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End Childhood Hunger advocates for greater utilization of existing federal programs such as school breakfast, school lunch, after-school snacks, after-school dinners, summer meals, and expanded nutrition education. We provide technical guidance, support and assistance to implement and expand these programs among stakeholders at the local, regional and state levels.
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Tag Archives: No Kid Hungry
From Florida to California, School Breakfast WORKS!
Another clear example of the benefits of promoting school breakfast: This report is courtesy of the Manteca Bulletin, in California. The full article can be found here. When Shasta Elementary School in California began serving breakfast in the classroom, first … Continue reading
Posted in Hunger, Lifestyle Tagged Administrative, Children, Food, Food For All, No Kid Hungry, Nutrition, School, The Real World Leave a comment
Childhood Hunger on "World Food Day"
Disturbing in so many ways. Childhood hunger worldwide on "World Food Day" infographic – thanks to save1.com .
Posted in Hunger Tagged Advocacy, Children, Food, Food For All, Global, Hunger, No Kid Hungry, The Real World Leave a comment
Just What Is "Food Insecurity," Anyway?
Major props to the Greater Philadelphia Coalition Against Hunger for tweeting about it, and the amazing folks at Good for producing this "Empty Pantry" infographic that lays out in chilling detail the scary truth about the concept of "food insecurity." … Continue reading
Posted in Advocacy, Hunger, Research Tagged Advocacy, Children, Community, Food, Food For All, Hunger, No Kid Hungry, Research, The Real World Leave a comment
1 In 5 Americans Struggled To Afford Food in 2010
Nearly one in five Americans struggled to afford enough food for themselves and their families in 2010, according to a new report released yesterday by the Food Research and Action Center (FRAC). The report analyzes data that was collected by … Continue reading
Posted in Advocacy, Hunger, Lifestyle, Research Tagged Advocacy, Community, Food, FRAC, Hunger, No Kid Hungry, Nutrition, Poverty, Research, The Real World Leave a comment


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subset: commoncrawl


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Josh Bamberger (Waterloo, Ontario) and Adrian Kibsey (Winnipeg, Manitoba) both improved their second-day scores to lead the team. Bamberger showed a two-stroke improvement (73) for a two-day score of 148 (75-73—148) and a t-23th place finish overall. Kibsey (78-72—150) finished just two strokes off his teammate's lead, but had the largest improvement of any player participating in the tournament. He finished six strokes better than he had on Monday, Oct. 3, ending with a team-best 72 on Tuesday.
Lee Whitehead (Knoxville, Tenn.) and Richard Powell (Hixson, Tenn.) did not replicate their superb first-day 73 scores and fell shot an 80 and 81, respectively, in their second day play. Whitehead earned a top-50 finish with a two-day total of 153 (73-80—153). Ross Maietta (Bexley, England) improved by three strokes from his Monday score card, shooting the third-best round of the Tornado team.
The Tornado finished ninth in a 13-team field, totaling a 603 tournament total.
The Lady Tornado put together a 13th place finish, falling two places from their first round finish. The team shot a 680 as a team for the tournament. King finished ahead of Conference Carolinas members Pfeiffer (689), Coker (698), Limestone (719) and St. Andrews (851).
Anna Walker (Marion, Va.) shot the best second round of her team with an 82, a two-stroke improvement from her first round (84-82—166). Walker finished the tournament with a t-32ndoverall placement after tournament's end.
Finishing one stroke ahead of Walker's tournament score was freshman Cortnee Young (Cleveland, Tenn.), who shot an 83 on Tuesday and a 165 (82-83) two-day score. Esther Gandarias (Madrid, Spain) fell three back of her first day pace (82-85—167) with Kerby Jones (89-93—182) and Chelsea Gammon (96-108—204) rounding out the Lady Tornado pack.
Tornado Golf will bring their talents back to Bristol, Tenn. and host their next meet, the King College Intercollegiate Invitational, on Oct. 10-11 at the Bristol Country Club for a two-day tournament.


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One of my favorite columns in the New York Times "T" Magazine is Ristretto by Oliver Strand, an arbiter of taste in every sense. I am fascinated by individuals who take obsessions to new heights, which is why Strand's coffee missives are so completely delicious. This morning, Strand takes a few moments in between cups to dish on his coffee habits with The Foodinista—so grab a cup of your favorite joe and settle in. Spoiler alert: I can already tell you that I'll be spending the next few hours debating whether to splash out on the handblown glass version of the Chemex coffeemaker with a wood and leather belt (at first glance you'd swear it was an Alexander McQueen corset belt), though I think we probably know the answer…
What's your typical coffee order in a restaurant?
I rarely order coffee after a meal – I don't drink coffee at night, so that's out, and because most restaurant coffee is phoned-in there's little point. That said, I'll sometimes have an espresso after lunch if I need to jump back into work that afternoon. Or I'll go with what the restaurant does best. Recently, I had a terrific cup of coffee brewed in a Chemex at a groovy taqueria here in New York.
How do you enjoy your coffee at home?
A friend recently said: you like the method you're liking. Meaning – for the coffee-curious — if you're playing around with a bee house dripper (which is a ceramic filter cone from Japan), you're probably liking bee house drippers, and if you're messing with your Chemex you're liking Chemexes. I've been on a Chemex tear for a while, though I'm also messing with the Aeropress right now. Sometimes I'll pull out my V60. All of these gadgets are in the $20-$40 range, which makes it easy to be promiscuous.
Are you loyal to one bean? Or do you like to mix it up?
You mean one cultivar? (Don't let my coffee geekiness frighten you.) Cultivar is graduate-level coffee talk. Many coffees these days are labeled as "single origin," a general term that refers to a region, or a farm, or a part of a farm. In certain circles, it's no longer enough to call a coffee an African or even an Ethiopian. Instead you talk about a Sidamo, which is a region, or a Yirgacheffe, which is a village in Sidamo, or even better: a particular Yirgacheffe cooperative.
Maybe it sounds too obsessive. And just because there's a place-name on a bag doesn't mean it's great. But most of the great coffees I taste have a place-name on the bag. Right now I'm working my way through the last of Aida's Grand Reserve, roasted by Counter Culture Coffee. It's Bourbon, Kenia and Typica beans all grown on farms owned by Aida Batlle, in El Salvador. It's one of the most expensive coffees you can buy, but I'll argue it's worth it. In fact, this is my second batch. In September, I bought one of the last of Aida's Grand Reserve from Stumptown Coffee Roasters.
I think what you're getting at is: do I have any favorites? The answer is yes, but coffee is a seasonal crop, so I go by what's on the shelves. If I like something I savor it, then I wait until it's available next year. Just like produce at the greenmarket here in New York: tomatoes ended three weeks ago, but the pears and grapes are crazy right now. I'll see what coffees are around next week. I'm already looking forward to Aida's Grand Reserve in 2011.
Where were you most surprised by a good cup of coffee or espresso?
Most recently, at the Alhambra in Granada, Spain. There's a kiosk by the gate to the alcazaba, the fortress that looks out over the city, where I had a beautiful cortado. It was break time for the groundskeepers, and there were dozens (I want to say hundreds) of workers mobbing the counters, and even though the shack was cramped — it was built around a well and had trees growing through the roof — the coffee was immaculate: saucer, glass, spoon, water on the side. Everybody served in order. There was this breezy sense of ceremony, that coffee should/could be elegant even if it costs $1 and you're outside and leaning against a wall next to a dude in a dusty jumpsuit.
Do you have any guilty pleasures at, say, Starbucks?
I like my mochas, especially after the first cold snap. That's not as much a Starbucks thing as a coffee-wide impulse. I'm just balancing the summer, when I'll go out of my way for a Carvelanche.
Where is the coffee capital of the world?
New York, of course. And the Yankees are going to take the Rangers in six.
In all seriousness, New York is becoming a great coffee town, in part, because there's no dominant roaster – this is the only place in the country where you can get an exceptional shot of espresso made with beans roasted by Counter Culture Coffee, or Intelligentsia Coffee and Tea, or Stumptown Coffee Roasters. Blue Bottle Coffee started roasting here this year, and now PT's Coffee Roasting Co. is making a run at the city, then you have local talent like Café Grumpy, Dallis and a dozen more. There are few cities anywhere with such a broad selection. Just as important, the baristas here are good and getting better.
It's an exciting time for New York. Though to be fair, I should say that Seattle, Portland and San Francisco all have deeper benches. Then you have cult coffee cities like London and Melbourne, Oslo and Copenhagen. Notice I didn't say Paris.
Favorite movie moment with coffee?
Pulp Fiction. Five Easy Pieces. I Am Love.
How much do you drink daily on average?
Two cups in the morning, then more depending on the day. I'm the author of the Filter, a guide to New York coffee from the New York Times for the iPhone and iPad (it's free and available on iTunes – not coming on too strong, I hope?), which means I'm always checking out new spots, popping in at old places to see if they're still up to it. It's done wonders for my mid-morning social life. My dance card is full from 9:30 am to 10:30 am.


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I want to prove that there does not exist some complexity class that contains all recursive languages.
Any complexity class C is defined by a complexity measure $\Phi$ (according to Blum axioms) and a total recursive function f:N $\rightarrow$ N. So there does not exists C that contains all languages L for which there exists a Turing Machine M that decides L and for all x $\Phi$(M,x)<=f(|x|).
Any ideas?


