Life of Pablo Escobar

Pablo Escobar was a latter day Robinhood and a terrorizing criminal rolled into one. By the mid 1990s, Pablo Escobar emerged as the foremost emblem of the drug-related violence that fired Columbia during the 80s and early 90s. Pablo Escobar and other drug lords rose to prominence in Medellin and Cali. With the instatiable demand of cocain from America, their fortune grew at a rate that seemed nothing short of a miracle. And with this demand grew their ambition. Ultimately leading to overpowering ideas and their implementattion.

Pablo Escobar was such a figure, with the power and voilence and sucess, that he is a suitabel structure in the current times of how ambition can be over turned. He ruled the medellin cartel with trememdous voilence. He encouraged corruption at every level of the government. He stole, killed and destroyed the mostly innocent lives of the people who became addicted to or died from cocain addiction, including those who tried to either terminate this buisness or conquer his position. At the same time, Escobar was a supremly generous man for the poor people of columbia. He enjoyed giving to others and thus was seen creating infrastructures like soccer fields etc. He was supremly generous to the poor poeple of columbia Portrayal of event in History was based on perspectives of few that gained ground in the vast arena of the world.

Power, Money and Violence captures the imagination more quickly than routine sublimation of art and culture. Even technology unbiquitously enters r lives, outdating the earlier versions. The media has evoled from the scroll, lithograph, newspaper, television state run to privatised conlomerates to modern day netflix versions of history. Swamped with options probably user still reigns superme with his/her choice to pay monthly subscriptions. Net series like Narcos​ spread across 20-30 episodes in 3 seasons definitely will keep user choice in mind. The plit can be what is acceptable to the US govt with only its treatment left to the producers and Directors to ring the cash registers. In short only Govt accepted if not tacity approved narratives will see the light of day. What can sell is well! Any govt will hold a major part in approving the context of whatever is being potrayed. As in the earlier time we had the historical narrative which was more controlled by the States, and the buearucracy and the aristocracy, now it is money and the govt defenitly affect the cen.

Pablo Escobar was such a figure, with the power and violence and success, that he is a suitabel structure in the current times of how ambition can be over turned and the Americans have their perspective of trying to contain the drugs that finally made their way into Miami and other parts of US. Mackenzie Dawson (2015) in his review in the New York Post commented about the reality-based drama: “You cannot make this up. People say that all the time, but in this case, you simply cannot. While some dramatic liberties have been taken in this show, particularly with the timeline, all of the major events actually happened, and you can Google them after each episode to read up on them. ” Despite the amount of harm he caused the country, Escobar continues to be a subject of morbid curiosity for the Colombian audience and for audiences around the globe (Pobutsky, 2013)

More often than not, these narconovelas end up skimping on history, and celebrating the extravagant lifestyle that drug trafficking allowed (Pobutsky, 2013) Netflix’s Narcos seems to fall under this new subgenre, where the lives of famous drug lords such as Escobar are depicted under the impression of an accurate historical framework, but in the end, glorify the “achievements” that drugs enabled them. It was also important for the audience to satisfy their sense of curiosity; crime dramas exposed a world they weren’t familiar with and they wanted to find out more (Brown et al. , 2012). In addition, Brown et al. (2012) were able to find that social interaction, having something to talk about with other people, is also a primary motivation for people and drives them to watch shows that can become topics of conversation.

Stevens Aubrey et al. (2012) found that college-aged viewers are attracted to reality programming to satisfy instrumental needs. These needs include the ability to use media as conversation fodder, allowing them to further interact with viewers their own age who are also attracted to reality programming. Previous studies argued that current events and news programming were more likely to satisfy these needs (Rubin, 1983). Narcos as a web show attracts audience from both countries and can be studies within an audience-centered framewokr for both audiences. Simon Bolivar is viewd as a national icon in much of modern South America. He is considered one of the great heros of the Hispanic independence movements of the early 19th century In recent years, “narco novelas” have become a staple of Spanish-language television, and I have avoided them like the plague. (Bernardo Aparicio García)

While surfing through the critics commenting on the web series of Narcos, one may find comparisons of Narcos being made with Breaking Bad, Goodfellas and other such series, however the question to deal here with is that could a columbian view the story of Pablo Escobar as entertainment? Pablo Escobar and other drug lords rose to prominence in Medellin and Cali. With the instatiable demand of cocain from America, their fortune grew at a rate that seemed nothing short of a miracle. And with this demand grew their ambition. Ultimately leading to overpowering ideas and their implementattions. A formidable combination of intelligence and street smarts enabled Pablo Escobar to rise above his comtemporaries “By the late 70s, cocain became more fashionable as the disco era got into full swing. It became a club drug as well as a powerful pick me up for Wall Street executives. The demand was enorfumus, and Pablo Escobar wanted in on as much of the business as possible”. “Despite its claims to “historical accuracy. ” Narcos creators have in stea hijacked history, car bombed it, and then mixed and matched its thousands of pieces, events and characters together in the name of artistic license and in pursuit of new markets. More generally, the Netflix series reflects the deeper problems of relegating the culture, politics, and the history of Columbia to a site for commercial purpose. (Lina Britto)

History has a charatier of repesting itself without copyinhamerica-safeguard society India- udta punjab national interest-territoral distaance. Cocaine was hugely profitable in Colombia, and it has been suggested that in 1985 the profits made from the cocaine trade represented 8. 7 percent of Colombia’s GDP. An important way in which Columbians remember Pablo Escobar has been the strong national desire to separate contemporary Columbia from its more violence past. Many Columbians have repeatedly been concerned about the fact that their nation continues to be strongly associated with the drug trade, and drug-related violence, on an international platform. Although drug related violence continued to affect certain sectors of Colombian society after 1993, this violence once again returned to the peripheries – geographical, cultural, and social – of Colombia’s landscape. The desire to distance Colombia from its most notorious era of violence has encouraged the transformation of Pablo Escobar into an emblematic memory.

Works Cited

1. Aparicio García, B. (n.d.). Narcos, Cartels and La Violencia: A Columbian Perspective on Netflix's Narcos.
2. Brown, B., Ferris, A., & Palladino, M. (2012). The Effects of Viewing the Television Program Breaking Bad on Motives for Viewing and Beliefs About Crime. Journal of Broadcasting & Electronic Media, 56(3), 349-365.
3. Dawson, M. (2015, August 24). 'Narcos' offers an inside look at the twisted life of Pablo Escobar. New York Post.
4. Pobutsky, A. M. (2013). Escobar’s Son and the Making of Narcos: Three Decades of Artistic and Political Transformations in the Colombian “Culture of Violence.” Radical History Review, 117(1), 96-113
5. Rubin, A. M. (1983). Television Uses and Gratifications: The Interactions of Viewing Patterns and Motivations. Journal of Broadcasting, 27(1), 37-51.
6. Stevens Aubrey, J., Hutter, M. E., & Mullins, L. E. (2012). A College Age Comparison of the Uses and Gratifications of Watching Reality Television. Communication Quarterly, 60(2), 189-207.