guest is Andrew Rannells. He stars in the new NBC comedy series "The New Normal." And he starred in "The Book of Mormon." He just left the show in June in order to do "The New Normal." Andrew Rannells, that show was so good, and you were so terrific in it. I was lucky enough to see you in the show.
RANNELLS: Thank you.
GROSS: And so before we go any further, I want to play something from the cast recording with you singing. And I think we'd hear "I Believe." "I Believe" is a parody of songs that are anthems of affirmation. Tell us what you think of this song and what songs you were thinking of when you sang it, or what songs you think Trey Parker and Matt Stone were thinking of when they co-wrote it.
RANNELLS: Sure. The song that, you know, I think that, you know, Trey sort of explained what the particularly the opening of "I Believe" is sort of a tribute to "I Have Confidence" from "The Sound of Music," where Julie Andrews is leaving the convent to go, you know, be this - be the nanny to the Von Trapps. So that was sort of always in my head.
But as I sort of worked on it more, it's - it is - there's sort of Disneyesque quality to it. It's usually like the Disney heroine has a moment of singing a song that she's sort of affirming her own belief for her own - belief in herself normally is what the song is. So I absolutely loved singing it every night. It was my favorite part of doing the show, was getting out there and belting that song out.
GROSS: And talk a little bit about the lyric.
RANNELLS: The lyric is all Trey and Bob, Trey Parker and Matt Stone and Bobby Lopez like to remind everyone that the chorus of the song lists facts from the Book of Mormon, sort of the fundamental beliefs of the Mormon Church are listed, but in sort of a one-two-three, you know, punch joke format. But they are all true. There's no joke in "I Believe," Trey liked to tell people.
GROSS: OK, so this is my guest, Andrew Rannells, from the original cast recording of "The Book of Mormon"
RANNELLS: (as Elder Price) (Singing) You cannot just believe part way. You have to believe in it all. My problem was doubting the Lord's will instead of standing tall. I can't allow myself to have any doubt. It's time to set my worries free. Time to show the world what Elder Price is about and share the power inside of me...
(as Price) (Singing) I believe that God has a plan for all of us. I believe that plan involves me getting my own planet. And I believe that the current president of the church, Thomas Monson, speaks directly to God. I am a Mormon, and, dang it, a Mormon just believes.
(as Price) (Singing) I know that I must go and do the things my God commands. I realize now why He sent me here. If you ask the Lord in faith, he will always answer you. Just believe in Him and have no fear.
(as Price) General, we have an intruder. He just walked right into camp.
(as Price) (Singing) I believe that Satan has a hold of you. I believe that the Lord God, has sent me here. And I believe that in 1978, God changed his mind about black people. You can be a Mormon, a Mormon who just believes.
GROSS: That's Andrew Rannells from the cast recording of "The Book of Mormon." So what reaction would you get to that song every night?
RANNELLS: I mean, it was always - I mean, as a performer it was always a really thrilling thing to do because it was - I think the audience sort of - yeah, they enjoyed it. They - I think, you know, it was a great moment I think in the story and also sort of an unexpected moment for my character to sort of, you know, rebound with that much belief in his faith.
So yeah, the response was always very exciting, and then - so I think it was - you know, I got to perform that song at the Tony Awards, which was, you know, a huge, huge thrill for me. And it's such an honor to get to represent our show like that. And after that, it became sort of like the song from the Tonys.
So, you know, for a few months after that, I would start to sing it, and I would hear, you know, people in the audience, like, this is the one from - this is what he sang on the Tonys.
RANNELLS: So it was exciting. It took on sort of a different meaning for people. My mother has really been getting a kick out of - with Mitt Romney running for president on a lot of news programs, they show clips of me singing particularly that verse about in 1978 God changed his mind about black people. People like to play that on, like, news magazine shows. So she really likes to see that.
Oh, they talked about Mitt Romney, and they showed that clip of you singing. It's nice to be so closely linked.
GROSS: Along similar lines, Newsweek had a cover where it was you on the poster for "The Book of Mormon."
RANNELLS: Yeah, it was my body and Mitt's head.
GROSS: And Mitt Romney's head, yeah, which was odd. Did they ask you for permission? Did they tell you in advance even that that was going to happen?
RANNELLS: They must have asked someone. They didn't ask me. They didn't need to ask me. But they must have...
GROSS: So how'd you find out?
RANNELLS: It appeared in my dressing room. One of our publicity department for "The Book of Mormon" gave me a copy of it, and they said you're on the - you are sort of on the cover of Newsweek.
RANNELLS: No one knows it's you except for you, but yeah, there you are on the cover of Newsweek.
GROSS: So were you a fan of Trey Parker and Matt Stone's "South Park?"
RANNELLS: Huge, huge fan of that. I believe it started like my senior year of high school or something, or maybe my junior year of high school. And I just, you know, I went to an all-boys Catholic high school, so needless to say it was like, you know, nuts. Like everybody knew what that was; everybody was watching that.
And the movies were so funny, and "Team America" was so great, and they were such the crazy personalities, you know, going to the Oscars dressed as Gwyneth Paltrow and Jennifer Lopez, like it's so bizarre. And, like, they just seemed so larger-than-life, and I never would have expected to get the chance to work with them. But it was so, so thrilling to do so.
GROSS: So you left the show in June, and I imagine that was in order to start "The New Normal." Were you ready to leave the show, and had you gotten tired of it? I always wonder no matter how wonderful a show is if you get tired of doing it every night.
RANNELLS: Yeah, I mean, there's a level of - I think we did close to - I personally did close to, like, 500 performances by the time that I left, which is - it's a lot. That's a lot eight times a week, and it really takes over your whole life, and it affects everything. It affects how you sleep and when you eat and when you go to the gym. And it takes over everything.
But at the same time, there was such a sense of ownership of the role and of the show that I felt so responsible for presenting it every night that I can't ever say that I got sick of it. And I've never really - I've never felt that doing a live show. I felt like it was somehow important and that I - you know, I needed to present this to the audience every night. So it was always, you know, truly, it was always truly a joy to do it every night.
But there does come a time where I - you don't want to overstay your welcome, and it started to become something larger, with a tour and then a company in Chicago, and they're talking about, you know, a company in London, and it started to get bigger. And I - I think that Josh and I - Josh Gad and I both sort of felt like that was kind of the natural time to maybe move on to our next project as the show sort of graduated into something larger.
And, you know, luckily we were both presented with opportunities to do so. I wouldn't have left had I not had this opportunity. I would have, you know, happily stayed doing "The Book of Mormon," but the timing just worked out as such that this - another amazing opportunity presented itself, and it all just felt like, you know, good timing to sort of leave.
GROSS: Yeah, you said you felt this sense of ownership. This was the first role that you had originated because your roles in "Hairspray" and "Jersey Boys," you know, other people had done it first.
RANNELLS: Yeah, yeah, it's a different - and that's a whole different skill, you know, to walk into a show that exists and try to make it your own as much as possible. That's hard, and it never really feels like it's yours. So to start something from scratch and to do something first that no one else has ever seen and to be so tied to a role as - it's exciting, but it's a little daunting sometimes.
You know, are people going to believe me as, you know, something else? Are people going to, you know, accept me as somebody else?