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Skip to Content
Secure FTP is the program used to transfer files between your computer and a secure server. Specifically, it allows you to:
Secure FTP became the standard file transfer software after Seattle Computing and Communications implemented more secure services on their network. If you've used other FTP programs to send and receive files, you might find that Secure FTP is quite similar. When you first use the program, you'll notice two options: you can connect to a server right away using Quick Connect, or you can set up a profile for any server you commonly use.
Please note that with Quick Connect, you will have to enter the server name every time!
Once you've connected to a server, you will get a listing of all the files in your directory. When connecting to Mercury (or Hermes) you start in the "/HOME" directory, and will have to navigate to your departmental share. Secure FTP offers different ways to view and transfer files. The two main functions during any FTP session are going to be downloading and uploading files.
To change how icons appear, click on the View menu or the corresponding buttons on the toolbar.
Large Icons - File icons appear larger with the name below the icon.
Small Icons - File icons are smaller and arranged in columns.
List - File icons are smaller, but are listed in a single column.
Detailed - File icons listed in a single column with more detail (see above).
To change the transfer type, click on the corresponding button on the toolbar. Secure FTP offers the standard transfer types: ASCII (text) or binary. Most users should leave this on Auto!
The interface in the Secure FTP program is split between the left side (which displays the files on your local computer) and the right side (which displays files on the server). In both file systems you may wish to navigate to a different folder. The toolbar found directly above the file listings will assist in these endeavors:
We'll call this the Directory Path Bar. This always displays the full path of your current working directory (the folder you are currently in). The quickest way to jump to a directory is to type it out here and hit enter on your keyboard.
Clicking on the Show/Hide Folders button will show a directory structure, making it easy to switch to a particular folder by clicking.
The Home button will put you back in the default home directory (which is set on the server by default but can be changed in profile settings).
The Up button will put you up one directory - for example, if you are working in /IS/PGarrett, pressing Up will move you to /IS.
The Refresh button refreshes the contents of the working directory, which is helpful when you've just uploaded/downloaded a file.
The New button creates a new folder in the current working directory, which you can then name.
The Delete button deletes the selected files/folders - you will be prompted before it actually deletes anything.
The Add button adds the current directory path to the list of "favorites," which show up when you click the down arrow on the Directory Path Bar.
You have several options in Secure FTP when you want to download a file.
Use the same procedure for downloading multiple files. Try holding down the CTRL key on your keyboard while selecting files with your mouse; you should find that you are able to select any number of files at the same time.
Use the same procedure for uploading multiple files. Try holding down the CTRL key on your keyboard while selecting files with your mouse; you should find that you are able to select any number of files at the same time.
Perhaps the easiest way to download/upload files is to "drag and drop." This is the same as dragging files from a disk to your computer. Do so by first making sure Secure FTP and the designated folder on your computer are both visible, like so:
Click on the file, hold the mouse button down, and move it over.
Mercury - mercury.bothell.washington.edu
Homer - homer.u.washington.edu
Dante - dante.u.washington.edu
Mead - mead.u.washington.edu
Goodall - goodall.u.washington.edu
Aagaard - aagaard.u.washington.edu


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(140) "On Stage" 8/4/10
One of the many shots I took during my wife's production of 'Alice In Wonderland Jr.' this past weekend. A fantastic performance by all the kids. This production was part of the "Stars On Stage" kids program run out of a local theater that my wife is active in.
Very busy week so far, but should be slowing down. Tropical humidity is hitting us now giving us high 80 temps with a heat index of about 100 - hopefully some rain will move in soon. Hope the week is going well for all. Have a great day!
showstagetheaterkidsalice in wonderlandchildrenactingactors


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| 7.3°C Dublin
A HUSBAND from Lyon has become the first man in France to take his wife's surname under a new gender equality law.
Civil servants could only offer him a double-barrelled name merging his current one plus his wife's
But the 37-year-old, who married in September, first had to cross an administrative minefield with his request rejected seven times because officials were unaware the law existed.
He said he finally had to print a copy of the law from a government website before he could be renamed.
"I contacted seven town halls, they all turned me down. They checked several times the boxes they could tick on their computer systems and said it was simply impossible to change it to my wife's," he told RTL radio.
The man from Lyon – named only as Philippe S – said he wanted to use his wife's French-sounding surname because his own Turkish one was hard to pronounce and made it difficult to find work.
But the civil servants could only offer him a double-barrelled name merging his current one plus his wife's.
"I needed my wife's name to be able to get ahead in life, not constantly get knock-backs, and I feel things are improving already," he said.
The change in the law was published in the French government's Official Journal in October 2011, but received little media attention.
Henry Samuel Telegraph.co.uk


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Denker Had A Feeling
Ever get a song stuck in your head that won't go away?
(I already know the answer – it happens to everyone)
Well, right now, that song for me is "I Gotta Feeling" by the Black Eyed Peas.
It's #1 on the Billboard Top 100, but if you're not familiar with the tune, you can listen to the song and watch the video here.
I bring it up because it came on over the stadium loudspeakers while the PawSox were taking batting practice on Saturday and Travis Denker began singing along with his own lyrics.
The actual lyrics are:
I gotta feeling.
That tonight's gonna be a good night.
That tonight's gonna be a good night.
That tonight's gonna be a good, good night.
Denker's version went something like this:
I gotta feeling.
That tonight's gonna be a good night.
The PawSox will score 13 runs tonight.
We'll do high fives after a good, good night.
(If you sing along, it fits quite well. And if you haven't watched the video yet, Fergie looks quite good)
(photos courtesy of Kelly O'Connor)
Incredibly, Travis Denker nailed it! The PawSox scored 13 runs – with Denker driving in 4 – in a win over the Columbus Clippers.
Unfortunately, it was too-close-for-comfort. Pawtucket led 10-1 after the third inning and had to hold on for dear life before winning 13-11.
There were plenty of offensive standouts. Denker had a pair of doubles and 4 RBI. Chris Carter crushed a 3-run HR to center field and also finished with 4 RBI. Ivan Ochoa hit a 2-run HR and wound up with 3 RBI.
It's just the second time the PawSox have scored 10-or-more runs in a game. They scored a season-high 15 runs in the game played at tiny Doubleday Field in Cooperstown on June 14th.
The series is even at a game apiece with Game 3 coming up Sunday at 1:05. Hopefully, Denker will weave some more lyrical magic before the game.
* * * * *
Yesterday I blogged about the loss of our pal Jonathan Van Every to the Pittsburgh Pirates.
Today I received the following e-mail from his folks:
Thanks for the nice goodbye tribute to JV.
We had a fine old time with the Sox, both at Pawtucket and in Boston.
It was a wild, fun ride, and we'll always remember the people we met.
The Pawsox family is the greatest, most hospitable bunch of minor
league folks we've encountered while trailing around behind Jonathan – a real class act. Please share that with the group since we won't have a chance to thank them for all their kindness.
We'll miss visiting up there and we'll especially miss the "radio
guys". Thanks again and take care,
Gene & Paula Van Every
Thanks to Mr. and Mrs. Van Every for the kind words and for taking the time to write. We look forward to rooting for JV with the Pirates next year.
* * * * *
I received a few responses about my previous post in which I asked the following question: "If you could have any piece of sports memorabilia in history, what would it be?"
Hyder said it would be the part of the left field foul pole at Fenway where his childhood hero Carlton Fisk hit his game-winning HR in Game 6 of the 1975 World Series.
E-mail suggestions included the footballs that Adam Vinatieri kicked through the uprights to win Super Bowls XXXVI and XXXVIII for the Patriots.
George Brett's pine tar bat.
Wilt Chamberlain's black book (it had to be pretty thick to include 20,000 names).
Any more suggestions? Add them to the comments section or e-mail them to me at email@example.com.
* * * * *
This series continues on Sunday afternoon at 1:05. I hope you'll join us for the radio call beginning with the pre-game show at 12:50 on the PawSox radio network and PawSox.com.


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Playwrights unite: Live Arts Summer Fest
This summer, in their line up of no-frills, no-ego, just-the-play-please summer theater, Live Arts is including the works of four local women playwrights: Lila Fenton, Kathryn Stolzenbach, Leeyanne Moore, and Rebecca Goldfarb. All of the women are participants in a weekly gathering of writers who are interested in developing stage scripts. The group meets at Live Arts, and this summer the company is producing one fully staged production and two readings of their work.
Fenton's "Maya's Men," is a short piece presented in a group of works called 3 x 3, which includes two other brief plays by Jane Martin and Dorothy Parker. In "Maya's Men," Fenton explores with poetic language, rhythm, and music the sometimes comedic struggles of Maya, a busy woman who has met and left many flawed men. The men dance, chant, and sing as they present themselves to the audience, while Maya ponders finding a relationship: sometimes a necessity, sometimes a hopeless distraction.
In Stolzenbach's "Beauty & Sadness," twin sisters find the quiet world they've created following their mother's death disrupted by the visit of a pregnant cousin who has come to retrieve the family wedding dress. Dreamlike, with a surreal Southern Gothic feel, Stolzenbach's play unravels the superficial calm of the twins, revealing familial obsession.
"Let's Get Lost," by Moore and Goldfarb, explores relationships as depicted in conversations carried on in cars– three different locales and three different couples. In San Francisco, Adley and Olivia pick up Moses from the airport, and immediately are involved with flirtation, jet lag, drugs, and paranoia. In Pittsburgh, Julia and Vince wrangle around with adultery, kissing, and crashing. Finally, on a quiet summer night in Virginia, Scott drags Kate from a car wreck. What follows: concussions, confusion, and the kindness of strangers.
The Live Arts Playwrights Lab is designed to allow playwrights to see their work in progress. In contrast to "Maya's Men," which is a full production, the Lab readings are only performed once. Actors read from scripts in binders during the performance, allowing playwrights to make last minute refinements to the work.
And audience participation is an added perk.
"Communicating with the audience is the best part of this whole process," says Moore. "Sometimes they are really funny, or come out with sharp comments– as good as any playwrighting professor in a class."
Beauty & Sadness and Let's Get Lost will be staged as readings on Sunday, July 20, at 7pm. Tickets are $5. Maya's Men runs as part of the regular Festival schedule, continuing through August 2. Call Live Arts for specific dates and times; they vary weekly. $7 at the door. Live Arts LAB, 609 E. Market St. 977-4177, ext. 308.


