The means of transfer were deliberately complicated, in order to hide the money’s origins, or low-tech, to keep it off the books. Huge sums were deposited in Swiss bank accounts, or laundered via overseas property deals or smaller companies. Everyone connected to the deals received a bribe, in cash, or sometimes in the form of luxury cars, expensive art works, Rolex watches, $3,000 bottles of wine, yachts and helicopters. But it wasn’t just politicians who benefited. The main objective of the racket – which fleeced taxpayers and shareholders out of billions of dollars – was to fund election campaigns to keep the governing coalition in power. Photograph: Evaristo Sa/AFP/GettyĪfter diverting millions of dollars into those funds, Petrobras directors then used them to funnel money to the politicians who had appointed them in the first place, and to the political parties they represented. Oil executive Nestor Cerveró, whose arrest marked a turning point in the Car Wash corruption investigation. The contractors they were paying had formed an agreement to ensure they were guaranteed business on excessively lucrative terms if they agreed to channel a share of between 1% and 5% of every deal into secret slush funds. Under questioning, Costa described how he, Cerveró and other Petrobras directors had been deliberately overpaying on contracts with various companies for office construction, drilling rigs, refineries and exploration vessels. This link led prosecutors to uncover a vast and extraordinarily intricate web of corruption. But police soon realised they were on to something bigger when they discovered that the doleiros were working on behalf of an executive at Petrobras, Paulo Roberto Costa, the director of refining and supply. Launched in March 2014, the operation had initially focused on agents known as doleiros (black market money dealers), who used small businesses, such as petrol stations and car washes, to launder the profits of crime. It would also expose a culture of systemic graft in Brazilian politics, and provoke a backlash from the establishment fierce enough to bring down one government and leave another on the brink of collapse. The case would go on to discover illegal payments of more than $5bn to company executives and political parties, put billionaires in jail, drag a president into court and cause irreparable damage to the finances and reputations of some of the world’s biggest companies. At first, the press described it as the biggest corruption scandal in the history of Brazil then, as other countries and foreign firms were dragged in, the world. The investigation that led to Cerveró’s arrest – codenamed Lava Jato (Car Wash) – was about to uncover an unprecedented web of corruption. There was little reason to think this case would be any different. Decades on the force had taught him how quickly the rich and powerful could wriggle off the hook. Ishii, too, had few illusions that his suspect would be locked up for long. In October 2003, Pizzarelli led a 40-piece orchestra at New York's Radio City Music Hall in a live theatrical stage production of Sinatra: His Voice, His World, His Way.Cerveró called his brother and a lawyer. He later ventured out on his own, forming the John Pizzarelli Trio in 1992. At age twenty, John began his professional career alongside his famous father. Hanging out with his dad, the young Pizzarelli was exposed to all the great music of the era. Pizzarelli has been playing guitar since the age of six, following in the tradition of his father, jazz guitar legend Bucky Pizzarelli. The recording features string and flute arrangements by Don Sebesky. Produced by Russ Titelman, the project includes Paulinho Braga, who played drums with Jobim for many years, vocalist Daniel Jobim (Jobim's grandson) and Cesar Camargo Mariano, who produced, composed and played on many great Brazilian records, most notably with Elis Regina. His album offers five classic Antonio Carlos Jobim songs, including "One Note Samba," "The Girl from Ipanema," "Waters of March," "Só Danço Samba" and "Desafinado" a jaunty adaptation of Gershwin's "Fascinating Rhythm" a pair of Pizzarelli originals, "Francesca" and "Soares Samba " and fresh interpretations of James Taylor's top 40 hit "Your Smiling Face" and Broadway songwriter Stephen Sondheim's "I Remember."
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