friendship

During a trip to the Middle East marking the end of Israel’s war on Gaza, United States President Donald Trump turned to another source of strife in the region: the tensions between Tehran and Washington.

In remarks to the Israeli Knesset on Monday, Trump, who took the unprecedented step of bombing Iranian nuclear facilities earlier this year amid a 12-day war between Israel and Iran, offered a “hand of friendship”.

“We are ready when you are, and it will be the best decision that Iran has ever made, and it’s going to happen,” Trump said of a possible agreement with Tehran.

“The hand of friendship and cooperation is open. I’m telling you, they [Iran] want to make a deal. It would be great if we could make a deal.”

But despite the dovish rhetoric, the Trump administration has continued to take a hard line against Iran, and analysts say that a path towards better relations between the two countries remains filled with obstacles.

Trita Parsi, executive vice president of the Quincy Institute for Responsible Statecraft, a US-based think tank, said that the Israeli and US attacks in June, which came as nuclear negotiations between Washington and Tehran were ongoing, undermined advocacy for diplomacy in Iran.

“There’s a perception that the US is using diplomacy to lull Iran into a false sense of security,” Parsi said.

‘Iran is open to a deal’

Iran itself has not closed the door to diplomacy, but its leaders have not rushed to renew talks with the US, either.

“If we receive a reasonable, balanced, and fair proposal from the Americans for negotiations, we will certainly consider it,” Iranian Minister of Foreign Affairs Abbas Araghchi said during a television interview on Saturday.

Iran had rejected an Egyptian invitation to attend a summit on the war in Gaza in Sharm el-Sheikh on Monday, citing US attacks and sanctions.

Talks over Iran’s nuclear programme have not resumed since the Trump administration’s bombing of Iranian nuclear facilities. Israel started the war in June, days before the US and Iranian officials were set for another round of talks.

The US, which during Trump’s first term in 2018 withdrew from a previous deal limiting Iran’s nuclear programme, has also insisted that any new agreement include a total ban on Iranian uranium enrichment.

That demand goes beyond the original deal, known as the Joint Comprehensive Plan of Action (JCPOA), which only curbed Iran’s uranium enrichment programme under a strict international inspection system.

Iran has depicted that new demand as a denial of its rights as a sovereign country, noting that the Treaty on the Non-Proliferation of Nuclear Weapons (NPT) does not prohibit uranium enrichment.

The impasse over enrichment has become a sticking point in negotiations.

“Iran is open to a deal,” Parsi told Al Jazeera. “But regardless of Trump’s positive tone and kind words, what he is looking for is for Iran to capitulate. As long as he insists on zero enrichment, I don’t think he will get a deal.”

Israel’s war with Iran, which included Israel’s assassination of high-level military figures and civilian nuclear scientists, as well as air strikes that killed hundreds of people, has also increased scepticism about the prospects of a lasting deal with the US.

In a speech to the Knesset on Monday, Israeli Prime Minister Benjamin Netanyahu lauded the US decision to bomb Iran during the war as a “biblical miracle”.

Since the beginning of the war in Gaza, Israel has struck a series of blows against Iran and allied groups, such as Hezbollah, across the Middle East, leaving it significantly weakened and giving the US little incentive to make concessions on uranium enrichment and other issues.

Trump often reiterates that Iran’s nuclear programme has been “obliterated” by the US strikes on key facilities, but the extent of the damage remains unclear.

The Pentagon said earlier this year that the Iranian nuclear programme had been set back by one to two years. But Rafael Grossi, the head of the United Nations nuclear watchdog, the International Atomic Energy Agency (IAEA), has said that Iran could be enriching uranium again within months.

Trump can ‘let Iran sweat’

Iran insists that it is not seeking a nuclear weapon, while Israel is widely believed to possess an undeclared nuclear arsenal.

Gregory Brew, an Iran analyst at the US-based Eurasia Group, argued that time is on Trump’s side in the confrontation with Iran.

“Trump can sound optimistic about diplomacy, but he can also afford to wait and let Iran sweat,” Brew told Al Jazeera via email.