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LONDON (Thomson Reuters Foundation) - At Monday's launch of the latest report from the U.N. climate panel, its chair Rajendra Pachauri said "nobody on this planet" will be untouched by the impacts of climate change.
He said climate change will reduce water availability, cause species to migrate, harm crop yields, and bring more damaging extreme weather. Human security will likely be shaped by increased displacement and conflict, made worse by climate stresses, and some low-lying states may face a loss of their territory.
Authored by more than 300 scientists, who examined 12,000 publications, the Intergovernmental Panel on Climate Change (IPCC) report is the scientific community's flagship assessment of climate impacts, adaptation and vulnerability, drawing on a much larger body of research than the last such study in 2007.
"We have so much information, so much evidence, we can no longer plead ignorance," Michel Jarraud, secretary-general of the World Meteorological Organization, told a news briefing in Yokohama, Japan, where governments agreed the report.
"Over the coming decades, climate change will have mostly negative impacts on cities and infrastructure, migration and security, ecosystems and species, crops and food security, public health, water supplies, and much more. We will see more ocean acidification and extreme droughts, floods and heat waves. The poor and vulnerable will be most affected," Jarraud added in a statement.
However, there was still time to limit the risks threatened by a warmer planet, Pachauri said.
"What happens in terms of impacts of climate change in different parts of the world will be determined… on the extent to which we are prepared and able to mitigate the emissions of greenhouse gases," he said. In two weeks' time, the IPCC will release another report focusing on mitigation, the third in a four-part series.
Here are reactions from humanitarian, development and green groups to Monday's release of the second report on climate impacts:
Mary Robinson, president of Mary Robinson Foundation-Climate Justice: "(The IPCC report) highlights the current and future impacts of climate change on people; the impacts it describes undermine human rights, including the right to food, to health, to water, and to shelter. The report clarifies that while people all over the world are vulnerable to the impacts of climate change, the poor and marginalised are the most vulnerable. With this in mind, I believe that the world needs to respond with a climate justice approach to shape a global response that is rights-based in its actions to lower emissions and build resilience."
Sven Harmeling, climate change advocacy coordinator, CARE International: "The IPCC's latest report is a study in the sheer injustice of climate change. The world's poorest people have done the least to cause the climate problem, yet today we have stark new scientific evidence that they are already, and will increasingly, bear the brunt of its impacts. From more extreme and intense weather-related disasters, to reduced food security, to rising sea-levels, climate change is fast becoming a scandal of epic proportions for the world's poorest people – and it's unfolding right before our eyes."
Rob Elsworth, climate and policy analyst at CAFOD: "The IPCC report, along with the evidence we're seeing on the ground, shows climate change is the single biggest threat to poverty reduction that exists today. It has the potential to undermine years of hard-won gains in improving the lives of some of the world's poorest people. We have the means to end poverty within our lifetimes, but not if we don't tackle climate change by cutting our emissions and helping poor people to cope with its impacts."
Amalie Obusan, Greenpeace Southeast Asia campaigner based in the Philippines: "Let's not get distracted by limited economic models or be blinded by global GDP. What value can you put on the lives of 8,000 people left dead or missing by Typhoon Haiyan? Or what is the cost of the trauma of children being torn from their mother's arms due to storm surges? That is the true cost of climate change that should define the urgency of the action we take."
Louise Whiting, WaterAid's senior policy analyst on water security and climate change: "We face a race against time to reach the 1 in 10 people lacking access to clean water who are the least equipped to withstand and recover from the impacts of climate change. We cannot abandon these communities to the alarming increases in floods and droughts described by the IPCC, particularly as they have contributed very little to the global greenhouse emissions that drive climate change. The new Sustainable Development Goals offer humanity a last chance to come together to secure access to clean water, basic sanitation and hygiene before it's too late."
Tim Gore, head of policy for food and climate change for Oxfam: "The report is in and the message is clear: the impact of climate change on food is worse than previously estimated. In their previous report in 2007, the IPCC was sanguine about how climate change is hitting harvests. This report is categorical that climate change has already meant significant declines in net global yields of staple crops like wheat and maize. Climate change will continue to hit crop harvests hard in the future, at the same time as demand for food is increasing. You don't need to be a climate scientist to know that falling crop yields and rising demand does not add up to a food-secure future on this planet. For the first time, the IPCC has also recognised that more extreme weather means we face more extreme food prices. The new story of climate impacts on food is not only about small-scale farmers in poor countries, but about how major crop exporters, global food prices and millions more people in rural and urban areas around the world are affected."
Kimiko Hirata, international director, Kiko Network: "Asia is the most vulnerable continent to climate change, but it is not just developing countries in the region which are affected. Japan is already experiencing climate change and faces severe risks if action is not taken. Japan imports about 60 percent of its food from overseas, thus climate impacts, like poor crop yields in other countries, will boost the price of food here - with inevitable negative consequences on our economy."
Walter Cotte, International Federation of Red Cross and Red Crescent Societies (IFRC), under secretary general for programme services: "This report confirms once more that we have no choice but to adapt to climate change. For the IFRC, strengthening resilience and preparedness is the first line of defense for vulnerable communities in many risk-prone countries. Enhanced actions and concrete investments in disaster risk reduction and adaptation processes are needed to help avert or reduce the worst consequences of climate change. The report also shows that if we continue to emit greenhouse gases as we are today, we are heading for much more dramatic changes in the climate system which we may not be able to adapt to, posing very serious humanitarian impacts."
Heather McGray, director of vulnerability and adaptation, World Resources Institute: "Governments need to help communities prepare for climate disruptions happening already and ramp up efforts to reduce emissions going forward. There are great opportunities to shift to a low-carbon pathway and avoid far greater climate impacts in the future."
Achala C. Abeysinghe, IPCC lead author and senior researcher on climate change at the International Institute for Environment and Development: "This report provides the strongest evidence to date that South Asian countries will be particularly vulnerable to climate related extremes that will result in the alteration of ecosystems, disruption of food production and water supply, damage to infrastructure and settlements, morbidity and mortality, and consequences for mental health and human wellbeing. The current level of adaptation funding will have to be increased to be orders of magnitude a lot greater than current investment levels."
Andrew Steer, president & CEO, World Resources Institute: "Climate change has already delivered severe economic damage and things will only get worse without more action. The report makes it clear that deep and rapid cuts in emissions can greatly reduce the costs of these impacts. Taking action now will undoubtedly be less expensive than waiting. Governments have a responsibility to protect people and businesses from climate hazards by increasing resilience. But, we also need to make significant emissions reductions to get on a safer path. The choice is clear: We can wait and face a more dangerous and uncertain future, or we can embrace a more secure and prosperous direction. We are seeing signs of renewed momentum to address climate change and this should mount in the coming months."
Camilla Toulmin, director of the International Institute for Environment and Development: "(The new IPCC report) shows that countries, communities and companies must act fast to adapt to the changing climate, but it shows too that there are limits to adaptation and this drives home the urgency of global action to reduce greenhouse gas emissions. Now is the time for unprecedented global solidarity and cooperation. Now is the opportunity for true leaders to shine. Some of the world's least developed countries are already forging ahead. Ethiopia has committed to carbon-neutral development. Bangladesh has invested $10 billion of its own money to adapt to extreme climatic events. Nepal is the first country to develop adaptation plans at the community level. It is time for the richer countries to pull their weight and do the right thing, by investing at home and abroad in actions that can reduce emissions and protect people and property from danger."
Kaisa Kosonen, senior political advisor, Greenpeace International: "Scientists are warning us, but they are not telling us to give up. The solutions are already here. A growing wave of people, communities, corporations and investors around the world are already making a difference by moving to clean and safe, renewable energy and demanding governments to stand with them. There's a better future than the one we are currently offered and it's ours if we want to grasp it."
Our Standards: The Thomson Reuters Trust Principles.


