Justice or Just Us

New York Times: Who Protected Jeffrey Epstein?

Mr. Epstein is not the only one due a reckoning with justice.
By The Editorial Board


At first glance, the Epstein saga looks like another example of how justice is not, in fact, blind — of how it tilts toward the powerful at the expense of the vulnerable. Mr. Epstein, who has claimed to have made his fortune managing other rich people’s money, was not just wealthy; he was politically and socially wired, hobnobbing with such boldfaced names as Prince Andrew, Bill Clinton and Donald Trump.
He donated tens of millions of dollars to institutions like Harvard University, which he never attended but where he financed construction of a campus building and formed strong connections to faculty members and administrators. He is also known for having amassed a quirky “collection” of scientists, in whom he liberally invested over the years.

Upon closer examination, this case offers an even more warped picture of justice. Mr. Epstein retained a cadre of high-price, high-profile lawyers who went after prosecutors with everything they had — at least according to Mr. Acosta. In 2011, facing criticism over the plea agreement, Mr. Acosta complained about having endured “a yearlong assault” by Mr. Epstein’s legal sharks. During his 2017 confirmation hearings to become labor secretary, Mr. Acosta claimed to have forged the best deal possible under the circumstances.
That is hardly comforting. It betrays a system in which the rich and well-connected can bully public officials into quiescence — or into pursuing a deal so favorable to the accused that it runs afoul of the law.
Neither should Mr. Acosta and his former team members be allowed to wave off the tough or awkward questions that are likely to arise going forward. Under pressure from Congress, the Justice Department has opened a review into the handling of the case, and last Wednesday a federal appeals court in New York ordered the unsealing of up to 2,000 pages of related documents. Already, distressing new details are surfacing in the case. Most notably, when Mr. Epstein’s Manhattan residence was searched over the weekend, according to a court filing from prosecutors, law enforcement officials recovered “hundreds — and perhaps thousands — of sexually suggestive photographs of fully- or partially-nude females,” some of which “appear to be of underage girls.”
In his request that Mr. Epstein be held without bail, the United States attorney for New York’s Southern District, Geoffrey Berman, noted, “The defendant, a registered sex offender, is not reformed, he is not chastened, he is not repentant.”
Whatever new details emerge, whatever new participants may be implicated, whatever public officials are found to have failed in protecting Mr. Epstein’s victims, the time for secrecy and excuses and sweetheart deals is over. Mr. Epstein’s victims have waited long enough for answers, and they deserve justice.


Monday Jazz, com a Bossa Nova

From a comment in my Twitter feed:
“You may not know the composer but you know the song”
The Composer was João Gilberto and the song “Girl From Ipanema”
But Gilberto was more than that one song, He created a new genre of music, Bossa Nova, and brought the dance beat back to Jazz

Gilberto passed away last week at age of 88, in his life he left his mark on the music of Brazil and the world

The following are from the 1965 Grammy Jazz record of the year, Getz/Gilberto a collaboration between Gilberto and Jazz saxophonist Stan Getz

For a smooth mellow Monnday morning, enjoy.

From NPR
João Gilberto is credited by some with writing the first bossa nova, or new beat. This mid-20th century musical gift to the world drew on Brazil’s African-influenced samba tradition, but was performed without the usual battery of drums and rhythm instruments, and at much lower volumes. Gilberto’s intimate and nuanced style of guitar playing and singing, eventually central to the bossa nova sound, were reportedly developed in 1955 when he sequestered himself inside of a bathroom at his sister’s house so as not to disturb her family and to take advantage of the acoustics provided by the bathroom tiles.
In the mid-1950s, Brazil was in the midst of a post-WWII modernization inspired by a new president who wished to move the country out of third world economic status. Gilberto’s “Bim-Bom,” often named as the first bossa nova song, came from that period, and soon thereafter, the style began to sweep Rio’s cafe’s and bars. Bossa nova’s sophisticated sound became popular with a new moneyed class eager to move away from the more traditional samba sound of explosive drums and group singing. Rio de Janeiro was ground zero of the country’s cultural explosion; Gilberto, composer Antonio Carlos Jobim and poet Vinicius de Moraes were the key architects of a culture shift that forever changed their country’s musical point of reference.


Sunday Jazz

From Wikipedia

Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks, and his light-hearted personality provided some of bebop’s most prominent symbols.
In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz.
He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.
Scott Yanow wrote, “Dizzy Gillespie’s contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis’s emergence in the 1970s that Dizzy’s style was successfully recreated [….] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time”.