“With its nuclear programme in ruins, and with new Israeli strikes likely if Iran takes steps to rebuild the programme, [Supreme Leader Ali] Khamenei and the rest of the leadership don’t have many good options.”

Iran is also facing renewed sanctions from the UN after France, Germany and the United Kingdom triggered a so-called snapback of sanctions in August, arguing that Iran had violated the terms of the JCPOA.

Tehran countered that the US unilaterally withdrew from the agreement in 2018, and called another deal allowing inspections of its nuclear facilities by the IAEA “no longer relevant” after the US and Israeli strikes.

Iran was incensed at the IAEA for failing to condemn strikes against its nuclear facilities, which Tehran argues are protected under international law.

“There’s no upside for Trump in resuming talks without Iranian concessions, and there’s currently little downside in letting pressure build, as Iran has been weakened to the point that its ability to threaten Israel or US interests in the region is fairly limited,” said Brew.

“Trump may be willing to let the matter rest for a few months to see if increased economic pain forces Iran back to the negotiating table on favourable terms.”

Sept. 24 (UPI) — The National Park Service on Wednesday removed bronze-colored statues of President Donald Trump and convicted sex offender Jeffrey Epstein holding hands and frolicking on the National Mall in Washington, D.C.

The papier-mache and paint statues were erected on Tuesday by an anonymous group called The Secret Handshake, UPI reported. The statues were near U.S. governmental buildings with the Capitol in the backdrop.

“We celebrate the long-lasting bond between President Donald J. Trump and his ‘closest friend,’ Jeffrey Epstein,” the middle plaque reads. “There must be more to life than having everything.”

A member of the group behind the statue told MSNBC that U.S. Park Police took down the statue around 5:30 a.m. EDT, although they had a permit that allowed them to remain through Sunday evening. CNN also confirmed the removal.

The group said it had initially been told it would be given 24 hours’ notice if the administration wanted it removed.

“Instead, they showed up in the middle of the night without notice and physically toppled the statue, broke it and took it away,” the group said.

The permit is for a 6-foot-tall statue, but the display is taller than that when combined with its base, which is almost as tall.

A spokesperson for the Department of the Interior, which oversees the Park Service, told MSNBC, “the statue was removed because it was not compliant with the permit issued.”

In a statement to Time magazine, the White House said, “Liberals are free to waste their money however they see fit — but it’s not news that Epstein knew Donald Trump, because Donald Trump kicked Epstein out of his club for being a creep.”

Trump is displayed with another plaque quoting the infamous 50th birthday card to Epstein, which reads in part, “A pal is a wonderful thing. Happy birthday — and may every day be another wonderful secret.”

Epstein’s plaque reads: “Nor will I, since I also know what it is. Yes, we do come to think of it. As a matter of fact, it was clear to me the last time I saw you.”

Epstein died by suicide in jail on Aug. 10, 2019, while awaiting trial on federal charges of sex trafficking. He had been convicted on state charges of soliciting prostitution in Florida in 2008.

Tourists stopped before the statues out of curiosity and lined up to take photos.

“I think it’s a really good reminder about how artists are the ones that always push back on fascists first, on fascist governments,” D.C. resident Matt Gordon told UPI on Tuesday.

“This is a hoot,” D.C. resident Lelaina Brandet also told UPI. “It seems there’s other daily distractions, whether calling a marginalized group a terrorist organization or attacking some random vote to distract from what pretty much everybody from both sides wants — which is to see the release of the Epstein files.”

One week ago, a 12-foot golden Trump statue whose faceplate called him the “Bitcoin president” was displayed anonymously at the same location for about a day before being taken down.

“It is great to have these artists that keep pushing the focus of ‘Hey, let’s not forget this is what America wants right now.’ We love it. It’s fantastic,” resident Brandet said.

In 2024, the group’s “The Resolute Desk” and “The Donald J. Trump Enduring Flame” statues went viral. In June, their “Dictator Approved” statue and another of a golden television appeared.