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The Chicago Fire continued their total makeover on Friday with the acquisition of midfielder Freddie Ljungberg.
The Swede comes to the club in a trade with the Seattle Sounders in exchange for a conditional draft pick in 2011 or 2012. The former Arsenal and West Ham star joins Nery Castillo as the second Designated Player to come to Chicago in the last month.
"He's a very good player, he's an excellent player," Fire technical director Frank Klopas told MLSsoccer.com Friday. "He's first of all a very competitive person; he's got the kind of mentality that will fit in very well with our club. He's a winner, he wants to win championships, and he's a very good player."
The 33-year-old Ljungberg, a natural winger, will play in the middle for the Fire.
"I know a lot of times with his career at Arsenal he was out wide but I see him as a guy in the middle… almost like a playmaker type," Klopas said. "He's a guy that always wants the ball and I think he would fit in the middle—at least for our team—a lot better than out wide."
Ljungberg began his MLS career when he signed with the Sounders in October of 2008. He lit up the league in 2009, scoring twice and assisting nine times en route to All-Star and Best XI selections. He's struggled to recapture that form this season, failing to score and assisting just three times in 15 league games.
He then appeared to fall out of favor with the Sounders earlier this month. He hasn't appeared in a league match since July 4th and hasn't trained with the full team for the last week—taking part in individual training alongside his former teammates instead.
Klopas declined to comment on the off-the-field issues of his newest acquisition.
In Chicago, The two-time World Cup veteran will team up with Castillo, Brian McBride, Marco Pappa, and Patrick Nyarko to give Chicago what should be one of the best offenses in MLS.
"It's exciting, it's exciting," Klopas said. "On paper it looks great, so now it's just a matter of going on the field and working hard. The good thing is that Nery and Freddie have very good attitudes. They want to win, they're winners, they're committed to working hard and leaving everything on the field and making sure they bring a championship here to Chicago."
Klopas, who has repeatedly expressed his preference for young DP's, said that Ljungberg's somewhat advanced age should not be an issue.
"I think that the guy has still got a lot left for sure," said Klopas. "He brings a lot of experience but also the competitive drive. Sometimes you got to look at every situation and sometimes opportunities come up and you just got to be prepared to take advantage of them."


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HBO/Amazon strike deal to stream classic HBO hits
Cord cutters rejoice. In a major HBO/Amazon deal announced today, HBO will sell reruns of its hit shows to Amazon's online service. Classics including "The Sopranos," "The Wire," "Six Feet Under" and miniseries including "Band of Brothers" will stream on Amazon's Prime Instant Video platform beginning May 21.
This solves the problem many cord cutters have faced for years. (For manufacturers of TV sets, it's one more threat to the business.)
Additionally, HBO's online streaming service HBO Go will become available on Amazon's new Fire TV settop box. The concept of instant gratification in terms of entertainment — what you want, when you want, where you– want just got closer to reality.
Consider the deal a challenge to Netflix, which until now has had the corner on the streaming market. The battle to build the biggest library begins now, knocking Netflix out of its perceived position of automatic dominance.
From the press release:
Beginning May 21, Amazon Prime members will have unlimited streaming access to:
– All seasons of revered classics such as The Sopranos, The Wire, Deadwood, Rome and Six Feet Under, and of recent favorites such as Eastbound & Down, Enlightened and Flight of the Conchords
– Epic miniseries, including Angels in America, Band of Brothers, John Adams, The Pacific and Parade's End
– Select seasons of current series such as Boardwalk Empire, Treme and True Blood
– Hit original movies like Game Change, Too Big To Fail and You Don't Know Jack
– Pedigreed documentaries including the Autopsy and Iceman series, Ghosts of Abu Ghraib and When the Levees Broke
– Hilarious original comedy specials from Lewis Black, Ellen DeGeneres, Louis CK and Bill Maher
The multi-year deal will bring additional seasons of the current series named above, along with early seasons of other series like Girls, The Newsroom and Veep to Prime members over the life of the deal.


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A group of lawmakers who will help steer U.S. foreign affairs in the next two years has just been announced - and their interest, not surprisingly, is more on national security issues than foreign aid reform, a Devex investigation suggests.
The Republican members of the House Foreign Affairs Committee were named Jan. 3. The new chairman, Rep. Edward Royce, has already identified tackling Iran's nuclear program and other perceived threats to U.S. security as top priority for the panel; he also wants to help advance U.S. economic growth overseas and guide the Obama administration's shifting focus toward Asia-Pacific.
However, more immediate HFAC priorities early this year include a highly anticipated hearing featuring testimony by Secretary of State Hillary Clinton on the Sept. 11 attack on the U.S. embassy in Benghazi, which killed the ambassador and three other Americans, as well as the budget negotiations that will soon kick off with a series of hearings featuring the heads of the Millennium Development Corp. and U.S. Agency for International Development.
Royce's fellow Republicans to serve with him on the committee are:
Rep. Chris Smith (NJ), a social conservative who once held up U.S. payments of U.N. dues and State Department reforms because of his opposition to the Clinton administration's family planning policies.
Rep. Ileana Ros-Lehtinen (FL), the outgoing committee chairwoman; a strong supporter of Israel and human rights who has criticised the United Nations and the Cuban regime.
Rep. Dana Rohrabacher (CA), who opposes further U.S. engagement in Af-Pak affairs.
Rep. Steve Chabot (OH), who as chairman of the House subcommittee on the Middle East and South Asia, proposed conditioning aid to Egypt on the Muslim Brotherhood not joining the government.
Rep. Joe Wilson (SC), a tea-party conservative who's also part of the global health and international conservation caucuses.
Rep. Michael McCaul (TX), the new chairman of the House Committee on Homeland Security.
Rep. Ted Poe (TX), an ultra-conservative whose Foreign Aid Transparency and Accountability Act addresses what he calls a "wasteful and broken" system.
Rep. Matt Salmon (AZ), who returns to Congress after serving from 1995 to 2001.
Rep. Tom Marino (PA), who says he supports humanitarian aid even during the ongoing debt crisis.
Rep. Jeff Duncan (SC), who has suggested to "cut all funding to countries that do not support the United States within the United Nations at least 50 percent of the time."
Rep. Adam Kinzinger (IL), a veteran of Afghan and Iraqi combat operations who wants the United States to continue pushing democratic reforms in the Middle East.
Rep. Mo Brooks (AL), who has suggested reducing foreign aid to all countries except Israel and Pakistan; "once we get out of Afghanistan, I'd give Pakistan zippo," he has said.
Rep. Tom Cotton (AR), who has cautioned against cutting foreign aid and instead incorporate it into a broader strategy that includes trade, military alliances and multilateral partnerships.
Republican freshmen who are joining the committee with a limited background on foreign aid issues include Rep. Paul Cook (CA), Rep. George Holding (NC), Rep. Randy Weber (TX), Rep. Scott Perry (PA), Rep. Steve Stockman (TX), Rep. Ron DeSantis (FL), Rep. Trey Radel (FL), Rep. Doug Collins (GA), Rep. Mark Meadows (NC), Rep. Ted Yoho (FL) and Rep. Luke Messer (IN).
Democrats on the committee will be led by Rep. Eliot Engel, including several incumbents and the following freshmen: Rep. Alan Grayson (FL), Rep. Juan Vargas (CA), Rep. Brad Schneider (IL), Rep. Joe Kennedy (MA), Rep. Ami Bera (CA) and Rep. Alan Lowenthal (CA).
Read more development aid news online, and subscribe to The Development Newswire to receive top international development headlines from the world's leading donors, news sources and opinion leaders — emailed to you FREE every business day.