GROSS: Andrew Rannells will be back in the second half of the show. NBC will show a preview of his new series "The New Normal" tonight. The show premieres tomorrow night. Here's Rannells in another song from the cast recording of "The Book of Mormon." I'm Terry Gross, and this is FRESH AIR.
RANNELLS: (as Elder Price) (Singing) You all know the Bible is made of testaments old and new. You've been told it's just those two parts, or only one if you're a Jew. But what if I were to tell you there's a fresh third part out there, which was found by a hip new prophet, who had a little Donny Osmond flair.
(as Elder Price) (Singing) Have you heard of the All-American prophet? The blonde-haired, blue-eyed voice of God? He didn't come from the Middle East like those other holy men. No, God's favorite prophet was All-American.
(as Elder Price) (Singing) I'm gonna take you back to Biblical times, 1823. An American man names Joe, living on a farm in the holy land of Rochester, New York. You mean the Mormon prophet, Joseph Smith? That's right, that young man spoke to God. He spoke to God? And God said, Joe, people really need to know that the Bible isn't two parts. There's a part three to the Bible, Joe. And I, God, have anointed you to dig up this part three that is buried by a tree on the hill in your backyard. Wow, God says go to your backyard and start digging. That makes perfect sense. Joseph...
GROSS: This is FRESH AIR. I'm Terry Gross, back with Andrew Rannells. He stars in the new NBC comedy series "The New Normal," about a gay couple that decides they're ready to have a child, so they hire a surrogate. NBC will preview the entire first episode tonight. Rannells got rave reviews and a Tony nomination for his starring role in the original cast of "The Book of Mormon." And he was really funny in his small part in "Girls."
So you had a great part in the first season of "Girls," the HBO series created by and starring Lena Dunham. And I want to play a clip from one of the scenes that you're in.
GROSS: So this is an episode in which she's found out that she has an STD and she's been told to like get in touch with people she's slept with. So you play her former college boyfriend.
She hasn't been in touch with you for a while, so you know, she calls you up, dinner reservations, nice restaurant, she kind of dresses up, she obviously wants to look really attractive, either she's carrying the torch a little bit for you or she's hoping that you're going to be a little jealous that she has a boyfriend. But in that scene you reveal to her that you're actually gay.
RANNELLS: Yes.
GROSS: And she is totally unprepared to hear that. So here's her response.
LENA DUNHAM: (as Hanna Horvath) So I'm processing this. Does this mean that the whole time we were together, you were...
RANNELLS: (as Elijah Grant) I mean are you - you're asking did I always want to have sex with men? Yes. Are you asking, did I - did I think about it when we were together? Yes.
DUNHAM: (as Hanna Horvath) So then how were you able to have sex with me?
RANNELLS: (as Elijah Grant) Well, there's, there's a handsomeness to you. Just, all right, that's - maybe that wasn't the right...
DUNHAM: (as Hanna Horvath) Well, I'm very, very happy for you.
RANNELLS: (as Elijah Grant) Thank you.
DUNHAM: (as Hanna Horvath) I'm very...
RANNELLS: (as Elijah Grant) It means a lot to me.
DUNHAM: (as Hanna Horvath) But I do wish that you could have maybe figured this out a little bit sooner, like maybe when we were at liberal arts college, because there were a lot of gay men there.
RANNELLS: (as Elijah Grant) OK. OK. Now, I just feel like there's a lot of aggression coming off of you.
GROSS: And we're just going to fast forward a little deeper into this scene.
GROSS: So here's the rest of the scene.
DUNHAM: (as Hanna Horvath) This is not the time for you to throw stones, because, you know what, I'm the one who was lied to.
RANNELLS: (Elijah Grant) By who?
DUNHAM: (as Hanna Horvath) By you, for two years.
RANNELLS: (as Elijah Grant) Well, I think it was Maya Angelou who said we are only as blind as we want to be.
DUNHAM: (as Hanna Horvath) So you're saying that I was supposed to know that you were gay? Because let me tell you something, this fruity little voice that you've put on...
RANNELLS: (as Elijah Grant) Excuse me?
DUNHAM: (as Hanna Horvath) ...is a new thing.
RANNELLS: (as Elijah Grant) Fruity little voice? Fruity little voice?
DUNHAM: (as Hanna Horvath) Keep you're (unintelligible) down.
RANNELLS: (as Elijah Grant) It is about the scarf?
DUNHAM: (as Hanna Horvath) It's not about the scarf. The scarf is not helping the situation. But it's about your tone of voice. It's about your mannerisms, and in my head..
RANNELLS: (as Elijah Grant) I'm my authentic self. I am my authentic self.
DUNHAM: (as Hanna Horvath) If you had been this gay in college, I would've known because I have to eyeballs, two ears...
RANNELLS: (as Elijah Grant) Really? You might want to take some step back to your other boyfriends. And not for nothing, maybe take a look at your dad.
DUNHAM: (as Hanna Horvath) You didn't just...
RANNELLS: (as Elijah Grant) I did.
DUNHAM: (as Hanna Horvath) In what way does my father read gay to you?
RANNELLS: (as Elijah Grant) Well, he has a stud in his ear.
DUNHAM: (as Hanna Horvath) He got it on a trip he took with a bunch of his male friends. I heard what that sounded like...
RANNELLS: (as Elijah Grant) Are we hearing -are we hearing ourselves?
DUNHAM: (as Hanna Horvath) I heard what that sounded like.
RANNELLS: (as Elijah Grant) I don't think we are.
DUNHAM: (as Hanna Horvath) You know what I'm going to do from now on?
RANNELLS: (as Elijah Grant) What are you going to do?
DUNHAM: (as Hanna Horvath) Ask people if they're gay before I have sex with them.
RANNELLS: (as Elijah Grant) Good luck with that. Good luck with that. And don't be surprised if people ask you if you keep dressing like that.
DUNHAM: (as Hanna Horvath) I'm going to have the last word in this situation.
RANNELLS: (as Elijah Grant) It was nice to see you.
DUNHAM: (as Hanna Horvath) No.
RANNELLS: (as Elijah Grant) Your dad is gay.
DUNHAM: (as Hanna Horvath) No.
GROSS: I have heard that scene so many times. It is so funny. That's Andrew Rannells, my guest, along with Lena Dunham, in a scene from her series, "Girls." Did you improvise any of that?
RANNELLS: We did. We did improvise a lot of that. She was very generous in that sense. I mean the script was hilarious and then we did it, you know, several times as written. And Judd Apatow, who is the executive producer of the show, was also on the set that day and he sort of was feeding us some suggestions about where the conversation might be able to go, including, you know, me telling her that I think her dad is gay and things like that. He would just sort of come over and like whisper little things to each of us. And she's so, I just, I can't say enough good about that lady. She's just, I love Lena a lot and I think that she's so talented and so generous to work with, and so we just had a lot of fun, and she's really fun to play with.
GROSS: Who came up with that line of like, well, there's a certain handsomeness?
