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Pedophile Jeffrey Epstein remains behind bars in sex trafficking trial
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Epstein had stash of cash, diamonds and a fake Saudi passport
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Published: 22:03 BST, 23 July 2019 | Updated: 16:46 BST, 1 November 2020
An emboldened Jeffrey Epstein traveled the world with one of his underage sex slaves in the years before his arrest, and even took the photos to prove it according to court papers.
That victim, Virginia Roberts, included these photos as proof of Epstein's depraved behavior in multiple lawsuits.
In one she is seen on a New York City ferry while others show her horse riding and posing up in front of a museum treasure chest.
Those three photos were taken by Epstein himself she claims, when he shuttled her to New Mexico for the weekend.
All the while raping her and letting his friends do the same, according to Roberts' lawsuit.
Kids incorporated: Virginia Roberts (above in NYC at 15 in a photo taken by Epstein was just 15 when she was recruited while working at the Mar-a-Lago spa to be Jeffrey Epstein's sex slave
Snow day: She is now suing the United States for how they handled the prosecution of Epstein, and in her filing has included pictures he took of her around the world (above in New Mexico at 17)
Fool's gold: Robert was able to see the world during her years with Epstein, who flew her around the world while he and his friends raped the teenager (Roberts above at a museum in New Mexico in 2001 in a photo snapped by Epstein)
'Epstein took me on a ferry boat on one of the trips to New York City and there he took the picture above. I was approximately 15 or 16 years old at the time,' she writes of the first photo.
In that picture, Roberts looks years younger than her age as she smiles for the camera while on an unchaperoned trip with Epstein and Ghislaine Maxwell over 1,000 miles away from home.
'You can see how young I looked in the photograph,' she notes, while also revealing she was raped by Epstein at his Manhattan mansion on that trip.
'Over the next few weeks, Jeffrey Epstein and Ghislaine Maxwell trained me to do what they wanted, including sexual activities and the use of sexual toys,' she wrote.
'The training was in New York and Florida, at Epstein's mansions. It was basically every day and was like going to school. I also had to have sex with Epstein many times.'
Roberts said that she was trained to be 'everything a man wanted me to be.'
The photos that were used by Roberts make it clear that she was with Epstein at some of his properties, most notably his ranch in New Mexico.
Epstein served just a year in prison for his offenses following a 2005 criminal probe
'The first one is a museum in Santa Fe, New Mexico. We had gone sightseeing for the day. Epstein took this picture of me. I was approximately 17 at the time, judging from the looks of it,' write Roberts.
'At the end of the day we returned to Epstein's Zorro Ranch. The second picture is me on one of Epstein's horses on the ranch in New Mexico. The following two are from wintertime in New Mexico.'
Roberts and another underage victim are suing the government for the sweetheart plea deal they offered Epstein, and for failing to provide the plaintiffs and other victims with any concrete information about the sex offender.
In her case, Roberts did in fact get a letter from the FBI, but not until long after the plea deal had negotiated and Epstein's non-prosecution deal and signed.
That letter is attached as an exhibit in one filing, and shows it was mailed in September, more than two months after Epstein signed off on the deal in June .
'You can see how young I looked in the photograph,' Roberts noted in one court filing
Tree of life: 'If I left Epstein, he knew all kinds of powerful people. He could have had me killed or abducted, and I always knew he was capable of that,' said Roberts
Roberts, who was the first and remains one of the few Epstein victims who has gone public with her allegations, recounted how she found herself being shuttled around the world and raped by men three times her age in court papers.
'Epstein had promised me a lot, and I knew if I left I would be in big trouble. I also knew that I was a witness to a lot of illegal and very bad behavior by Epstein and his friends,' stated one filing.
'If I left Epstein, he knew all kinds of powerful people. He could have had me killed or abducted, and I always knew he was capable of that if I did not obey him. He let me know that he knew many people in high places. Speaking about himself, he said 'I can get away' with things. I was very scared, particularly since I was a teenager.'
Virginia Roberts pictured with Prince Andrew, then a friend of Epstein, in 2001
And she was not the only one who was scared she claims in court documents.
'When I was with him, Epstein had sex with underage girls on a daily basis. His interest in this kind of sex was obvious to the people around him,' noted Roberts.
'The activities were so obvious and bold that anyone spending any significant time at one of Epstein's residences would have clearly been aware of what was going on.'
Ms Roberts in the past claimed in US court papers that she slept with Prince Andrew, a former friend of Epstein – however he has always denied any involvement and the allegations were later struck from the record as being 'immaterial and impertinent'.
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Prof. Sharp-Collins instructed students to “create a ‘slave persona.'” San Diego State University

