Word: arellanos
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...boundaries--national, moral, legal--constrain the border's worst bad guys: Benjamin Arellano Felix, 49, and his kid brother Ramon, 36. The two baby-faced playboys head the Tijuana cartel, which sits atop Mexico's $30 billion drug-trafficking underworld and may be the most powerful organization in the country of any kind. Each year they smuggle to the U.S. hundreds of tons of cocaine, plus marijuana, heroin and methamphetamine, ferried on ships, on planes and inside truckloads of legitimate merchandise. The Arellanos are thought to have hundreds of millions of dollars stashed away, and that's after bribing Mexican...
Though the Arellanos are the heirs to that world, they are also a ghastly mutation. Their uncle Miguel Angel Felix Gallardo, an ex-cop from the violent Pacific Coast state of Sinaloa, was the first Mexican drug capo to link up with Colombia's cocaine cartels in the 1980s. He and other druglords shared the Tijuana corridor, but after they savagely murdered DEA agent Enrique Camarena in 1985, in league with senior police and political figures, Mexican authorities put them in jail. Into Tijuana roared the seven Arellano brothers, including the handsome Benjamin, their CEO; chubby Ramon, the enforcer; finance...
...caused celebration among jaded U.S. agents because Paez is a potential gold mine of cartel intelligence. Coming one year after the arrest of Ramon's partner in gore, Ismael Higuera Guerrero, who carried a special knife for his stylized mutilations, the Paez extradition makes it harder for the Arellano brothers to circulate freely through the streets, nightclubs and boxing matches of Tijuana and Southern California. "That's what really upsets them," says Chavez. "They can't go out and party anymore...
...Judge Guzman: "Did you give orders for people to be executed during General Arellano and his delegation's travels to different cities...
Probably the best thing that can be said for the show's copious gallery of Madrid flowerpieces by Juan de Arellano and others from the late 17th century is that they are skilled exercises in a trivial genre; they descend from earlier Dutch conventions-those towering masses of tulips and roses, full of squishy virtuosity; but they lack the architectural grandeur of earlier Spanish works and promptly induce surfeit. After them, the Spanish still-life tradition nose-dived into academism and decor through the 18th century, with the single exception of the Madrid painter Luis Melendez (1716-80), whose massive...