RANNELLS: I was sad - I'm sad to say that that was my own creation. She recently, they're going to release the DVD of the first season and she and another producer, executive producer, Jenni Konner, asked if they could include my audition on the DVD. I think everybody's audition, but my audition was also going to be in there, which included a lot of improvising. And you kind of black out you audition. You know, I don't remember half the things that I said that day. So it was really terrifying to actually have to like sit and watch it because you never see those audition tapes. But I had to sit and watch my audition and I said that line to her that she was, there's a handsomeness to her that allowed me to have sex with her. So horrifying. So...
RANNELLS: So mean. But yes, that was - sadly, that was my creation.
GROSS: So you've done three Broadway musicals. "The Book of Mormon," "Hairspray," and "Jersey Boys."
RANNELLS: Yes.
GROSS: Did you grow up wanting to sing on Broadway?
RANNELLS: Yeah, that's kind of all I ever wanted to do. At a very early age I knew I wanted to be an actor and then more specifically that I wanted to be on Broadway and be in musicals. So I moved to New York right after high school to go to college in Manhattan and that was always my goal. I just wanted, I wanted to be on Broadway and I wanted to be a leading man on Broadway, and that was the dream. Yeah.
GROSS: So growing up in Omaha, Nebraska, how did you know you wanted to be on Broadway?
RANNELLS: Well, I was very fortunate that there was a children's theater right by my house that my grade school took field trips to, so we were at a very young age exposed to live theater, and they had a really great program of acting classes and you could audition to be in these shows. And so very quickly I knew that I wanted to be a part of that community. And my parents were, you know, none of my other siblings had done that but my parents were very supportive of that. I think maybe because of its proximity to our home - it was very close, so the, you know, the extracurricular was easy to get to. But they were always really supportive of it, my family, and so they just encouraged me to kind of keep going and then that turned into, you know community theater as I got older and that turned into like local TV commercials, and it was just always the thing that I wanted to do and I just, yeah, I was fortunate that I actually got to do it.
GROSS: My guest is Andrew Rannells. He stars in the new comedy series "The New Normal." NBC will preview the entire first episode tonight.
More after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Andrew Rannells and he stars in the new NBC comedy series "The New Normal." He also starred in "The Book of Mormon."
Your new series, "The New Normal," is about how untraditional families are becoming the new normal.
RANNELLS: Yes.
GROSS: And you and your partner are one of those nontraditional families and you're using a surrogate to try to have a child. So how normal or, quote, "abnormal" was your family when you were growing up? Normal...
RANNELLS: I mean...
GROSS: ...or nontraditional, whatever, whatever.
RANNELLS: I mean we were very traditional. It was - it's, you know, two parents, two heterosexual parents. I have two older sisters, an older brother and a younger sister, so you know, the five of us kids and my parents. So we were sometimes, I remember as a kid, you know, going to restaurants, you know, occasionally when we would go out to eat and like seven people was always like a big deal. I was always aware of the fact that I came from a big family. There's a lot of kids and oh, how do you do that? How do you, you know. But mostly it was very traditional. You know, we all went to the same grade school. Now, I think that my family, the thing that sort of separated us was our sense of humor, I think particularly for my father, ran a little dark. So I think we all - we were raised with a severe sense of sarcasm, which often got us into trouble. But yeah, I think that that maybe is the thing that set us apart, that our family was, well, maybe a little, more boisterous and a little more irreverent than the other Catholic families in Omaha.
GROSS: When did you figure out that you were gay?
RANNELLS: Kind of immediately. I mean the earliest memory I have of that honestly is watching maybe "Clash of the Titans" or "Grease 2" - watching that and really having like strange feelings about Harry Hamlin and Maxwell Caulfield. And I was, you know, four or five at the time, and just like having a crush and like, you know, sort of understanding what that was and verbalizing that crush, which I've never really spoken to my family about specifically, but like they were aware of the fact that like at four I had a crush on Maxwell Caulfield - like that was a thing, and not like I wanted to be him, like I wanted to date him. Like I wanted, you know. So I think that they - and, you know, so when I came out when I was like, you know, 18, and I, you know, graduated from high school and I felt like that was the time to like officially say it, I surprised zero people in my family.
RANNELLS: There's not a surprise to be had. No, everybody was well aware of that.
GROSS: So what did they say since they already figured that out?
RANNELLS: They were all very polite.
RANNELLS: They were very supportive and said exactly what, you know - and I realize how incredibly lucky I am that I come from a family that it was a nonissue. And particularly because you might think that, OK, so Nebraska, Catholic, like that probably didn't go so well for you, but it really, they were so great, and continue to be so great. And it never really - I mean I remember my dad saying that he believed that it was a choice, but that he also loved me, and that he was, you know, he would support me no matter what I chose to do. And then about six months later he said I've been thinking about this a lot, and it clearly is not a choice. This is clearly the way you were born, because as I, you know, replay your childhood in my head, I know that you've been telling us this since you were born. So no, this is not a choice and I, you know, I love you and I will always love you. So it...
GROSS: That must have been great to hear that your father thought it through and changed his mind based on the evidence that he'd seen.
RANNELLS: Yeah. He - and it was after I went away to college and I came home for Christmas and he told me very, you know, very plainly that he had been thinking about it a lot since I left and that was his response to it after that.
GROSS: So after high school I think he went briefly to college but then left for New York, hoping to make it, hoping to, you know, will fill your dream of getting in a Broadway show, which, of course, you did. But when you got to New York, where did you start?
RANNELLS: Well, I went to college. I went to Marymount Manhattan, which is on the Upper East Side of Manhattan and that was a great introduction to the city and it was a great safety net to sort of be there. And I went there for two years. And at a certain point I just sort of realized, I guess, that I was, you know, I was going into great debt to get a BFA in acting. And I was like, what is that? What is that even going to be when I'm finished? And what is that going to - so I started, I just started auditioning and I got a couple jobs and got a, you know, I got an equity card and joined the union and I dropped out of school. And I thought, well, let's just do it. Like if, you know, if I had been really passionate about studying anything else, I completely would have stayed in college and I would have gotten that degree. But the fact that my passion was going to be acting, you know, I was paying for college myself, and I was like, I just don't, I can't justify going this deep into debt for something that might not mean anything. So I want to just try it. I want to try and see if I'm good enough to do this before I invest anymore financially in this. And, you know, luckily I was given the, you know, the proper encouragement via jobs that I just sort of - I kept going. But my career definitely, the early years were a little scattershot in terms of - it was a little regional theater, it was a lot of voiceovers, it was a lot of, you know, random day jobs. I mean, it was hard. It was hard to kind of scrap around, and then once "Hairspray" sort of happened, then it all kind of clicked into place.
GROSS: Were you ever in a Broadway chorus before getting the lead?
RANNELLS: I was. I was in - in "Hairspray" I played - I played the pivotal role of Fender, who is a boy on the show with glasses. That was the kid with glasses. So I was, you know, I was in the ensemble and I understudied four different characters. And, so that was a great. It was a great training, I suppose, in terms of - and also humility. It was a good lesson in humility of how to, you know, be the star one night and then go back to the ensemble the next night and how to do that without any hard feelings.
GROSS: So I'm going to ask for your honest opinion about the state of the new Broadway musical.