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A Brownfield is developed real property which may or may not be contaminated or environmentally impacted from prior use. These unknown conditions raise questions standing in the way of the property's sale or redevelopment, which reduce its value and require investigation and assessment. Examples of Brownfields include former industrial sites, gas stations, dry cleaners, fuel and chemical depots and any other property that used or contained hazardous materials or petroleum. Brownfields also include properties affected by contamination migrating from a neighboring or nearby property. Brownfields may not be contaminated in reality, but suspicion creates stigma that impairs the property's potential.
A Greyfield is developed real property suffering from excess vacancy, prolonged idleness, blight, use failure or even total abandonment—but also possessing (potentially) reusable infrastructure, such as parking lots, utility hookups, or structures. Examples of Greyfields include obsolete retail and commercial properties and abandoned office complexes, as well as mothballed, decommissioned and legacy industrial facilities. Similar to Brownfields, Greyfields may be blighted or in substantial disrepair, but unlike Brownfields they have no known or suspected environmental contamination of any significance.
A greenfield is undeveloped real estate with no previous use. Many also consider a property only used for light agricultural purposes to be a greenfield. An undeveloped property may yet have environmental contamination—if, for example, it is adjacent to a property that is leaking hazardous substances across the property boundary—but such a property would not be considered a greenfield and would be better classified as a Brownfield (or possibly a Redfield).
A Redfield is real property with known environmental contaminants or conditions that the owner, the government or a reliable third party have determined is in need of remediation as a prerequisite to future development—to mitigate potential human health risks or to comply with environmental laws. Many Redfields are already subject to government regulatory orders or enrolled in voluntary cleanup programs. Unlike a Brownfield, there can be no doubt about whether a Redfield is contaminated. A Redfield is affirmatively known to be contaminated and will likely require active remediation in its redevelopment. Contaminated property could fit into the definition of Brownfield; however, selecting Redfield as the primary statussignals the marketplace that real estate reuse requires corrective action and such remediation is sought.
Productive Use
|A property with productive use as the primary status is predominately in use at the present time. Properties in productive use may have current tenants generating rents or the owner may be operating the property for their own use. If only a small portion of the property is currently in use, then the lister may select productive use as a secondary condition and would choose a more appropriate primary status.
If the property status has not been determined or is unknown by the lister, it may be selected as "undetermined."
A Bluefield possesses water resources itself or has access to a navigable body of water such as a river, sea or ocean—either directly or via canal or port.
New York City Economic Development Corporation
Property/Project Stage:
Getting Started
Site Prep
Garment Center District, Manhattan, New York, NY 10001
Created On: 10/07/2018 | Last Modified: 10/08/2018
Premium listing
Property/Project Name:
Building Acquisition, Garment Center, Manhattan RFEI
Property/Project Number:
Property/Project size (acres):
Structures on site:
Productive use
NYCEDC, on behalf of the City of New York, is proposing to make available up to twenty million dollars in City funding to fund a portion of the acquisition cost of a proposed building in the Garment Center district in Manhattan.
- Brownfield Redevelopment Becomes Big Opportunity Zone Winner in Final T...
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Actors have called Michael Bay an asshole, a cocksucker, a Nazi—often to his face—and then swiftly signed up for the sequel. As America braces for the third chapter of Transformers—the latest explode-a-thon from the director of Bad Boys, The Rock, and Armageddon—dozens of his collaborators and victims, from Will Smith to Steven Spielberg to Scarlett Johansson, reveal the secret genius behind a true Hollywood visionary. (And yes, we're still talking about Michael Bay)
July 2011
"Loud." "Stupid." "Horrible." "Unbearable." "Appalling." "Evil." "A great grinding garbage disposal of a movie." "An assault on the eyes, the ears, the brain, common sense and the human desire to be entertained."
In 1998, a national magazine asked in an article "Is Michael Bay the Devil?" Thirteen years later, you can still buy T-shirts that answer yes. The 46-year-old director has long been treated by cineastes as the macho spawn of Ed Wood—a testosterone-sweating embodiment of everything that is wrong with modern Hollywood. (Those quotes up there are from actual reviews of his movies.) It also doesn't help his image that on his film sets he can be a notoriously domineering prick. Bay has flourished, though, not just because his eye-strafing event movies rake in so much money but also because—and let's whisper here, lest the film snobs are listening—so many of them kick ass. Sure, the dialogue is often subliterate and his fast-cutting style can cause epilepsy. But! Movie stars look dripping hot, never better, in front of his camera. And of course, he has orchestrated some of the most complex and thrilling action set pieces ever put on film. Is Michael Bay an artist? Uh, no. But is he a movie icon? Have you seen the car chase in Bad Boys II? As opening day approaches for Transformers: Dark of the Moon, more than sixty of Bay's friends, relatives, actors, and collaborators testified to GQ about the most underappreciated man in show business.
Gabrielle Union (actor, Bad Boys II): You know when people talk about the very first time they did drugs? Being in a Michael Bay movie was like my drug. It's like I'm chasing the dragon—I've been chasing that experience ever since.
James Cameron (director): I've studied his films and "reverse-engineered" his shooting style. He loves what I call "the big train set," huge physical production, just as I do. It is the most challenging type of filmmaking, and he does it gorgeously.
Ben Affleck (actor, Armageddon, Pearl Harbor): I think Michael is actually an auteur in the true sense of the word. Every movie he makes reflects his personal creative vision. You may like it, you may not—but those movies are him without compromise. There's something to be said for sticking to your guns.
Steven Spielberg (producer, Transformers): He has the best eye for multiple levels of pure visual adrenaline.
Frances McDormand (actor, Transformers: Dark of the Moon): Michael Bay has a mainline to the testosterone glands of the American male.
John Turturro (actor, Transformers): He likes blowing things up.
Roberto Orci (screenwriter, Transformers): We're aware of how some people think, in terms of film history, he's the Devil. But it's amazing to have a movie where you can look at five minutes and go, "That's a Michael Bay movie." To have a style that distinct—like it or hate it, it deserves study.
George Lucas (director): Michael's films are immediately identifiable.
Ehren Kruger (screenwriter, Transformers: Dark of the Moon): He's like this cross between General Patton and Willy Wonka. He's in command of a massive army, all in the effort to create the ultimate Everlasting Gobstopper.
Jeanine Basinger (Bay's film professor, Wesleyan University): I always tell my husband, "My tombstone is going to say, 'She taught Michael Bay.' "
Michael Bay: I'm, like, a true American.
 In Which We Glimpse Our Hero in His Youth
Michael Benjamin Bay grew up in a middle-class household in Southern California, the adopted son of Jim and Harriet Bay. In school, he had trouble focusing—what would probably now be diagnosed as ADD—but showed an early talent for physics, photography, the making of things.
Bay: I grew up in the Valley. My dad was an accountant, my mom was a therapist for kids.
Brad Fuller (partner, Platinum Dunes, Bay's film company): I met him at Hebrew school, but I think he denies that.
Bay: I was a shy kid, but I was very good at baseball for my age. I won MVP many times. I was like a quiet jock. I also did theater. I did The Pirates of Penzance. I had to memorize an hour and a half operetta.
Harriet Bay (mother): He was the lead, singing Frederic. I never laughed so hard in my life.
Bay: I was into these very advanced trains sets, with towns and cities and whatever, the detail of it. I remember my parents came to me: "Michael, we think you need to get outside more." And I'm thinking, "Am I fucked up?"
Harriet Bay: Some people these days call energy like that ADD-kind of energy.
K. C. Hodenfield (first assistant director, various Bay films): I had started a softball team at Lucasfilm, and there was this whiny teenage kid who would come around with the president of the company's son, wanting to play in the games. So I gotta get this kid some playing time. Ends up it was Michael Bay.
Ian Bryce (producer, various Bay films): In 1980 I was parking cars at Lucasfilm, and Michael was a summer intern; he was filing Raiders of the Lost Ark storyboards in the photo department.
Bay: I was 15. The first thing I ever said to Steven [Spielberg] was, "I really thought Raiders of the Lost Ark was going to suck."
After high school, Bay moved across the country for an unlikely destination: Wesleyan University, a tiny liberal-arts school in rural Connecticut known for its antimainstream intellectualism. He did not fit in.
Fuller: I wonder if he'll admit this: we both did poorly on our SATs.
Harriet Bay: He probably has the lowest SATs of anyone who ever went to Wesleyan. But he's just not a good test-taker. He graduated magna cum laude.
Bay: Wesleyan was very cliquey. They all wore dark clothing, and they were always uggghhhhh.
Basinger: "All the film majors wore black! They liked death!" He sees them as one giant goth! Wesleyan was not a very big frat school, but Michael belonged to one.
Fuller: We were very outspoken that there's nothing bad about making commercial films, and we were certainly ostracized by some of our classmates for that. We both loved Risky Business.
Basinger: West Side Story—that film in particular captured his attention.
Bay: I thought, "Musicals? Ugh, what am I doing? I don't want to take a musical class. Sounds terrible." I loved it. It was all about form, style, how they use the medium. That's what I try to do with my action.
Basinger: That class was important to him, because he realized that you're not bound by reality in film if you don't want to be. And his work is about color and movement and a kind of abstraction and unreality that is found in musicals.
In Which Our Hero Narrowly Avoids "Movie Jail"
