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Federal prosecutor fights bail for men accused of helping Carlos Ghosn escape

BOSTON — A U.S. prosecutor on Monday urged a judge to keep a former Green Beret and his son locked up as Japan prepares to formally seek their extradition on charges that they helped former Nissan boss Carlos Ghosn flee the East Asian country. Assistant U.S. Attorney Stephen Hassink argued during a virtual hearing that Michael Taylor and his son, Peter Taylor, have a "clear and present reason to flee" after being accused of helping Ghosn, who faces financial misconduct charges in Japan. "They're actually some of the best defendants that IÂ’m sure this court has seen positioned to actually succeed in that flight," Hassink said. He argued the men, who have been held without bail since being arrested in Massachusetts last month, helped smuggle Ghosn out of Japan in a box on Dec. 29, 2019. Ghosn then allegedly fled to Lebanon, his childhood home, which has no extradition treaty with Japan. Ghosn, Nissan's former chief executive, was charged with engaging in financial wrongdoing by understating his compensation in Nissan's financial statements. He denies wrongdoing. The Taylors' lawyers countered that had they wished to avoid prosecution they could have remained in Lebanon, where they were in January when Japan said it would seek their arrest, rather than return to Massachusetts. "If he's an expert of escape, he would not have returned to the United States," Robert Sheketoff, a lawyer for Michael Taylor, argued. He and other defense lawyers argued the case against their clients was flawed and that Michael Taylor, a U.S. Army Special Forces veteran and private security specialist, is at heightened risk of complications from COVID-19, which could spread in the jail. The hearing itself was held through a Zoom videoconference because of the coronavirus pandemic. U.S. Magistrate Judge Donald Cabell said he hoped to rule "as quickly as I can." Related Video:

Nissan puts Le Mans prototype program under review

Nissan had a challenging time developing its GT-R LM Nismo, then it faced enormous challenges at Le Mans, the race it designed the car for, and now the race outfit is dealing with challenges in the boardroom. While the outfit gets ready for a test at the Circuit of the Americas, Sportscar365 reports that Nissan executives in Japan are deciding how to proceed with their LMP1 program. The meetings were presaged last month by CEO Carlos Ghosn, who said at last month's Formula E race in London that "we must assess the strategy. We wanted to be different and competitive, we have only been different." Both Ghosn's wording and that of the Sportscar365 piece make it seem that company bosses are wrangling over continuing with "the current specification" of the GT-R LM Nismo, not the entire two-year race program. If that's the case and the decision goes against, we could see a more traditional Nissan racer in La Sarthe next year. While it's easy for us to say this, we think that would be a shame. Le Mans is hard enough to win with a massive budget and a traditional race car - just ask Peugeot and Toyota, and remember that Porsche didn't go home covered in laurels its first year back, either. Given just how different Nissan's car is, a year in the deep weeds at the world's biggest and least forgiving endurance race against veteran competition isn't an outrageous outcome. And remember, persistent issues prevented the team from using the car's hybrid system, robbing the GT-R LM Nismo of half its horsepower and rear-wheel drive. That was never going to go well. Can the engineers get the GT-R LM Nismo to work properly? We don't know. But we'd like to see them get a proper chance to get it right. Related Video:

Automakers' sound systems: Crank it, don't yank it

Years ago, one of the first things most music lovers did after buying a new vehicle was drive to an aftermarket stereo shop to get the crappy stock components swapped for better gear. And you'd typically get not only better sound but also more bang (and boom) for your buck. But in the past decade or so, the overall quality of OEM audio has dramatically increased, while car electronics became more complex, removing the incentive for most new vehicle owners — and all but the most hardcore DIYer — to start from scratch. In 2010, I did a comparison of the average costs for OEM electronics vs. similar offerings from the aftermarket, and back then automakers' stock premium systems were by far the best bargain — and are probably an even better value now. The premium 14-speaker, 1,200-watt JBL system in the all-new 2019 Toyota Avalon is a prime example of this trend. It's standard on the top two Limited and Touring trims and is available as a $680 audio upgrade on the XLE and XSE. I doubt you can even buy 14 speakers and 1,200 watts of amplification from the aftermarket for 700 bucks, much less have it all installed. And because the system is bundled with Toyota's Entune infotainment system, Apple CarPlay and a surround-view camera, removing the head unit means you would likely lose these features. Another advantage of OEMs and their audio partners is they can design the car around the audio system. In the past, automakers would typically place speakers where convenient for packaging, not for optimal sound reproduction, and audio engineers were forced to compromise. But as with the Avalon's premium JBL audio system, this is starting to change. At a recent behind-the-scenes peek for media into the process of developing the system, Toyota and Harman engineers delved into the minutia of sealing the inner panel of the front doors to create an enclosure for 6x8-inch woofers, making space in the pillars for JBL horn tweeters and extensively measuring the acoustic properties of the interior to tune the sound to the space. I'm met some creative and skilled car stereo installers, but none with a degree in psychoacoustics. The system is also the first to feature Quantum Logic Surround that creates a multi-channel listening experience from two-channel sources. And it includes Harman's Clari-Fi processing that "rebuilds key details lost" in compressed audio formats used by streaming music services and MP3s.