RANNELLS: All right. I feel like "The Book of Mormon" was a really great sort of kick in the pants for Broadway, and I hope that it encourages other writers to come in and experiment with new stories and new scores. You know, having been a part of an original musical based on film with "Hairspray," it was a huge hit and very creative and really successful, and then also being a part of a huge hit with "Jersey Boys," it was a jukebox musical using an existing score - also, you know, a lot of fun. But I think the really cool part about "The Book of Mormon" was that it was a brand new story and a brand new score that nobody heard, and I feel like that's fallen out of fashion a little bit, I think, because producers are afraid to take chances on new stories and new scores, but I hope that that changes.
I hope that there, you know, are more new shows. And I know there are a few this fall that are brand new. I know "Chaplin" is, you know, it's an original story and an original score, and I wish them luck and I applaud those producers for taking a chance on something that's brand new.
GROSS: Well, Andrew Rannells, it's been great to talk with you. Thank you so much.
RANNELLS: Such an honor to talk with you. Thank you so much for having me.
GROSS: Andrew Rannells stars in the new NBC comedy series "The New Normal." A preview of the entire first episode will be shown tonight. The program will have its official premier tomorrow night.
So there's good news for Sondheim fans like Andrew Rannells and me. A new recording of Stephen Sondheim's musical "Merrily We Roll Along" was recently released. It's from a production that was presented by Encores at New York City Center last February for a limited run.
When "Merrily" opened on Broadway back in 1981, it lasted only 16 performances. Nevertheless, some Sondheim fans consider "Merrily" one of his best musicals. So here's a song from the new recording of the Encore's production of "Merrily We Roll Along." This is "Not a Day Goes By" performed by Betsy Wolf, Celia Keenan-Bolger, and Colin Donnell.
BETSY WOLFE, COLIN DONNELL, CELIA KEENAN-BOLGER: (Singing) Not a day goes by. Not a single day. But you're somewhere a part of my life and it looks like you'll stay. As the days go by. I keep thinking when does it end. That it can't get much better much longer but it only gets better and stronger and deeper and nearer and simpler and freer and richer and clearer and now not a day goes by. Not a blessed day. But you somewhere come into my life and you don't go away. And I have to say if you do I'll die. I want day after day after day after day after day after day after day after day after day till the days go by. Till the days go by. Till the days go by.
TERRY GROSS, HOST: Memphis has been a music town ever since anyone can remember, and it's had places to record that music ever since there have been records. Some of its recording studios - Sun, Stax and Hi - are well-known, but American Studios, which produced its share of hits, remains obscure. Rock historian Ed Ward has its story.
KING CURTIS: Today's special is Memphis soul stew. We sell so much of this people wonder what we put in it. We're going to tell you right now. Give me about a half a teacup of bass. Now I need a pound of fat back drums. Now give me four tablespoons of boiling Memphis guitar. This is going to taste all right.
Now just a little pinch of organ. Now give me a half a pint of horn.
ED WARD: King Curtis had it right on his hit "Memphis Soul Stew." Each one of the musicians he calls in to play had appeared on plenty of iconic Memphis-based hits recorded where this one was - at American Studios, 827 Thomas Street, a slouchy, windowless one-story building you'd probably walk right past.
It had been opened in 1964 by Chips Moman, a musician from Georgia who'd learned engineering and gone to work at Stax Records in its early days, only to lose his job before it really got going. Unlike Stax, Moman's studio wasn't connected to a record label; anyone was free to use it, which explains why the first hit to come out of American was by a local rock band.
THE GENTRYS: (Singing) I keep on dancing. Keep on. Keep on doing the jerk right now. Shake it, shake it baby. Come on and show me how you work. Now you're in motion. Keep on and do the locomotion, yeah. Don't wait. Shake it, shake it, baby. Yeah. Keep on. Keep on dancing and prancing. Keep on. Keep on dancing and prancing. Keep on. Keep on dancing and prancing. Keep on.
WARD: The Gentrys' "Keep on Dancing" managed to hit Number Four on the national pop charts in 1965, even though - or maybe because - the lyrics were incomprehensible and the sound was awful. The next year, Moman and his guitarist friend Tommy Cogbill were tapped for a session in Muscle Shoals, and met Dan Penn and Spooner Oldham, who were not only studio musicians but songwriters looking for people to record their songs.
Word was getting out that American had some top-notch players, all of whom were white, oddly enough, and this was attracting artists, so Penn and Oldham started hanging around. They must have been paying attention when Goldwax Records' Quinton Claunch brought his latest discovery in.
JAMES CARR: (Singing) I said I wasn't gonna tell nobody but I just can't keep it, Lord, to myself now. For as long as I've been running around, I finally met a little girl that really got me down now. Baby, you got my mind messed up now. Little girl, little girl, you sure got my mind messed up now. I go to bed, Lord, and I can't sleep.
(Singing) Sit down at the table, oh Lord, I can't eat there. Somebody please, please help me now. Oh, oh, oh, oh.
WARD: James Carr's "You've Got My Mind Messed Up" established him, although today he's best remembered for "Dark End of the Street," which Penn and Oldham not only wrote, but Penn sang harmony on. Up in New York, Atlantic Records took notice. They had an uneasy relationship with Stax and were always looking for other Southern studios to record in.
In 1967 and '68, most of their top soul stars were at American, and so was another of their artists who was trying to change direction.
DUSTY SPRINGFIELD: Billy Ray was a preacher's son and when his daddy would visit he'd come along. When they gathered around and started talking, that's when Billy would take me walking. Out through the back yard we'd go walking. Then he'd look into my eyes. Lord knows to my surprise.
(Singing) The only one who could ever reach me was the son of a preacher man. The only boy who could ever teach me was the son of a preacher man. Yes, he was. He was. Hmm, yes, he was. Being good isn't always easy, no matter how hard I try. When he started sweet talking to me, he'd come and tell me everything is all right. He'd kiss and tell me everything is all right.
(Singing) Can I get away again tonight? The only one who could ever reach me...
WARD: "Son of a Preacher Man" was Dusty Springfield's debut on Atlantic, and it - and the entire album it was on, "Dusty in Memphis" - was recorded at American.
The list of hits cut at American during this period is astonishing. "The Letter" by the Box Tops, "Angel of the Morning" by Merilee Rush, "Hooked on a Feeling" by BJ Thomas, "Skinny Legs and All" by Joe Tex, and "I'm in Love" by Wilson Pickett are just a few.
But the local seal of approval came in January and February of 1969, when Memphis' biggest hitmaker, in serious need of continuing the career revival he'd had with his 1968 television special, rented the studio and the Memphis Boys, and had Chips Moman produce an album for him.
ELVIS PRESLEY: (Singing) That big eight-wheeler rolling down the track means your true loving daddy, he ain't coming back. He's moving on. He's a rolling on. You were flying too high for my little ol' sky so I'm moving on. But some day, baby, when you've had your play you're going to want your daddy but your daddy will say keep moving on. Keep rolling on. You were flying too high for my little ol' sky so I'm moving on. Come on, baby.
WARD: Chips Moman always insisted he wasn't a businessman, and by 1972 he'd proven it to everyone's satisfaction. The final blow came when Atlantic didn't renew its contract with American, and Moman sold the place. He and a lot of the amazing crew of musicians he'd worked with wound up in Nashville, where they all became indispensable to stars like Waylon Jennings. But American Studios was history.