In the early 1990s, Bay quickly became a coveted music video and commercial director, amassing a body of work known as much for its sharp humor as for its bold pyrotechnics. Among his work: the original Got Milk? advertisement and an epic trio of music videos for Meat Loaf.
Bay: I knew exactly what I was going to do. I was going to do videos—that's when videos were fun. And then commercials—I was told, "Oh, you can only do one type of commercial. You can do sports. Or action. Or comedy." But I'm like, "I'm gonna do 'em all."
Tony Scott (director, Top Gun, Days of Thunder): Michael and I come from commercials, we come from videos. And what that means is, we're practiced in shooting on tops of mountains, underwater, with actors and non-actors, with models—we've created our craft, because we get to try things all the time.
Bay: This guy called me in from Capitol Records—he was a hard-ass marine, kinda scary in the meeting. He said, "If you can wrap this Donny Osmond video up for $165,000…" Meanwhile, I'm like two weeks out of school. The most I've ever spent is $5,000. I ended up getting paid $500. But I got to make my first thing.
Harriet Bay: I remember going out to watch him shoot it. It was in the Mojave desert, and there's like 200 people. It's this big deal. It was so exotic. It was the first time he got to use a helicopter. And he whispers in my ear, "Mom, can you believe I'm getting paid to do this?"
Fuller: The first time I saw Michael on a bigger set, he was doing a video, and there was the hottest blonde girl I've ever seen in my life, and she's got a wind machine on her. She's dancing, she looks hot, she's wearing a short skirt. He's shooting her from a low angle. And he looked at a few of us, and there was this look in his eyes, like he had reached nirvana. It was childlike wonderment.
Bay: Soon I got called by Propaganda Films. It was just a creative little hub making videos and commercials. It was David Fincher, Dominic Sena, Nigel Dick, Greg Gold. Fincher—at one point our offices were across from each other, and I always called his The Doom and Gloom Office because it was always dark. And I was "The commercial guy."
Robbie Consing (storyboard artist, various Bay films): I remember a lot of my director friends and bosses at the time were wary of Michael, this kid rising up so quickly, still in his early twenties. And those wary directors were only in their late twenties and early thirties themselves.
Bay: The offer to do Got Milk? came to me and I'm like, "Milk? That's embarrassing." When I did it, I was like, "This is a terrible commercial. I don't get it." It won the Grand Prix Clio for Commercial of the Year. I think it's an OK commercial.
Scott Gardenhour (producer): There was no question Michael would go on to do other things, and that they wouldn't be small.
Bay: I had gotten movie offers and turned them down. I took my time. They sent me Saving Private Ryan, but I wouldn't have known what to do with it.
Joe Pantoliano (actor, Bad Boys): I remember Don Simpson and Jerry Bruckheimer had this movie Bad Boys going. It was going to be Jon Lovitz and somebody else—
Jerry Bruckheimer (producer, various Bay films): Dana Carvey. We'd looked at a bunch of commercial directors because we'd had success with Tony Scott, and the one reel that stood out was Michael's. It had a wonderful sense of humor and a unique visual style—like nobody else. Michael did a test scene with Jon and Dana, but Disney didn't like the test.
Bay: Jeffrey Katzenberg didn't think it was funny. Maybe it was too goofy.
Bruckheimer: So we took the movie to Sony, and they wanted Arsenio Hall, because he was a big star at the time. I didn't think that was going to work. So then they said, "What about Martin Lawrence?"
Martin Lawrence (actor, Bad Boys): There were a few names [for the other lead]. Like Laurence Fishburne. I was riding down the street one time and I saw him, so I yelled out of the car, asking if he would do Bad Boys. Laurence Fishburne shook his head no. And then Michael kind of handpicked Will [Smith].
Bruckheimer: I think Arsenio turned it down, is what really happened. So we convinced them to use Will.
Will Smith (actor, Bad Boys): My first impression of Michael was that he was like…you know how at the go-kart races, there's always one kid who's got real wheels on his go-kart and everybody else got the plastic baby wheels? That one kid who always had it elevated? That was Michael. I think he had just done the Meat Loaf video—this guy had a plane crash in a music video. I was like, Damn.
Jennifer Klein (producer; former vice president, Bay Films): There was no script when they started filming Bad Boys.
Form: Well, there was a draft, but yes, there were new pages being slid under doors at night in the hotel.
Bay: I was fearful of movie jail. Movie jail is: you screw up your first time, you're never working again.
Bruckheimer: He pushed really hard—the first day of filming, he did like fortysome setups. A normal director—you get ten, if you're lucky.
Smith: The set, it was probably dangerous.
Bay: By week two, Martin was being a dick to me. And I was like, "What is this attitude?" He didn't trust the white man. That was the deal.
Lawrence: That's exactly what it was. You know, Michael—he has a certain bravado. One time he said to me, "I need your notes on the script," and I looked at him, I said: "Michael, yeah, I'll get the notes to you when I get to it." And he just looked at me with this blank stare like, "Oh, he did not."
Bay: [Eventually] I took him aside and said, "Dude, what's your deal? I'm busting my ass to make you look good, make you look funny. And you just keep belittling me." And then here's the speech, almost like it was ready to come out. He says, "I'm a black man that made it from nothing!" And I said, "You know what? I'm a white guy who made it from nothing, too. I grew up in the fuckin' Valley." Instant respect.
Lawrence: I had to get to know him. We grew to be the coolest.
Pantoliano: Michael would say, "Look, I only got $23 million, okay?
Form: It was only a $19 million movie. Which no one believes, but it's true. I have the budget.
Bay: Maybe I had $11 million.
Bruckheimer: Michael even had to write a check for an action sequence that Sony wouldn't pay for.
Bay: The scene where Martin shoots the guy out of the plane. I said to the line producer, "This is where the audience claps. This is the end of the movie." He was like, "I don't care. We're not doing the shot." He was just a studio flunky. I was literally going to punch him out.
Peter Devlin (sound mixer, various Bay films): The scene cost $25,000. That's a lot of money. I believe the studio cashed the check as well.
Bay: They used to watch dailies where you do the clap with the slate. So just to screw with them, I put the check [on the slate and wrote] TO COLUMBIA PICTURES, FROM MICHAEL BAY, $25,000.
Bruckheimer: He put his money where his talent is.
Bay: I didn't get the money back until the movie made like $60 million. And I had to beg for it.
Klein: There's this scene where Will Smith runs down a street, and at the first test screening in Lakewood, California, women were screaming because Smith's shirt is flying open. That was it. He was a star.
Bay: We had an argument about that shot.
Smith: He was like, "Oh, take your shirt off and run with the gun!" And I was like, "Come on, man. That's just on the edge of corny." But he can take things that you'd think of as corny, and make it supergalactic iconic.
Bay: I was like, "Look at this! You look like a movie star!" And he's like, "Shit, I do!"
Smith: That was the moment for me where I learned how important single images are. That single image took me from a comedic television actor to a potential movie star. The scripts that I started to get offered changed dramatically. It was the first time that I heard women react to me with an audible gasp. There was a transformation from the cute guy next door who could make you laugh to a guy who might be able to handle himself in a bar fight and a bedroom.
Klein: I don't know that anyone is a starmaker, but I think Michael has a knack for taking actors and actresses and elevating them to another level that they might not have known was within them. Will Smith, Ben Affleck, Nic Cage—like, before The Rock, what was he doing?
Bay: I didn't make him a star. Remember, he got the Oscar for Best Actor [for Leaving Las Vegas] when we were doing The Rock. Which wasn't a no-brainer. We had to do a lot of work on the script to make it more real and serious and cool.
Bruckheimer: On The Rock, we had Aaron Sorkin sending us pages almost every day because some of the scenes weren't working.
Bay: I was terrified of working with Sean Connery. I gave him my first great direction: I said, "Can you act less charming?"
Bruckheimer: He did a terrific job of getting Sean to loosen up. I shouldn't say loosen up, because he's pretty loose—getting Sean to accept some of Nic's craziness. I shouldn't say craziness—I should say his creative dialogue.
Bay: One day I showed up on set and Cage came out for a scene in his apartment dressed in a purple Speedo. And I'm like, "Oh, I get it. Okay. You don't want to wear the wardrobe because you want to show your muscles. OK, let's just get it all out in the beginning of the movie."
Bruckheimer: It wasn't always a cakewalk. Sean Connery's like another producer. He'll come out on set and say, "Why is that here? That crane's been out here for two days and nobody's using it. You're wasting money."
Bay: He kept calling me "boy." And one time he called me a "cock." [In Connery accent] "You cocksucker!" It was his last day of the shoot, and he didn't like holding his breath underwater. I had United States SEALs holding him down because there was a fireball going over the water, and if he came up, he would burn his face off. So whatever, he called me names.
In Which Armageddon Is Coming (to a Theater Near You)
Bay followed up Bad Boys and The Rock with Armageddon, about a giant asteroid on a collision course with Earth. Made for $140 million, the movie grossed more than half a billion dollars worldwide, and it cemented Bay's reputation as a popcorn superstar and critical Antichrist.
Bay: I took a geology course with this tectonic expert at Wesleyan. He said, "Calamities happen; it's the plumbers who will fix the world." So Armageddon—that's what it is, it's everyday Joes saving the world.
Matt Cohan (Vice President, Bay Films): I've heard him describe Armageddon—at least structurally—as a comedy, in the tradition of the old Laurel and Hardy or Abbott and Costello fish-out-of-water comedies.
Bay: It's supposed to be a joke. It's about making fun of the system.
Oren Aviv (Chief Marketing Officer, 20th Century Fox): How do you make the fact that the world is about to blow up seem like a lot fun?
Bruckheimer: We really tried to ground it in some form of reality—even though it's a fantasy. So we did a lot of research and asked scientists to work with our writers to get as much reality into the movie as possible.
Bay: The real story is, it's going to happen. Yes, we are going to have an asteroid hit us again, and yes, the earth will die. Absolutely, 100 percent positive.