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A professor at San Diego State University is facing backlash from students after assigning a project that involved acting out a fake slave character.
Professor LaShae Sharp-Collins instructed students to “create a ‘slave persona’” for themselves as part of her Introduction to Africana Studies course, the student newspaper the Daily Aztec reported .
In addition to describing what kind of environment their persona lived in and what work they did, students were asked to make up events surrounding their fictional escape from slavery.
Student Amari Jackson posted a screenshot of the assignment on Instagram, writing that Sharp-Collins’ original project asked students to dress, talk, and perform as their slave persons. That aspect of the assignment was reportedly canceled because the class was too large.
“Should never have to act like and ‘create a slave persona’ for one of my Africana Studies classes,” Jackson captioned the post, which has since garnered over 4,000 likes.
Social media users immediately took issue with the assignment, with San Diego native and University of Minnesota football star Jordan Howden commenting, “Whoaaa that’s wild.”
“@sandiegostateuniversity needs to do better,” wrote another commenter.
Robbie Jackson, another student in the class, told the student newspaper that the assignment “felt really insensitive.”
“Being a person who is black, [and] knowing that my family actually had to go through that was a really uncomfortable ask,” they said.
“It’s like familial trauma and it’s this deeply rooted issue.”
Robbie Jackson refused to turn the assignment in, as did two other students who asked to remain anonymous.
One student told the Daily Aztec that they emailed Sharp-Collins about their discomfort, and offered to complete an alternative assignment. Their request was denied.
Although the students do not regret standing their ground, they are now failing Sharp-Collins’s class and are concerned about their academic record.
In a statement shared with The Post, Dr. Adisa A. Alkebulan, the chair of SDSU’s Department of Africana Studies, disputed Amari Jackson’s description of the assignment.
“To be clear, there was never a requirement to dress as slaves or speak in ‘broken English,’” he wrote.
“Professor Collins is an outstanding educator and a valued member of our faculty and university community.”
The university’s Afrikan Student Union also posted a statement late Tuesday, saying that they had met with Sharp-Collins “to help us resolve and clarify this issue.”
“We as students know that Professor Collins would never do anything to harm students, and is committed to ensuring that every student is heard and respected inside and outside the classroom,” the statement read.
“This unfortunate misunderstanding is being revolved within the Black community between students, faculty, and staff as a collective.”
The student reporter who initially covered the story for The Daily Aztec declined to comment.

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Raymond Ibrahim, American Thinker, September 21, 2020
Warning : Orientalist paintings depicting female nudity follow.
Last year, a political party in Germany provoked controversy when it used the following painting in its election campaign to illustrate one of the reasons it was against immigration.
Painted in France in 1866 and titled “Slave Market,” the painting was described as “show[ing] a black, apparently Muslim slave trader displaying a naked young woman with much lighter skin to a group of men for examination,” probably in North Africa.
The Alternative for Germany party (AfD) put up several posters of this painting with the slogan, “So that Europe won’t become Eurabia.”  Many on both sides of the Atlantic were triggered by this usage; even the American museum where the original painting is housed sent AfD a letter “insisting that they cease and desist in using this painting” (even though it is in the public domain).
Objectively speaking, the “Slave Market” painting in question portrays a reality that has played out countless times over the centuries: African, Asiatic, and Middle Eastern Muslims have long targeted European women — so much so as to have enslaved millions of them over the centuries (see Sword and Scimitar for copious documentation).
As it happens, there is something else — another medium besides writing — that documents this reality: countless more paintings than the one in question concerning the abduction, trafficking, and sexual enslavement of European women, all of which further underscores the ubiquity and notoriety of this phenomenon.  Indeed, this was such a well known theme that many nineteenth- and early twentieth-century artists and painters specialized in it, often based on their own eyewitness accounts.  (As one art gallery puts it, “Many … of the most important painters did travel [to the Muslim world] themselves, and what they painted was based on the sketches they had made while they were there[.])
Below are just 20 such paintings (there are many more).  Aside from noting the artist’s name; year of painting; and, where possible, title—information which is often difficult to ascertain — I’ve limited my remarks to important asides and clarifications, mostly in the first few paintings, leaving the rest to speak for themselves.  They follow.
“The Bulgarian Martyresses,” by Konstantin Makovsky, 1877.  It depicts events from a year earlier, when Ottoman irregular soldiers (the so-called bashi-bazouks or “crazy heads”) raped and massacred the Christian women of Bulgaria and their children.  American journalist MacGahan, who reported from Bulgaria, wrote the following of this incident: “When a Mohammedan has killed a certain number of infidels he is sure of Paradise, no matter what his sins may be. … [T]he ordinary Mussulman takes the precept in broader acceptation, and counts women and children as well. … [T]he Bashi-Bazouks, in order to swell the count, ripped open pregnant women, and killed the unborn infants.”
“The Abduction of a Herzegovinian Woman,” by Jaroslav Čermák, 1861.  From the museum’s official description : “Disturbing and extremely evocative, it depicts a white, nude [and pregnant?] Christian woman being abducted from her village by the Ottoman mercenaries who have killed her husband and baby.”
The Abduction, by Eduard Ansen-Hofmann (1820–1904).
The Slave Market, by Otto Pilny, 1910.
Abducted, by Eduard Ansen-Hofmann (1820–1904).
The Bitter Draught of Slavery, by Ernest Norman, 1885.
A New Arrival, by Giulio Rosati (1858–1917).
The New Slave Girl, by Eduard Ansen-Hofmann (1820–1904).
Examining Slaves, by Ettore Cercone, 1890.
Slave Market, by Eduard Ansen-Hofmann, 1900.
Slave Trade Negotiations, by Fabio Fabbi (1861–1946).
“White Slavery in the East—Going to the Slave Market,” by Harper’s Weekly, April 1875.
New Arrival, by Eduard Ansen-Hofmann (1820–1904).
The Serbian Concubine, by Jean-Joseph Benjamin-Constant, 1876.
Slave Market, by Émile Jean-Horace Vernet, 1836.
Slave Market, by Jean-Leon Gerome, 1871.
Harem Captive, by Eisenhut Ferencz, 1903.
Scene from the Harem, by Fernand Cormon, 1877.

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