“Before this, they’ve never been anything but friendly to work with,” Patrick and Carol Flaisher, an independent contractor who files the group’s permits, told CNN.

The group said they were able to view the removed statues. Trump’s head was split in half.

“It’s a great example of where we’re headed in this country when it comes to freedom of speech,” Patrick said.

Last week, a giant banner with Trump and Epstein was unveiled on the lawn outside Windsor Castle, where Trump was hosted by King Charles III and Queen Camilla. The banner was removed before Trump arrived in Britain.

Protesters then projected images of them on the walls of Windsor Castle. Also targeted was Prince Andrew, who was associated with Epstein.

Only John Williams could have put me in the orbit of one of history’s most famous basketball players. Kobe Bryant, like so many others, was a huge fan of Williams’ music; he befriended and sought out the composer for career advice and, when he made his post-athletic pivot to filmmaking, hired Williams to compose a short score.

And because I cover film music for a living, I was able to interview Bryant — along with Williams and Disney animation legend Glen Keane — for The Times in the spring of 2017. I even got to meet Bryant in person, backstage at the Hollywood Bowl, when he rehearsed his narration of “Dear Basketball” at an all-Williams concert. It was an obscenely hot day, and I waited outside Bryant’s dressing room while they finished drying his sweat-soaked shirt with a hair dryer before he came out and cheerfully shook my hand.

I gave Bryant and “Dear Basketball” a fair amount of real estate in my new book, “John Williams: A Composer’s Life,” not because of his fame or athletic prowess, but because I feel that his short film inspired one of Williams’ most beautiful works of the last decade, and also because there was something poetic and moving about the whole affair, and about saying goodbye to the thing you love the most — especially as the film became a kind of eulogy for Bryant after his untimely death in 2020.

[The below excerpt is from Tim Greiving’s “John Williams: A Composer’s Life,” out Sept. 2. Greiving is a frequent contributor to The Times.]

Tim Greiving

(Laura Hinely)

Kobe Bryant, the 18-time NBA All-Star, was an unexpected admirer of John’s music: as a boy, Bryant would tie a towel around his neck and run around to the theme of Superman; as a player, he used the Imperial March to hype himself up before games; and as a father, he would rock his infant daughters to sleep on his chest listening to Hedwig’s Theme. The six-foot-six athlete from Philly could hardly have been less like John, but he recognized mastery when he heard it. “I asked myself a question,” Bryant said: “What makes a John Williams piece timeless? How is he using each instrument? How is he using the space between them? How is he building momentum, and then how is he taking it away to build it again?” As a basketball player, Bryant said he was “essentially conducting a game,” “so I just wanted to talk to him about how he composed music and try to find something similar that I can then use to help my game as a leader and winning championships.”

Bryant first contacted John for counsel just before the 2008 NBA season. “The first thing I told Kobe was, I’d never seen a basketball game,” John confessed. “High school, college, professional, or television. And of course he laughed.” “But once I had told him my reason for reaching out to him,” Bryant said, “he saw the connection immediately…If we look in our same industry and we just look at things from that funnel, then you wind up essentially recycling information. So sometimes you look outside of that discipline to have a new point of view, a new perspective on it. [John] was digging it.”

They continued to see each other over the years, with Bryant often visiting John backstage after shows at the Hollywood Bowl. When Bryant retired from basketball in 2016, he turned his attention to entertainment. He wrote a sentimental open letter, “Dear Basketball,” as a retirement announcement, and one of his first post-game projects was turning that text into a short film. He wanted it crafted by undisputed masters of their fields, so he commissioned Disney animation veteran Glen Keane— who designed and animated Ariel in The Little Mermaid, among other achievements— and he asked John to write the score. The first thing John said to Bryant was, “I do classical pieces, and it’s all by hand,” almost as a warning. Bryant answered: “The piece will be hand-animated by Glen Keane, who is you in the animation space. I want it to have the human touch. I don’t want it to be poppy, I don’t want it to be hip-hoppy. I want timeless, classical music.”