GROSS: Ed Ward lives in France. The music he played is from the Ace CD "Memphis Boys: The Story of American Studios."
Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.


text:
BOSTON (AP) — A man found dead in an industrial park about a mile from New England Patriots tight end Aaron Hernandez's home had been killed, a prosecutor said Wednesday.
The state medical examiner identified the man as 27-year-old Odin Lloyd and ruled he was a homicide victim, Bristol District Attorney Samuel Sutter's office said. Lloyd's family said he was a semi-pro football player with a connection to Hernandez, whose home was searched by police.
Lloyd's mother, Ursula Ward, had said earlier police had told her the body was that of her son, who played for the Boston Bandits.
"My son is a wonderful child," she said, crying as she spoke outside the family's home in Boston's Dorchester neighborhood. "He's a family guy. He hasn't done anything to hurt anyone."
Ward would not say how Lloyd knew Hernandez and did not say if police told her how her son died. An uncle said Lloyd had a connection to Hernandez but wouldn't elaborate.
State police returned for the second day Wednesday to Hernandez's sprawling home in an upscale subdivision in North Attleborough, on the Rhode Island state line not far from the Patriots' stadium in Foxborough. They referred questions about their investigation to Sutter, the district attorney.
Sutter's office said investigators were asking for the public's help to find a silver mirror cover believed to have broken off a car between Boston and North Attleborough.
Hernandez attorney Michael Fee acknowledged media reports about the state police search of Hernandez's home as part of an investigation but said he and the player wouldn't have any comment on it.
Sports Illustrated, citing an unidentified source, reported Tuesday that Hernandez was not believed to be a suspect in what was being treated then as a possible homicide.
Two troopers knocked on the door of Hernandez's house Wednesday morning, but no one answered. The night before, police spent hours there as another group of officers searched the industrial park.
Later Wednesday, at least seven state troopers searched both sides of a road just off the street where Hernandez lives. The officers used thin poles to pull back plants and search through undergrowth along the road.
Hernandez returned home during the early afternoon Wednesday. He did not speak to a crowd of reporters staked out about 100 feet away.
The Patriots drafted Hernandez out of Florida in 2010. Since then, he has combined with Rob Gronkowski to form one of the top tight end duos in the NFL. He missed 10 games last season with an ankle injury and had shoulder surgery in April but is expected to be ready for training camp. Last summer, the Patriots gave him a five-year contract worth $40 million.
Patriots spokesman Stacey James said the team did not anticipate commenting publicly during the police investigation.
Sports Illustrated reported that the link between Hernandez and the case was a rented Chevrolet Suburban with Rhode Island plates that police had been searching for. The Associated Press could not independently confirm the report.
Lloyd's neighbor Larry Connors said a black Suburban with Rhode Island license plates was towed out of the yard of Lloyd's house after his body was found. Lloyd had been driving it for a few days, but Connors had never seen it before that.
Neighbor Paul Sandefur, a retired transit police officer, said he had known Lloyd since he was in diapers and was at a loss to explain what might have led to his death.
"He'd tease me about coming over to play basketball because I used to tell all the kids I could beat them," Sandefur said. "He was an exceptional kid. It's just inconceivable that something would happen to him."
Both neighbors thought Lloyd worked in construction, and neither knew of any connection between him and Hernandez.
Bandits coach Olivier Bustin, who last saw Lloyd on Saturday at a team scrimmage and heard on Tuesday he had been killed, said he never knew him to be in trouble.
"He was a personable guy, just a guy who was well-liked by everybody on the team," said the coach, who said Lloyd didn't start but played a big role on defense.
Lloyd's sister, Olivia Thibou, said her brother always had her back.
"And, you know, it's just tough that he's not here," she said. "As my mom said, just give us our time to grieve. And I hope that they find out who did it."
BOSTON (AP) — A man found dead in an industrial park about a mile from New England Patriots tight end Aaron Hernandez's home had been killed, a prosecutor said Wednesday.


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A couple on Half Moon Bay to send themselves in the air in an exhibitionist place
Putas En Half Moon Bay, CA
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Putas En Half Moon Bay, CA
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A mature woman would like to test her first sex plan with a young man on Half Moon Bay
Putas En Half Moon Bay, CA
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Putas En Half Moon Bay, CA
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Putas En Half Moon Bay, CA
First name: Noelia, Age: 30 yo, City: Half Moon Bay (CA)
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Five financial mistakes people make
Financial management isn't supposed to be hard, but plenty of individuals struggle with money issues every single day.
People are supposed to make money and not spend it too quickly or on the wrong things. Most forms of debt should be avoided and saving for the future should be a regular and highly disciplined habit.
Unfortunately, there is a large gap between what people should do and what they actually do with their money. Today people are more mired in debt than ever before, and for many individuals the prospect of purchasing large items or retiring someday is simply not going to happen unless there is a drastic change in habits.
Why are people in such bad shape? Here are five stupid financial mistakes that people make in today's society …
No. 5: Failing to stick to a budget
Budgeting is a hassle and it tends to restrict people's ability to make personal choice. Of course, that is the point, even if it is somewhat inconvenient at times.
Plenty of individuals struggle with the budgeting process because they are unwilling to discipline themselves and follow a monthly plan. Setting up a budget isn't necessarily difficult, but following it can be a major task for some people because it means that they may have to stop spending money on their favorite things until next month.
Budgeting is necessary because some people make the mistake of trusting themselves to be responsible with their spending. Sometimes people need to remove obstacles in order to be financially sound, and sometimes the biggest obstacle is their own bad behavior.
Now how much money did get spent last month? And where are those bills?
No. 4: Paying bills late or not paying at all
If people pay attention in life, they will notice that certain bills arrive every month. It is almost as if those companies want them to get paid on a regular basis. Imagine that.
The mistake some people make on a regular basis revolves around disorganization. Even though some people receive a bill on the same day every month, they forget to pay it.
In some cases this is a major deal because failure to pay incurs late fees, interest payments, and even downgrades to credit scores.
To compound the problem, many people do not balance their checkbook, keep receipts, or notice when they have exceeded financial limits. Do people make mistakes sometimes? Yes. Could some people pay better attention to the details of life? Absolutely.
Granted, things will be just fine once that special financial project materializes …
No. 3: Waiting for a big windfall
Some people get into financial trouble because they hold out hope that some great event that will occur to bail them out of their predicament.
This is why people play the lottery or invest in "get rich quick" schemes. It is also why people listen to stock tips from the uncle … who has a friend … who knows a guy … who is the father of a man … who used to be a janitor at a firm that is about to be a billion-dollar organization.
Opportunities do come up and sometimes people make it big in a short period of time. However, most people still make money by working hard, saving, and living within their means.
For those who do not have that kind of patience, there is always the wonderful world of credit and all the joy that it can bring …
No. 2: Overusing your credit cards
It starts out so innocently. People charge a little gasoline here and a few groceries there. Before long they charge movie tickets, home improvement items, clothes, restaurant meals, and weekend trips to "the card."
There are people who genuinely convince themselves that charging something to a credit card means that they don't have to eventually pay for it. Unfortunately, that bill comes every month and soon people are paying the minimum balance on a card that has a sizeable balance and a daunting annual percentage rate.
