Glamour, excitement, and money were thrust upon Miami in the late 1970s. Seemingly overnight, it transformed from a sleepy Southern town famous only for its retirees, to an exciting mix of wealth, style, and violence. It was the Cocaine Era, when mountains of cash, bricks of coke, and men with assault rifles changed everything. And it changed the people living there, as well. Kevin Pedersen and Alex DeCubas, a couple of local boys who met at a Little League game, became best friends and star high school wrestling teammates. They were even featured in Sports Illustrated. Alex, who was so big and powerful that he wasn't allowed to play football with the other kids, was on his way to bigger things, possibly the Olympics, when a series of tragedies derailed his dreams. Instead, he used his natural strength and ferocity to start robbing drug dealers and selling what he took. Before long, he caught the eyes of the Colombians and became the biggest home-grown cocaine dealer in the United States. Kevin, half Alex's size, became a wrestling champion through self-discipline, hard work, and drive. After graduating from West Point, he saw his family life deteriorate because of drugs. After divorcing his coke-addicted wife, he came close to suicide until his mind changed. He realized America's enemy wasn't Iran or Russia or any other country, it was drugs. He went to work for the DEA, and on his first day, Kevin found out that his old friend, Alex, was their primary target. And, years later, after the pair faced conflict, personal turmoil, and (for Alex) a long prison sentence, the pair reunited and teamed up to do what they perhaps always should have--coaching high school wrestling together. Full Circle is the remarkable true story of two best friends, their relationship torn apart by the "War on Drugs" as each was put into opposite sides of the conflict.

From the mid-1930s to the late 1950s, Mexican cinema became the most successful Latin American cinema and the leading Spanish-language film industry in the world. Many Cine de Oro (Golden Age cinema) films adhered to the dominant Hollywood model, but a small yet formidable filmmaking faction rejected Hollywood’s paradigm outright. Directors Fernando de Fuentes, Emilio Fernández, Luis Buñuel, Juan Bustillo Oro, Adolfo Best Maugard, and Julio Bracho sought to create a unique national cinema that, through the stories it told and the ways it told them, was wholly Mexican. The Classical Mexican Cinema traces the emergence and evolution of this Mexican cinematic aesthetic, a distinctive film form designed to express lo mexicano. Charles Ramírez Berg begins by locating the classical style’s pre-cinematic roots in the work of popular Mexican artist José Guadalupe Posada at the turn of the twentieth century. He also looks at the dawning of Mexican classicism in the poetics of Enrique Rosas’ El Automóvil Gris, the crowning achievement of Mexico’s silent filmmaking era and the film that set the stage for the Golden Age films. Berg then analyzes mature examples of classical Mexican filmmaking by the predominant Golden Age auteurs of three successive decades. Drawing on neoformalism and neoauteurism within a cultural studies framework, he brilliantly reveals how the poetics of Classical Mexican Cinema deviated from the formal norms of the Golden Age to express a uniquely Mexican sensibility thematically, stylistically, and ideologically.

Musical accompaniment were jazzed up renditions that basically fit the art form like a glove with a stylish beat that usually pounded out the action as the story unfolded. The music set the mood and the audiences followed. Most of these films would never reach America during the era, even though they were generally aimed at the American film goers. The Actors who went to Italy and got involved in these lucrative new genre spinoffs all enjoyed star status, recognition and glow of the limelight that came with it. These are the Actors were talking about here.

This edition brings together Tahir Shah's full collection of travel writing: from India to Africa to South America, join the author on his unusual adventures and expeditions around the world. Shah's overwhelming laugh-out-loud style is present as he educates, informs, and amuses readers about the locations and people he discovers on his journeys.

This volume offers a detailed chronological account of the history of Spanish cinema.