Billy Bob Thornton: You know, what sets Armageddon apart from a lot of those big splashy movies is, it's actually pretty good. I mean, people love that movie; it's become kind of an American favorite. One of my lines is—I don't know if you'd call it iconic, but it's when I'm talking to the president and he says, "How big are we talking here?" And I say, "It's the size of Texas, Mr. President."
Matt Cohan: Armageddon was pretty notorious for having I don't know how many uncredited writers working on it, one of whom happened to be Robert Towne.
Roger Ebert, film review, July 1, 1998: "Armageddon reportedly used the services of nine writers. Why did it need any? The dialogue is either shouted one-liners or romantic drivel. 'It's gonna blow!' is used so many times, I wonder if every single writer used it once, and then sat back from his word processor with a contented smile on his face, another day's work done."
Bruckheimer: Owen Wilson definitely was Michael's idea. Michael saw Bottle Rocket; he said, "We gotta hire this guy."
Bay: [The first day] Owen came to the set an hour, hour and a half late. We put the PAs out on the Warner Bros. lot, said "Call me when you find him." On Armageddon, each day was a big expensive day, $250,000. I put my arm around Owen, who's a great guy. I said, "Owen, you know what, I worked with Sean Connery and I gotta tell you, he was never late." And Owen was never late again.
Klein: Ben [Affleck] was new on the scene. We put him through the Bruckheimer-Bay machine—like, You're no longer chasing Amy. You're going to have to go to the gym, get a tan, get a haircut.
Bay: Jerry had a problem with his teeth. "He's got baby teeth. I fixed Cruise's teeth. We're going to fix his teeth." So Ben got a beautiful set of teeth out of it.
Klein: I remember the first day of shooting in Kadoka, South Dakota, and [Ben] was wearing this spacesuit, and he was pissed. You couldn't go to the bathroom in it, it weighed however many pounds, you're sweating, so who are you mad at? Michael.
Affleck: I imagined [Michael] would be emblematic of everything big and Hollywood. I had come off Chasing Amy and Good Will Hunting, so I really had no idea what big Hollywood movies were like.
Thornton: I was sitting at the table read-through with Owen [Wilson] and Buscemi, and we were all sitting there kind of nervously. And Steve looks at me and goes, "What the fuck are we doing here?"
In Which Our Hero Discovers War Is Hell
By 2001, after three straight monster hits, Bay was the most coveted director in Hollywood. Now the hot-young-filmmaker script called for a bid for seriousness, an attempt to make an "Oscar movie." Pearl Harbor actually did end up winning one—for sound editing. It was also among the decade's worst-reviewed movies.
Dick Cook (former chairman, Disney): I think Pearl Harbor was one of the most difficult shoots of modern history.
Consing: One day, I was on the way to meeting with Michael on a battleship at Ford Island. Complete Bayhem. I passed a squadron of Zeros chasing two P-40 fighter planes forty feet above the deck, guns blazing, followed by the camera ship. Then watched fireballs exploding on a nearby frigate as burning stuntmen leaped into the water. Then saw another Zero come around and buzz our battleship as Cuba Gooding Jr. fired back with a .50 caliber fifteen feet over my head. It wasn't even 10 a.m.
Barry Waldman (producer, various Bay films): I think the studio tried to shut down the movie twice.
Cook: Michael was putting in twenty-hour days. And he was driving the crew and the performers and everybody crazy.
Waldman: We must have blown something up every day.
Hodenfield: We blew up hundreds of bombs, multiple ships out in the harbor. I had to shut down two interstates. I was like, Oh, my God—people are gonna think the Japanese are attacking again, 'cause we were gonna blow this place sky high.
Mike Case (Vice President, Bay Films): I remember being on that set and listening to his voice as a commander. All hell's about to get unleashed; these bombs are going to go off and these guys need cues. And right then and there, you saw him, almost like he was in battle.
Bay: It was dangerous. A plane hit a palm tree, the thing crashed, and the guy survived—miraculously survived.
Affleck: The script was good. The idea was to make the kind of movie that could have been released in the '40s—unironic, slightly naive—with new technology.
Kenny Bates (stunt coordinator, various Bay films): Michael Bay is not gonna tell a love story. It's not because he doesn't care; it's because that's not part of who he is. He's not a terribly sensitive guy. But he's a great filmmaker.
Hodenfield: Michael was saying he was gonna go about the movie differently—he was gonna hold shots longer, he wasn't gonna move the camera as much. This was gonna be like a classic movie. The first day we started shooting, he wasn't using his fast-moving, fast cuts, low shots—his bag of tricks—and it was like watching an Italian speak without his hands. By lunchtime, we're making a Michael Bay movie, in the Michael Bay style.
Bay: I don't change my style for anybody. Pussies do that.
Roger Ebert, film review, May 25, 2001: "The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialogue, it will not be because you admire them."
Bay: It got pounded by critics. It's funny with them. You are making entertainment. People get so angry about it.
Basinger: I think this kind of thing hurts Michael a lot. He says it doesn't. But I think the ferocity of the animosity aimed at him has shocked him and hurt him.
Bruckheimer: You'd like to get good reviews, but the only reason I still have an office and a parking space at Disney is our movies do well.
Hodenfield: Honestly, I felt like that movie took some years off my life.
Bay: It was successful. It had a huge opening day, then it started dropping off. But it made $450 million. They said it was not a hit. It was a hit. And then the DVD came out after 9/11 and it became a massive, massive DVD—the largest of all-time, at that time. Because all of a sudden it was cool to be patriotic again.
Shia LaBeouf (actor, Transformer series): It's the casting. With a different cast, Pearl Harbor would be considered a masterpiece.
In Which Our Hero Transforms
The Island, a sci-fi movie starring Scarlett Johansson and Ewan McGregor, became the only true commercial flop of Bay's career. The 2005 film cost $126 million and made just $36 million in the U.S. For the first time, he needed a hit.
Adam Goodman (President, Paramount): Transformers are essentially cars that change into robots, and who better at shooting cars than Michael Bay?
Spielberg: I couldn't think of a better director to turn a truck into a robot and make us believe it was really happening.
Brian Goldner (CEO, Hasbro): He knew that Transformers existed; he knew that they were robots and cars, but he didn't know all the mythology.
Bryce: I think Michael would be the first to say that he didn't get it in the beginning.
Bay: I thought it was a dumb idea.
Josh Duhamel (actor, Transfomers): Michael poked his head [into a meeting] to say hello and started telling me about his next project, a movie called Transformers. And I go "Transformers? Like the cartoon from the '80s?" and he's like "Yeah, yeah," and he's all excited about it. And I was thinking, This is the worst idea ever.
Alex Kurtzman (screenwriter, Transformers series): It's about a boy who's really obsessed with getting a car. That's when we saw Michael's eyes light up like he was a 12-year-old again.
Spielberg: It was Michael's sense of humor that would allow audiences to take Transformers just seriously enough.
Goodman: It became Michael's mission to make the most pop, commercially successful movie he could, because he wanted to. And because he needed to.
Bay: Steven wanted me to do it. It was, like, a kiddie script. He goes, "Michael, I wanna be your new Jerry. How do I compare to him?" So funny. He's like a kid.
LaBeouf: When I met Mike, I was a seventeen-year-old boy. He was my fucking god.
John Frazier (special-effects supervisor, various Bay films): I went up to Shia one day and I said, "You just made history. You were involved in the biggest explosion for a motion picture with an actor. You were in it. Usually, you have stunt people in there." Five thousand gallons of gasoline. Probably one hundred sticks of dynamite. You only see that stuff in Michael Bay movies. Nobody else does that stuff.
Kurtzman: [Transformers: Revenge of the Fallen] was a very different experience for all of us, because we agreed to do the movie about two weeks before the writer's strike. So we had those two weeks to outline the story, and then the strike happened and we couldn't continue.
LaBeouf: Everybody felt like, "Well, if there's anybody to do this again, it's the guys who wrote the first one, because the first one's fantastic." We were forced on this fucking script because we had a release date.
Orci: I remember there was a huge pressure—and not just from the studios—to make our date, but also from Michael himself.
Kruger: He wasn't thinking so highly of writers at that moment.
Orci: When we got back from the strike, he locked us in a golden jail. He locked us in the Del Mar Hotel on the beach six blocks from his office so that he could have surprise inspections at any moment.
Kurtzman: It was simultaneously pressure-filled and amusing, you know?
Bryce: Mike, being the center of everything, had to bear the burden of helping to craft a script that we could then shoot. Because once you commit, you've got a release date that's driving the train. So there was no turning back.
Bay: It was a very bad way to make a movie. We were stuck in a bad time in Hollywood. And as a director you feel bad because these people are so loyal and they have families. Transformers gives 2,000, maybe 2,500 people jobs.
LaBeouf: On that second one, we were in New Mexico, and I'm supposed to stab this spear into Optimus's chest—which is a big blue mound. And there was moisture all over this blue tarp, and I kept slipping. We did one take where I slipped and the spear went into my eye above my retina.
Bay: Oh, I went down to my knees. I thought he lost his eye.
LaBeouf: This liquid started dripping down my face. They thought maybe I had popped my eyeball. I look at Mike, and he drops to his knees and puts his hands over his eyes and starts crying. That's when you know the dude loves you.
Bryce: I think many of us preferred the heart and soul of the first movie.
Kurtzman: It was definitely a disappointment for all of us.
LaBeouf: I remember being in London with Mike at the premiere, and I remember coming out of the premiere—and the audience reaction was incredible, actually. It was a really, really solid audience reaction: standing ovation and all that, and we get out, and Mike had this sort of demeanor—he looked fractured.
Bay: You sometimes have to find your way with franchises.
Hodenfield: Nobody makes a better popcorn movie than Michael Bay. But you're eating that popcorn and drinking your Diet Coke, and after two and a half hours you're gonna have to get up and pee.