The credit card is convenient, but it can get people into serious financial trouble if they are not careful.
Of course, it could be worse. People could have no sense of what they are going to do in the future …
No. 1: Not planning for the future
If people are asked about their future, they can usually paint a fairly happy picture.
They will be retired, their bills will be paid off, and they will roam the world while living off their perfectly adequate nest egg.
The reality is that many individuals have no plan for the future. They may have desires, but their current habits will never get them to their desired state of living in the future.
Does a financial plan guarantee success? Of course not. However, the mistake that many people make is not having any sort of long-term financial strategy and hoping that things will simply work out somehow.
Thinking that way may reflect the positive outlook of the individual, but it may also mean that they will someday experience disappointment at their lack of serious financial planning.


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By Jim Hietala and Ian Dobson, The Open Group
In the first of the five identity videos from the Jericho Forum, a forum of The Open Group, we explained the "Identity First Principles" – about people (or any entity) having a core identity, and how we all operate with a number of personas that should be under our control using the principle of primacy, i.e., giving you the ability to control the information about your own identity. You may, of course, decide to pass that control on to some other identity management party.
In this second "Operating with Personas" video, we explain how creating a digital core identifier from your (real-world) core identity must involve a trusted process that is immutable, enduring and unchangeable.
We then describe how we need to create digital personas to mirror the way we use personas in our daily lives – at work, at home, handling our bank accounts, with the tax authority, at the golf club, etc. We can create as many digital personas for ourselves as we wish and can also create new personas from existing ones. We explain the importance of the resulting identity tree, which only works one-way; to protect privacy, we can never go back up the tree to find out about other personas created from the core identifier, especially not the real-world core identity itself. Have a look for yourself:
As you can see, the trust that a relying party has in a persona is a combination of the trust in its derivation from an immutable and secret core identifier – its binding to a trusted organizational identifier, and its attribute information provided by the relevant trusted attribute provider.
In the next (third) video, which will be released next Tuesday, July 31, we will see how trust and persona interact to provide a privacy-enhanced identity ecosystem.
Jim Hietala, CISSP, GSEC, is the Vice President, Security for The Open Group, where he manages all IT security and risk management programs and standards activities. He participates in the SANS Analyst/Expert program and has also published numerous articles on information security, risk management, and compliance topics in publications including The ISSA Journal, Bank Accounting & Finance, Risk Factor, SC Magazine, and others.
Ian Dobson is the director of the Security Forum and the Jericho Forum for The Open Group, coordinating and facilitating the members to achieve their goals in our challenging information security world. In the Security Forum, his focus is on supporting development of open standards and guides on security architectures and management of risk and security, while in the Jericho Forum he works with members to anticipate the requirements for the security solutions we will need in future.


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You are invited to compete at Art Battle – Brantford on Saturday, April 27th!
You must ACCEPT this invitation to participate. If you do not accept within 48 hours your spot may not be guaranteed.
Event Information
Art Battle – Brantford
The Rope Factory
111 Sherwood Dr. Unit 25
Saturday, April 27th
Doors open to public: 7:00PM
Main Contact – Josh & James!
The local organizers for this event are Murky Productions. If you need to get in contact with Art Battle on the day of the event Josh and James can be reached at [email protected]
Social Media
Invite all your friends to the Facebook event!
Instagram: @artbattle @artbattlebrantford #artbattle #20minutepainting
facebook: https://www.facebook.com/artbattleinternational/
Competition structure and rounds:
- Art Battle is Live Competitive Painting.
- 12 painters create the best work they can using only acrylic paint
- Each event features three (3) x 20 minute rounds of public painting.
- 6 painters will compete in Round 1, the remaining 6 in Round 2
- The top two painters from each of round 1/2 (as voted by the audience) will go into a 3rd, 'Final Round' with a new canvas.
- In the Final Round, the audience will again vote, and a single Winner will be chosen for the event.
- The Winner will advance to the Summer 2019 Regional Finals!
- All work is auctioned to the highest bidder (silent auction)
Silent Auction
Works created at Art Battle will be silent auctioned with 50% of the proceeds going to the artists. Your local organizer will let you know the expected timeline and method of payment at the event. Works that do not sell remain the property of Art Battle.
What to bring
You should only bring your BRUSHES and any other non-marking, non-mechanical tools you would like to use. Art Battle will provide the following materials – canvas, paint, easels, water containers, palettes, mixing plates and shop towels for rags.
Admission for you is free and you can bring one (1) guest
Your admission to the event is free and includes one free guest. To keep it simple, your guest (1) can give YOUR name at the door unless indicated otherwise by your local organizer.
Competition Rules
- Artists have 20 minutes to create their painting, unless otherwise noted by organizer.
- Artists may only use the acrylic paint provided by Art Battle. No outside media is permitted.
- Artists are provided with 1 canvas, 1 palette, 2 mixing plates, cleaning towels, and 1 water container per Round.
- During competition Artists may use any non-mechanical tools: Brushes, palette knives, rollers, sponges, tape etc. Tape must be removed before end of the Round.
- Pre-made images, stencils or mechanical tools (spray bottle, hair dryer, etc) are not permitted.
- Palettes must be set prior to the beginning of each Round. No additional paint once the Round begins.
- Artists may not mix paint until the Round begins.
- Reference material is not permitted at the easel.
- The top 2 Artists by audience vote in each of Round 1 and 2 will advance to compete again in Round 3.
- In Round 3, Artists make a new palette and are provided with new canvas and supplies.
- There is no theme, Artists not limited in subject matter.
More questions?
More questions and answers are posted on artbattle.com/artist-faq
Let's paint!
Art Battle International


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Introducing the Eclipse Marketplace Client
You may have tried to install JSHint Eclipse by clicking the Install button
To install this solution to your Eclipse installation, ensure that:
- Eclipse is launched and that you click and hold the mouse button while dragging the Install button icon over the Eclipse workspace and then drop it, by releasing the mouse button, onto an open Workspace
- You have the Eclipse Marketplace Client (mpc). This will appear in the Help menu as 'Eclipse Marketplace...', and is included with all of the packages available from the Eclipse download page (except Classic Package).
What is the Eclipse Marketplace Client
Eclipse Marketplace Client (MPC) is a rich client interface for browsing and installing the Eclipse based solutions listed on the Eclipse Marketplace portal. It is a new feature that allows Eclipse users to discover and install Eclipse solutions directly into their Eclipse installation.
Where can I get the Eclipse Marketplace Client
MPC is included in all of the packages available from the Eclipse download page.
How do I access the Eclipse Marketplace Client
You can start MPC by launching Eclipse and accessing it from the Help menu.
Once launched the Marketplace Client presents a wizard that looks like this:
Drag and Drop InstallYou can use the Drag and Drop install feature by dragging the button to your running Eclipse workspace.
Useful Links
Eclipse Marketplace and Favourites Lists Video
Eclipse Marketplace Client New + Noteworthy


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From Openmoko
|Hardware wishes warning! This article or section documents a Hardware Wish List item, the features described here may or may not be implemented in future devices.
This is a page detailing accessories that may be of use for your Neo1973.
