Now a major motion picture! Pablo Escobar was one of the most terrifying criminal minds of the last century. In the decade before his death in 1993, he reigned as the head of a multinational cocaine industry and brought the Colombian state to its knees, killing thousands of politicians, media personalities, police, and unarmed citizens. In the 1980s, Virginia Vallejo was Colombia’s most famous television celebrity: a top-rated anchorwoman and a twice-divorced socialite who had been courted by the country’s four wealthiest men. In 1982, she interviewed Pablo Escobar on her news program, and soon after, they began a discreet—albeit stormy—romantic relationship. During their five-year affair, Escobar would show Vallejo the vulnerability of presidents, senators, and military leaders seeking to profit from the drug trade. From Vallejo’s privileged perspective and her ability to navigate the global corridors of wealth and high society, Escobar gained the insight to master his manipulation of Colombia’s powerful elite and media. Loving Pablo, Hating Escobar chronicles the birth of Colombia’s drug cartels: the kidnappers, the guerilla groups, and the paramilitary organizations. It is, above everything, a great love story—a deep and painful journey through a forbidden relationship—that gives us an intimate vision of the legendary drug baron who left his mark on Colombia, Latin America, the United States, and the world forever.

Now a major motion picture! Pablo Escobar was one of the most terrifying criminal minds of the last century. In the decade before his death in 1993, he reigned as the head of a multinational cocaine industry and brought the Colombian state to its knees, killing thousands of politicians, media personalities, police, and unarmed citizens. In the 1980s, Virginia Vallejo was Colombia’s most famous television celebrity: a top-rated anchorwoman and a twice-divorced socialite who had been courted by the country’s four wealthiest men. In 1982, she interviewed Pablo Escobar on her news program, and soon after, they began a discreet—albeit stormy—romantic relationship. During their five-year affair, Escobar would show Vallejo the vulnerability of presidents, senators, and military leaders seeking to profit from the drug trade. From Vallejo’s privileged perspective and her ability to navigate the global corridors of wealth and high society, Escobar gained the insight to master his manipulation ofColombia’s powerful elite and media. Loving Pablo, Hating Escobar chronicles the birth of Colombia’s drug cartels: the kidnappers, the guerilla groups, and the paramilitary organizations. It is, above everything, a great love story—a deep and painful journeythrough a forbidden relationship—that gives us an intimate vision of thelegendary drug baron who left his mark on Colombia, Latin America, the United States, and the world forever.

A revealing memoir of Colombian television journalist Virginia Vallejo's affair with the "King of Cocaine," notorious Medellín drug lord, Pablo Escobar. Soon to be a major motion picture starring Javier Bardem and Penelope Cruz. At 33, Virginia Vallejo was media elite. A renowned anchorwoman and socialite, and a model who appeared on magazine covers worldwide, Vallejo was the darling of Colombia's most powerful politicians and billionaires. Meeting Pablo Escobar in 1983, and becoming his mistress for many years, she witnessed the rise of a drug empire that was characterized by Escobar's far-reaching political corruption, his extraordinary wealth, and a network of violent crime that lasted until his death in 1993. In this highly personal and insightful story, Vallejo characterizes the duality of Escobar's charm and charisma as a benefactor to the people of Colombia, and the repulsion of his criminal actions as a tyrannical terrorist and enemy of many world leaders. Told from the present day perspective, and reflecting on her cooperation with the US Department of Justice, in 2006, as she testified against high-ranking Colombian ministers on trial for conspiracy and murder, Vallejo offers a compelling work of intimate reflection and critical journalism--a unique perspective on the Colombian drug wars and the endlessly fascinating figure, Pablo Escobar.

**A Sunday Times Book of the Year** The closest you'll ever get to the most infamous drug kingpin in modern history, told by the person who stood by his side The story of Pablo Escobar, one of the wealthiest, powerful and violent criminals of all time has fascinated the world. Yet the one person closest to him has never spoken out - until now. Maria Victoria Henao met Pablo when she was 13, eloped with him at 15, and despite his numerous infidelities and violence, stayed by his side for the following 16 years until his death. At the same time, she urged him to make peace with his enemies and managed to negotiate her and her children's freedom after Pablo's demise. The most intriguing character in the Escobar narrative is ready to share her story and reveal the real man behind the legend.

In the years since his death in 1993, Colombian drug lord Pablo Escobar has become a globally recognized symbol of crime, wealth, power, and masculinity. In this long-overdue exploration of Escobar’s impact on popular culture, Aldona Bialowas Pobutsky shows how his legacy inspired the development of narcoculture—television, music, literature, and fashion representing the drug-trafficking lifestyle—in Colombia and around the world. Pobutsky looks at the ways the “Escobar brand” surfaces in bars, restaurants, and clothing lines; in Colombia’s tourist industry; and in telenovelas, documentaries, and narco memoirs about his life, which in turn have generated popular interest in other drug traffickers such as Griselda Blanco and Miami’s “cocaine cowboys.” Pobutsky illustrates how the Colombian state strives to erase his memory while Escobar’s notoriety only continues to increase in popular culture through the transnational media. She argues that the image of Escobar is inextricably linked to Colombia’s internal tensions in the areas of cocaine politics, gender relations, class divisions, and political corruption and that his “brand” perpetuates the country’s reputation as a center of organized crime, to the dismay of the Colombian people. This book is a fascinating study of how the world perceives Colombia and how Colombia’s citizens understand their nation’s past and present. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez

**A Sunday Times Book of the Year** The closest you’ll ever get to the most infamous drug kingpin in modern history, told by the person who stood by his side The story of Pablo Escobar, one of the wealthiest, powerful and violent criminals of all time has fascinated the world. Yet the one person closest to him has never spoken out – until now. Maria Victoria Henao met Pablo when she was 13, eloped with him at 15, and despite his numerous infidelities and violence, stayed by his side for the following 16 years until his death. At the same time, she urged him to make peace with his enemies and managed to negotiate her and her children’s freedom after Pablo’s demise. On the 25th anniversary of Pablo’s death, the most intriguing character in the Escobar narrative is ready to share her story and reveal the real man behind the legend.

From the colonial period to independence and into the twenty-first century, Latin American culture has been mapped as a subordinate “other” to Europe and the United States. This collection reconsiders geographical space and power and the ways in which theatrical and performance histories have been constructed throughout the Americas. Essays bridge political, racial, gender, class, and national divides that have traditionally restricted and distorted our understanding of Latin American theatre and performance. Contributors—scholars and artists from throughout the Americas, including well-known playwrights, directors, and performers—imagine how to reposition the Latina/o Americas in ways that offer agency to its multiple peoples, cultures, and histories. In addition, they explore the ways artists can create new maps and methods for their creative visions. Building on hemispheric and transnational models, this book demonstrates the capacity of theatre studies to challenge the up-down/North-South approach that dominates scholarship in the United States and presents a strong case for a repositioning of the Latina/o Americas in theatrical histories and practices.