Julie White (actor, Transformers series): He's just trying to make a fun popcorn movie for you, so? So it's twenty minutes too long. Get over it.
Josh Greenstein (Co-President, Marketing, Paramount): In terms of negative attention, I think that's overblown. The audiences loved the movie. Whether critics did or not, that's another story, but the movie played and ended up grossing over $400 million.
Turturro: I thought Two was good. I liked it better than One. A lot of people I know feel that way.
White: After that second movie, I couldn't read anything about it, because the attacks on him seemed so personal. It felt like the critics were all the geeks in high school who had hated the guys who played football or something.
Bay: I did Transformers: Dark of the Moon because the studio president came to me, he says: "I'm going to get fucking fired." I really looked him in the eye, and I'm like, "It's a lot of work."
Rob Moore (Vice Chairman, Paramount): That conversation was part of a trip that Adam [Goodman], Michael, and I took to Las Vegas. We were very motivated for him to do the movie and he wasn't sure. What specifically we said? I think there's an expression, What happens in Vegas, stays in Vegas. It seems like Michael has broken that rule.
Bay: I'm not going to sit in my house by myself—what am I going to do? Leading the fat cat life—I don't want to do that. I'd rather go back in the trenches.
In Which We Learn There's a Man Inside the Machine
LaBeouf: I've only seen Mike with two women in the six years that I've known him. He wants a family and has the heart for it.
Case: He's kind of the Warren Beatty of our generation.
Roger Barton (editor, various Bay films): My wife tries to limit my outings with him.
Jon Voight (actor, Pearl Harbor, Transformers): He has his girlfriends, all of that stuff. He's an active guy with his gals.
Bay: Well, it was only two [blonds]. But that was two in a row. Normally I don't go out with blonds.
Harriet Bay: I said, "Oh, Michael, I guess you're going to be like Warren Beatty. He didn't get married until he was fifty." So Michael feels he's got three more years to go.
Bay: It's about finding a wife. I've had a lot of great girlfriends.
White: I just can't see him with somebody over 35.
Bay: I'm a serious guy, but I don't take myself so seriously. Some people are so serious.
Greenstein: That Verizon commercial he did about himself? It's fucking hilarious. That's the real Michael: he is really funny. There's always a little bit of a wink to how he feels about this persona that's out there about him.
White: He is extremely passionate about getting it right and making it cooler. And sometimes—to his own detriment—making it bigger, bigger, bigger!
Bay: They make up words like Bayos and Bayhem and all this crap.
Bates: Through the years, his sentences are getting shorter. Incomplete sentences.
Calvin Wimmer (editor, Transformers series): All the words are English, but you have no idea what it is he's talking about. And you gotta go find the people that were nearest around him at that time and try to figure out: "Okay, so this is what he said—what does this mean?" Because it comes so fast.
Turturro: Sometimes it's hard because he doesn't always explain himself. His brain is moving so fast.
Barton: After one of these downloads, I find I need a couple minutes to myself, because I've got a note or a paper full of chicken scratch, which are word fragments because he was talking so fast.
Wimmer: You have to decipher the Bayroglyphics.
Joel Negron (editor, various Bay films): I think the recurring editorial theme is: Guess. But guess correctly.
Kruger: Just when you think he's really upset about something, he'll get off the phone having screamed. He'll throw down the phone and just with a smile, say, "That should get their attention." He's very self-aware.
Bay: The persona comes from…I'm a frank guy.
John Malkovich (actor, Transformers: Dark of the Moon): You know, it's an incredible amount of pressure. And sure, somebody could say "He's a junkie for that," or "He likes the authority," but I always think, God, that must be so lonely.
Bay: Some nights I sleep like a baby. Other nights it's, Oh God, I just came up with a bomb shot.
Tyrese Gibson (actor, Transformers series): Sometimes, we'll be hanging out, and Michael just leaves mentally. You can tell, like, he's looking at you, but he's looking through you. His mind is somewhere else. He's thinking about a camera angle, some kind of visual effect.
LaBeouf: Mike is a vulnerable guy. He's the guy who laughs at a joke, then asks you why it's funny.
Lawrence: He challenges you to be better, and if you try something and it's not funny or it's not what he's looking for, he will look at you with a blank stare, like, "I don't get it."
Scarlett Johansson (actor, The Island): I ran into him leaving a party once and asked him if I could be the Easy-Bake Oven Transformer. He looked at me in all seriousness and said, "There isn't one."
In Which the Damsel Calls Our Hero "Hitler"
Before filming began on Transformers: Dark of the Moon, controversy struck. In an interview with the British magazine Wonderland, star Megan Fox said Bay "wants to be like Hitler on his sets, and he is. So he's a nightmare to work for."
Kruger: She was there for rehearsals. But she seemed like an actress who didn't want to be a part of it. She was saying she wanted to, but she wasn't acting like it.
Bay: She was in a different world, on her BlackBerry. You gotta stay focused. And you know, the Hitler thing. Steven [Spielberg] said, "Fire her right now."
LaBeouf: Criticism is one thing. Then there's public name-calling, which turns into high school bashing. Which you can't do. She started shit-talking our captain.
Bay: I wasn't hurt, because I know that's just Megan. Megan loves to get a response. And she does it in kind of the wrong way. I'm sorry, Megan. I'm sorry I made you work twelve hours. I'm sorry that I'm making you show up on time. Movies are not always warm and fuzzy. [Editors note: Fox declined to comment for this article.]
Bryce: On the plus side of the column, Rosie has done an enormously wonderful job for being a newcomer.
Bay: Listen, I mean, Rosie came in and she would say hello to the crew. She would acknowledge the crew. She'd say thank you.
Rosie Huntington-Whiteley (model/actor, Transformers: Dark of the Moon): I was really grateful to everybody, from the people on the catering department to the camera boys to the producers to Shia.
Julie White (actor, Transformer series): I texted [Megan] and was like, "Come back, Lassie!" Because I think she's magic. She is the My Little Pony of Transformers.
Bay: She sent me a text three months ago. She said "I hope you're doing well." I responded, "Who is this?" She goes, "Megan, you dork!" I said, "Oh, well, thank you, hope you're well." When you're days and months on a set, it's like a family. You say rude things and you make up. Like, we were shooting a scene in front of the space shuttle and Shia called me a "cocksucker."
LaBeouf: Sometimes to make [a scene] real for me, I need to mindfuck myself. And part of that is having a speaker on set with an iPod plugged in so I can conjure emotions. And some of the songs that I like to play, Mike's not going to have it.
Bay: So Shia's gonna do his emotional scene. He gets out of his car and says, "Michael, you're gonna start with me first." And I said, "No, we're gonna start this way. This is a space shuttle! The United States of America! The last one to be launched!"
LaBeouf: So I'm playing my song and he finally says to me, "No, we're not going to play that song." And he puts on some orchestral Batman soundtrack shit. Not for me, you know?
Bay: Then he called me a "cocksucker." But I knew that he had just broken up with his girlfriend. So I didn't go after him. I just said, "That's rude. Don't call me that."
LaBeouf: It was probably the worst argument I've ever had with a co-worker—under a spaceship, screaming at him, "You motherfucker!" All this insanity. Really crazy stuff that I don't feel comfortable repeating, actually. Really gnarly.
Bay: So I ignored him for three days, and that just drives him nuts. "Mike, I'm so sorry! I'm so sorry!" I've had to do a little parenting with Shia, but he's a great kid.
LaBeouf: And then you pull your pants up and you get back to work.
In Which We Learn Our Hero Is, Okay, Yes, a Bit of a Tyrant
Johansson: He can be merciless at times, yet surprisingly sensitive.
Smith: One day he comes to our trailer and says, "Can you guys step out here for one second?" So we go, and he points up to the sky and says, "You see that big fucking orange thing? When that goes down, this scene's over. So I don't give a fuck what you say—just make sure you say it in my shot."
Bryce: He is a machine, but he recognizes that he doesn't want to be.
Lawrence: I mean, he's like the mad scientist.
Basinger: And of course, he's a screamer.
Form: The building shakes.
Smith: He's a yeller, but he's not really a fighter.
Michael Clarke Duncan (actor, Armageddon): He's like one of those Chihuahuas that's always barking.
LaBeouf: He's got to be a motherfucker. Because there's 90 people marching to the beat of his drum, and there can't be any indecision. And so it's a character that Mike puts on; he's very smart, and you need that guy to make these movies.
Tyrese: He's got this thing in his head, man, he doesn't want to give me too many compliments.
Kruger: High praise from Michael on an action sequence will be, "That's pretty good."
Bates: If he doesn't eat, he just goes south. If you don't get a peanut butter and jelly sandwich in him, he has a meltdown around lunch hour.
LaBeouf: He's not at all this alpha male, this machismo legend shit—he's not any of these things. You know what he is? New York. If you can make it on a Bay set, you can make it on any set.
Hodenfield: We all have tried over the years to anticipate what [he wants], but after a certain point you get tired of being told you're dumb.
Waldman: He said to me once, "You look familiar. Haven't we met?" I told him I was second unit on Bad Boys, and he said, "Oh, I remember you. You sucked."
Bates: He's just a real pain in my ass—and you can write that. I love him like my brother, but I don't talk to my brother. We call him socially retarded sometimes.
Harriet Bay: I think people would like me to tell horror stories, like he was this devil. But he's really a good kid.
Additional reporting by Lauren Bans, Mark Byrne, Christopher Swetala, and Nurit Zunger.


text:
News Wrap: Pompeo denies reports of rescued Kremlin mole
Clip: 09/10/2019 | 4m 56s
In our Tuesday news wrap, Secretary of State Mike Pompeo called news accounts that a CIA informant was rescued from Russia in 2017 "factually wrong." Sources had reported the Kremlin mole had been in danger after exposure of Russian interference in the 2016 elections. Also, search teams in the Bahamas discovered more bodies in Hurricane Dorian's wreckage, pushing the death toll to at least 50.
Aired: 09/10/19
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