This is both accessories that do not exist, and existing devices that may be good to add to a web-store.
Advertising on this page is permitted, but keep it brief and factual.
Existing devices
Storage Devices
- Seagate's DAVE (Digital Audio Video Experience) with Bluetooth 2.0 WiFi 802.11b/g and USB-on-the-go-Interface (USB-OTG) http://www.seagate.com/docs/pdf/marketing/po_DAVE.pdf
Input Devices
There are (at least) two uses for a Bluetooth pedometer as a Neo1973 accessory:
- As an input device for exercise-monitoring software
- A pedometer combined with a compass (see Wish_List_-_Hardware#Digital_compass) would allow the positioning software to perform dead reckoning when the GPS signal has been lost. The US Army's Land Warrior system already does this. (Maybe the pedometer is partly redundant with the accelerometers for dead reckoning tasks? See the SiRFDiRect announcement.)
Special covers
Different special covers could be made available with features like:
- A standard slip-on or clip-on template (possibly with buttons) to make the touch-screen blind accessible
- Small metal frame for protection (like Siemens M65, only with more style)
- Case with mirror on the back, for putting on makeup/checking appearance or helping with self-portraits with an integrated camera.
- Option to completely design printable case styles, perhaps with engraving. Ability to share these on a 'community' site.
- Solar powered recharger (perhaps as extendable/unfoldable Expansion Back).
- Rubber protection like available for iPod, of course in different colors and transparency.
- Underwater case. This could be a housing that fits around a normal FreeRunner like the kinds for digital cameras. Alternatively, it could be an actual case that the FreeRunner guts fits into.
- Screen Protector: A simple and very easy to produce screen protector, like the one on my iPaq:
Protector Flipped up image: http://www.pocketpcthoughts.com/images/ppct-ipaq6900-preview-small-01.jpg
Protector Flipped down image: http://www.pocketpcthoughts.com/images/ppct-ipaq6900-preview-small-06.jpg
This serves the dual purpose of protecting the screen from scratches, and stopping user's ear/face from accidentally pressing buttons while talking.
- Scratch-proof protector a la InvisibleShield
Car kit
A car kit with a cradle which simultaneously recharges the device.
Bike kit
Sporting a GPS, the phone would be ideal to have mounted by a bracket on the bike handle bars. Viewable from your position over the handlebars. Snap-on/snap-off, and some locking mechanism that actually keeps the phone from getting airborne on a hard break. Also, a basic spring on the bracket, making bumps softer on the phone. This type of bracket would cost peanuts to make. Should also include a padded and waterproof pack that you can place the phone inside, keeping it (somewhat) safe from the elements. Would also be really cool if it was possible to create a dynamo that can charge the phone, like old school bike headlights.
Something to measure the Cadence like a normal bike computer would be great.
Have the possibility to measure the heartbeat would make it a great accessory for training :)
- See also
Charger conversion connector
A flexible converter allowing you to recharge the Neo1973 with power from many DC sources such as other devices chargers. Problems are that it may overload the DC source. It may require sensing of the input voltage, and reducing load if the voltage drops by a factor. Ideally the device should accept input voltage in the range of around 3.3v-28V in either polarity.
Ability to connect a USB keyboard to the phones USB port
It has a USB port. There are USB keyboards everywhere. It would be great to be able to ssh anywhere over wifi with a regular sized keyboard.
- This functionality already exists in SHR-testing. shr-settings>connectivity>set usb to host
I think it should all be seen within the context of portability. Have a keyboard incorporated, hinged along the long side, as noted elsewhere, with a micro-switch that induces hibernation on closing to conserve power. Limit the touch screen function to different aspects of the file system and peripheral aspects - in other words, don't limit it to a phone. Those of us on the go need a phone, yes, but a lot more. And all of society is evolving in this direction, so the product needs to also to survive.
USB2 - obviously, could be employed for something like this:
on which an entire OS with a massive /home partition could be carried round on a keyring.
Why try to crowd it all onto one screen when all you have to do is make an alteration in the size of your belt mounted, carry pouch.
The world needs the portable office, not just the portable phone.
Make the stylus laser-pen recharge its batteries from phone while "docked"
The stylus pen with built in laser pointer and flashlight seemed too big to be able to be attached to the phone while it is not being used, according to the demonstration video. If that is the case, make a slot on the phone where one can "dock" the pen while not using it. Make the phone recharge the batteries in the pen while the pen is docked to the phone.
USB laser pointer
Make a laser pointer that plugs into the USB connector and controlled in the same through the same interface that that wold make the FreeRunner a presentation remote control.
Bluetooth earpiece with possible both-ears use
It will be like a regular bluetooth speaker, but with another (wired or wireless) speaker in the other ear for music listening and telephony. The main, bulky piece with bluetooth could have a multi-purpose button: for answering calls when it whispers the name of the caller in my ears, or to raise/lower the volume of music or telephone call.
Would be nice to have them for the left-handed too.
Make a VGA and/or DVI out connector
The screen on the phone is small. But if it had a VGA out connector, we could connect an ordinary full sized monitor to it. It already has a USB connector. Imagine the coolness of attaching a usb keyboard and a 22" widescreen monitor to your phone and then viewing youtube videos through the phones wlan connection. You wouldn't have to carry around your laptop anymore since usb keyboards and vga monitors are availible practically everywhere.
This also may be used to show the conference presentations. There is enough memory in the phone to store the average presentation (the pdf or maybe even html formats could be used). Having the VGA port would transform it into very lightweight tool that could even replace a laptop for some people. It may be OK to have the same VGA resolution as presentations are usually prepared with the big fonts and figures.
The pouch could have external or internal place to keep the stylus.
USB camera
A camera connected to the usb port.
Replace the indicator LED beneath the AUX button with a high brightness LED that can be used as a flashlight.


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See more from The Clairidge .
This post is a part of the Bloomfield Newsfeed, a service that collects and shares news and information for and about Bloomfield, New Jersey. That's usually just a short summary and a link to the original source where you can find more.
Our daily news bulletin delivers updates from the Bloomfield Newsfeed to your inbox.


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Fergie Gives Birth to a Baby Boy … Find Out What She Named Her Son!
Another pea has joined Fergie and Josh Duhamel's pod!
The Black Eyed Peas singer and "Scenic Route" actor welcomed a baby boy, Axl Jack Duhamel, on Thursday, August 29 in Los Angeles.
A rep for Josh confirms to omg! the healthy baby boy weighs 7 lbs 10 oz.
[Related: The Adorable Way Josh Revealed Fergie Was Having a Boy!]
Fergie and Josh announced in February that they were expecting a little bundle of joy via Twitter.
When omg! spoke to Josh this past March, he said he was preparing for fatherhood by "doing a lot of reading."
"My wife is reading 'What to Expect When You're Expecting' right now," he elaborated. "We like to keep up on what's actually happening. We are fascinated by the fact there is a little baby growing inside of her. Everyday we're like, 'Wow, this is actually happening! You can feel it growing!' She calls it a life-force."
Josh also joked that the title of hottest dad in Hollywood would not go to him, but rather Channing Tatum (that's a tough one to call in our opinion).
"I'm always chasing Tatum," he laughed. "That would be the story of my life: 'Chasing Tatum.'"
