Download e-book for kindle: Blow: How a Small-Town Boy Made $100 Million with the by Bruce Porter

By Bruce Porter

ISBN-10: 1466876247

ISBN-13: 9781466876248

BLOW is the not likely tale of George Jung's curler coaster experience from middle-class highschool soccer hero to the guts of Pablo Escobar's Medellin cartel— the biggest importer of the U.S. cocaine provide within the Eighties. Jung's early enterprise of flying marijuana into the U.S. from the mountains of Mexico took a dramatic flip whilst he met Carlos Lehder, a tender Colombian automobile thief with connections to the then newly born cocaine operation in his place of origin. jointly they created a brand new version for promoting cocaine, turning a drug used essentially by way of the leisure elite right into a immense and unimaginably profitable enterprise— one whose profits, if felony, might have ranked the cocaine enterprise because the 6th greatest deepest company within the Fortune 500.

The experience got here to a screeching halt while DEA brokers and Florida police busted Jung with 300 pounds of coke, successfully unraveling his fortune. yet George wasn't approximately to head down on my own. He deliberate to carry down with him one of many largest cartel figures ever caught.

With a riveting insider account of the lurid international of foreign drug smuggling and a super-charged drama of 1 man's meteoric upward thrust and determined fall, Bruce Porter chronicles Jung's lifestyles utilizing remarkable eyewitness resources during this significantly acclaimed real crime vintage.

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Additional info for Blow: How a Small-Town Boy Made $100 Million with the Medellin Cocaine Cartel And Lost It All

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Star Trek’s ‘Mirror, Mirror’ (2:4) provides a parallel universe in which characters discover hidden qualities in their second selves: would a harsher world erode the idealism of these people, or could they instead seed change in that harsher realm? George Takei appears both in this episode and, decades later, in Heroes – in which the ‘Five Years Gone’ episode (1:20) displays a postapocalyptic world to a time traveller, not only motivating much of the urgency of the rest of the plot but also forcing characters to consider dark moral choices.

This industrial approach is particularly apt if one considers the case of HBO (Home Box Office). The company behind such varied successes as Sex and the City, Deadwood, The Sopranos, The Wire, and The Larry Sanders Show truly is the house that cult television built. Delivered on subscription by cable, it is perceived as being creatively freer since its content, particularly with regards to language and nudity, is largely uncensored. As such, it is a brand that has come to signify content made for an exclusive and adult viewership with shows that freely embrace subcultures and which promote an anti-establishment viewpoint as a way to differentiate itself from the main networks.

As for the use of language to quote or allude to earlier works of literature, some critics worry that discussing these elements of cult television is little more than an attempt to gain cultural capital – to curry cultural favour. Petra Kuppers, for instance, refers to Star Trek: The Next Generation’s ‘Shakespeare complex’ (2004: 50). I would argue instead that allusions to earlier literature are neither more nor less valid in television than they are in any other cultural product which incorporates language.

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Blow: How a Small-Town Boy Made $100 Million with the Medellin Cocaine Cartel And Lost It All by Bruce Porter

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