Somehow, these three disparate artists—with two decades between each of them—hit it off. Keane was an avid fan of Lost in Space growing up in the 1960s, and when he told John how much he loved the music, John was completely embarrassed. “But it’s wonderful, John!” Keane said. “It held the promise of wonder and excitement and fun and quirky and scary and dangerous, and it was all in this one score. And John— the roots of your entire career are in that score.” Keane asked if he could play some of the old music. John said, “No, please don’t!” “No, I really gotta play it for you,” Keane insisted. “So I did.” The unlikely trio sat around a table in Keane’s office “and we just talked,” said Bryant. “John talked about how [the letter] made him feel, Glen how it makes him feel, and we all centered on the same thing, which is why I wrote it in the first place: the beauty of finding what it is that you love to do, and then finding the beauty of knowing that you will not be able to do that forever. Once they saw the nature of the piece, there was really nothing else to discuss.”

(Oxford University Press )

Keane illustrated the five-minute film with graphite on paper, depicting the arc of Bryant’s letter— from young Kobe tossing rolled-up tube socks, to NBA glory, to retiring at 37. John was equally inspired by Bryant’s childlike enthusiasm and Keane’s artisanal process. “The drawings have great fluidity and, in the best sense of the word, great simplicity,” John said. “They really are gorgeous, not only to look at, but rhythmically they’re fabulous.” Keane always animated while listening to music, and for this story it was selections from Empire of the Sun. John used that score as a reference point, but initially he wrote something that was too big, “and he went back and he rewrote it for something that was more understated,” said Keane, “in a similar way that Kobe’s delivery, his narration, is very personal, uninflected, not trying to sell anything. More like revealing. Kobe’s got a very quiet voice, and that also had a big impact in how we animated.”

John took a short break from The Last Jedi and spent two weeks in March 2017 to write and record this short piece—a gift for Bryant. When the towering baller arrived at the Sony scoring stage, John said: “I hope that you like what I’ve written.” Bryant just looked at John and said, “I feel pretty confident that it’s going to be just fine.” When Bryant heard John’s piece for the very first time, emanating from a symphony orchestra, “Oh my God,” he said. “I almost lost my mind. As soon as his hands went up and then the music started, I almost yelled out loud— but I had to remember that the red light was on and we’re recording… It was the most unreal experience I could ever have.” Bryant looked over “and just put his head on my shoulder,” said Keane, “like, ‘I can’t believe it.’ It was so beautiful. Then when it was done, John turned to us and said, ‘I promise it’s going to get better.’”

It was one of the simplest, yet most inspired pieces John wrote during this decade: a brief journey taken by a humble, hummable tune that bottled a young boy’s guileless dreams and aspiration for greatness and glory. His hymnal theme begins as a gentle woodwind duet, which is passed to strings and then accelerates into soaring triumph to accompany Bryant’s heyday. Then it grows small again, a lonely keyboard wandering a broken chord as Bryant’s voiceover admits that his body can only play for so long. John’s knack for noble flying music closes the loop, with heraldic horns and rolling timpani connecting Bryant’s story to his music for American heroism— concluding with a bittersweet reprise of the theme on piano and an uplifting coda as the credits roll. Like the letter itself, the score is part valentine, part elegy—and John put his heart into it. He premiered it at the Hollywood Bowl in September, and Bryant surprised the audience by joining John onstage to narrate. The short film won an Oscar in March 2018—and then very shortly afterward, it became a poignant eulogy for Bryant when he died, age 41, in a helicopter crash on a foggy Sunday morning in Calabasas that also killed his 13-year-old daughter, Gianna. John’s wistful, symphonic poem suddenly took on a new shade. “It is elegiac, but it isn’t weepy,” John said of the film when he first scored it, never imagining the sudden tragic fate of his young friend.

It strikes its own manner of saluting the man and the game and the accomplishments with a lot of modesty, I think. It’s very touching, and in the end that may be its highest achievement, that it’s able to praise this man the way it does, without a lot of false vanity or hubris that could easily have spilled into it. That’s my take on it in any case.