No doubt Josh's wife would disagree!
Fergie and Josh wed in January 2009. They first met in September 2004 on set of Duhamel's NBC show "Las Vegas" and began dating shortly after. This is the first child for them both.
Congrats to the new parents!


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The Landing at Crooked RiverThis impressive 2,499 square foot two story, five-bedroom, three bath, two car garage floor plan is perfect for large families! It has a bright light filled den as you walk in the front door. An open kitchen, looking out over the spacious gathering room and dining nook. At the heart of the kitchen is a large island where homeowners will enjoy preparing meals while entertaining family and friends. There is one bedroom and bath downstairs perfect for a home office or out of town guests. Upstairs, the oversized main suite includes an amazing bathroom with dual vanity and amazing walk-in closet. The loft makes a perfect playroom. The bonus is the large laundry room located upstairs for convenience. The Hayden offers future homeowners an excellent new construction home with energy-efficient features in neighborhoods across North Florida!
Community Information
- Hours
Monday - Saturday 10:00 AM - 6:00 PM
Sunday 12:00 PM - 6:00 PM
- Contact Info
Daxx Terry
Online Sales Counselor
[email protected]
(844) 262-7254
The Landing at Crooked River Model Home
[email protected]
(912) 616-8926
Jason Crenshaw
[email protected]
(904) 716-1872
- Amenities
My Notes
School Districts Near Home
|School Name
Mamie Lou Gross Elementary School
Public | K-5
|0.7 mi.
|School Name
Camden Middle School
Public | 6-8
|3.6 mi.
|School Name
Camden County High School
Public | 9-12
|2.3 mi.
Area Information
North Florida
New Homes in North Florida by D.R. Horton
D.R. Horton is America's largest home builder. We have been delivering quality homes since 1978. We create homes with your needs in mind in the finest communities around the country, including single family homes, condos and townhomes throughout North Florida.
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We have a variety of homes and floor plans available for you in North Florida, whether you are in the market for the first time or looking for something larger that your family can grow into. Each house we build is backed up by one of the most robust home warranties in the industry. We are committed to helping you find the home of your dreams and walking you through the entire process, which includes getting the mortgage, title and insurance, so you can move in as soon as possible.
About North Florida
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The largest city in this region, Jacksonville, has more than 130 square miles of city, state and national parks. It boasts the largest urban park system in the nation for locals to enjoy.
Take a look at our homes for sale in North Florida including our new homes for sale in St. Augustine Florida, St. Johns, and more. Contact us to find one in this great location today.


text:
Rebeca Andrade Agent and Management Contact Details @(rebecarandrade)
How can I contact Rebeca Andrade's management team or agent details, and how do I get in touch directly?
Are you looking to get in touch with Rebeca Andrade for commercial opportunities ? Key contact information and audience insights, can be found on The Handbook, an online resource for accessing influencer and celebrities contact details. Our exclusive influencer database gives you access to the contact details of Rebeca Andrade's management team / publicist details and or full direct contact details. To get in touch today simply log in or register online today.
When you register to our service, you'll enjoy instant access to Rebeca Andrade's agent or direct contact details – allowing you to reach out in seconds.
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LITC's active support changes young people's lives.
Our staff provide them with the support and guidance they need to develop, start their careers and gain real work-focused qualifications to get ahead of the crowd.
A few stories of the young people that have gone through us at the start of their careers:
When Afeez left school, he wanted to help others, but did not know how. LITC's Youth Officer provided Careers Advice and supported Afeez to identify potential job roles. Afeez realised he wanted to be a Care Worker.
Because Afeez had no previous work experience, LITC's Youth Officer identified a volunteering placement in a nursery for him. His Youth Officer supported Afeez to develop Employability Skills, including writing his first CV, Job search skills and Interview skills. LITC made an agreement with his former school, Archbishop Tenison, for Afeez to be an apprentice as a Youth Mentor for 4 months, before starting employment with Look Ahead. Afeez completed his Level 2 qualification in 2013 and is working towards his Level 3. LITC also supported Afeez to develop Life skills, Self-representation and Cultural experiences. Afeez has actively been involved in LITC's transnational programmes, including a Youth Exchange to Poland.
Afeez is now a LITC Youth Ambassador and regularly represents LITC at the British Youth Council and at Parliament.
Ayşe joined LITC in June 2012 in order to study a Business Administration Apprenticeship. Ayşe, first completed our NEET into EET volunteering programme, and completed 4 weeks of volunteering to give back to her community, while also developing key work-based skills.
Ayşe also gained one to one mentoring and employability training from our Youth Officers and Skills Tutors. LITC's Job Matched Ayşe to a local accountancy firm, who appointed her to the post of Office PA. LITC also encouraged Ayşe to learn about different cultures, communities and societies through our Youth in Action Youth Exchanges. Ayşe spent 7 days in Poland, making new friends, learning Polish and Polish cultures and about the EU. Ayşe also learned about Citizenship, Civic Responsibility and the importance of Voting in elections
Kerry enrolled onto a LITC Apprenticeship in 2011. Kerry left school with very few qualifications and spent a year out of work. So returning to education, and working at the same time was a massive step for Kerry.
To ensure that Kerry built up her skills and confidence, LITC first enrolled her onto our 4 week Pre-Apprenticeship scheme, gaining skills, work experience and Level 1 qualifications in Care work. After 4 weeks, Kerry was job matched to an employer, experienced in working with Apprentices. After 12 months of training, work-based learning and completing the Apprenticeship programme, Kerry was awarded a Level 3 NVQ in Health and Social Care. Kerry now works full time and has also recently gained promotion to the role of Care Coordinator. LITC is still in contact with Kerry, providing career advice and guidance. Furthermore, Kerry and her colleagues have also benefited from LITC's free training, including: British Sign Language; First Aid; Support Planning; Safeguarding, amongst others.


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|Day 20
I promised I would keep you updated on the maintenance of my new hair color, so I've been (somewhat) dutifully documenting it via Instagram/cell phone shots.
Here's night 1, when I am freaking out. ("What have I done????!")
The color has been holding up beautifully. I took some advice from an Instagram peep and added pink dye right into my conditioner. I only wash my hair 2-3 times a week, and then apply a healthy dose of conditioner, and use a clip to keep my hair off my back. (I scrub my hands really well at this point too, otherwise they stay pink for days.) I leave the conditioner/dye mix in for at least 5 minutes. I've also been using Moroccan Oil treatment on my hair when it's damp, which has helped significantly to counteract the dryness from bleaching.
My only complaint about the color is how differently it photographs in different kinds of light. Here it is in natural light, taken on my good camera. I must need to mess around with the white balance, because this is not how the color really looks at all.
It's time to touch up the roots and overall color, and I've decided to go to a professional for this. My one regret about doing the initial bleaching myself is that I have some patchy brunette spots in the back, that a stylist could have gotten for me. I also worry that I didn't go quite blond enough, which is giving my hair an orange cast in some light. So on Thursday I'll be getting a touch-up on the bleach, plus more pink! The salon uses a color called Pravana Magenta, which is supposed to be very good.
All in all, I'm just really glad I did it. I feel it suits me--maybe I should have been born a pinkhead!