Origin: Santiago, Chile
Genre: Punk rock, Rockabilly
Years active: 1983–1991, 2001–2006
Sergio “Coti” Badilla
La voz de los ’80 (1984)
Pateando piedras (1986)
La cultura de la basura (1987)
Los Prisioneros (2003)
Los Prisioneros was a Chilean new wave band formed in San Miguel, Santiago, Chile in 1983. They began as a local band during the early 1980s, playing small shows in their neighborhood and high school. After selling a limited press number of their first album in Chile under the independent Fusión Producciones label, they signed to EMI in 1985, re-releasing the same album on LP record and cassette formats. From that point on, they reached mainstream success in Chile, then in Peru.
Most of Los Prisioneros’ song lyrics have substantial social critiques, which made them popular as Chile was under Pinochet’s military dictatorship in the 1980s. In terms of musical development in Chile, Los Prisioneros marked the beginning of a new era by leaving behind folk-inspired music that emerged with Víctor Jara and Violeta Parra in the 1960s. Los Prisioneros’ legacy has been recognised by bands such as Glup!, Javiera y Los Imposibles, Lucybell, Los Tetas and La Ley, who together made the tribute album Tributo a Los Prisioneros.
Their albums were completely re-released in remastered Compact Disc format in the early 1990s, once Chile was no longer under a military regime. Throughout the 1990s, their music spread out, reaching all of South and Central America as well as some parts of the United States, Canada and Europe.
According to the Rolling Stone Magazine, Los Prisioneros’ La voz de los ’80 is the third-best Chilean album of all time with their albums Corazones and Pateando piedras in ninth and fifteenth place, respectively.
Many of their creations are among the most important and influential songs in Latin American rock, specially El Baile de los que sobran (“The Dance of the Unneeded Ones”), “Estrechez de Corazón” (“Narrowness of Heart”), “We Are Sudamerican Rockers” and Tren al Sur (“Southbound Train).
Two years after the group’s first break-up, the video for the song We are Sudamerican rockers was chosen to be the first aired by the then-nascent chain MTV Latin America, October 1, 1993.
Formation and early years
In 1979, songwriter Jorge González (bass, lead vocals), Miguel Tapia (drums, backing vocals) and Claudio Narea (guitar, backing vocals), met during their first year of high school at the Liceo 6 of San Miguel (now called Liceo Andres Bello), in Santiago de Chile. In 1980, Jorge and Claudio, along with brothers Rodrigo and Alvaro Beltran, formed the band “The Pseudopillos”. The group created humorous songs a capella (mostly by Jorge and Claudio), using everyday objects as percussion.
Mural in San Miguel in tribute to Los Prisioneros.
In parallel, Jorge had a band with Miguel, where they would pretend to be John Lennon and Paul McCartney. Narea named them “Los Vinchukas” (for the small insect of northern Chile). They subsequently invited Narea to join the band . Shortly after Alvaro Beltran joined on guitar, and Miguel Tapia, who had received a drum set as a gift from one of his sisters, took over the drums. .
The quartet made its live debut on May 14, 1982 in their school and had moderate success.
At the end of 1982 Jorge and Miguel wanted to buy a bass drum pedal, but Claudio and Alvaro disagreed. Rodrigo, who was not part of the band, intervened causing the dissolution of Los Vinchukas and Los Pseudopillos a few days after graduating high school. Gonzalez and Tapia continued playing together, but Claudio didn’t speak to them for two or three months while working to raise money for college, until Rodrigo, who had reconciled with Jorge and Miguel, convinced him to return to the band.
To begin the new cycle, the band decided to use a new name, this time seriously. First they chose Los Criminales (“the Criminals”), but Miguel suggested the name Los Prisioneros. The others liked it, and they made their debut on July 1, 1983 in the Miguel Leon Prado school’s Song Festival.
“We ended up third out of three, and they even tried to charge us admission to see the rest of the show. In any case, when we showed up we thought us better than everyone, because we were real, with songs unknown but our own. The others only did versions of famous types. I remember we played the opening show.”
In 1983 Claudio entered the USACH to study Engineering, and Jorge the arts school at Universidad de Chile to study a degree in music. There he met Igor Rodriguez (future member of Aparato Raro), Robert Rodriguez (future member of Banda 69), and Carlos Fonseca. He became good friends with the latter, and soon after he Jorge convinced him to be the manager of Los Prisoners.
After dropping out of college, as it was not as they expected, Narea and Gonzalez decided to continue with the band. Carlos Fonseca had a program in Radio Beethoven, and was planning to make a special year-end show with emerging Chilean acts. Jorge brought a song he recorded in a dual cassette radio at home, and the live performance of the band at their school.
Amazed, Carlos convinced his father, Mario Fonseca, that the band had promise and he decided to invest in the band. Gonzalez then presented Narea and Tapia to Fonseca. When Carlos saw that Claudio was not a guitar virtuoso, he talked with Jorge and Miguel about replacing him, however, Gonzalez and Tapia refused to replace Narea, since Los Prisioneros were the three together  . Carlos became the manager of the group and got them to record their first demos (which he would later play in his radio show, Fusión Contemporánea (“Contemporary fusion”)) in late 1983 and play around Santiago, and writes an article about the band in the Dinners Club World magazine.
Beginnings and La Voz De Los ’80
Main article: La voz de los ’80
In December 1984, their first album titled “La voz de los ’80” was released. The album hardly received any radio airplay, but became emblematic in the Chilean music scene later on. The only song to make the Chilean pop music rankings was “Sexo”. It never reached a top ten rank, but was around the 1920s which propelled them enough to begin to spread out in some radio airplay. During 1985, when they had signed to EMI, they began to play more shows with around 200+ in attendance. They also had some Chilean television presentations, one of them being Sábado Gigante.
Commercial success and Pateando Piedras
Main article: Pateando piedras
On September 15, 1986 released under the EMI label, their second studio album titled Pateando piedras. Highlights from this album are “¿Por qué no se van?”, “Muevan las industrias” and “El Baile de los que sobran” considered, the latter, a classic of the genre, remembered in much of Latin America, almost worth the whole album as a rock anthem. The album sold five thousand copies in the first ten days of release. A first by a young band in Chile, and in two months and two days after the album’s release it achieved platinum status.
Two months after the launch of its second album in November 1986, the band played at Estadio Chile in front of eleven thousand people.
“The hope in Viña” Encouraging the public to the Estadio Chile were presented at the International Song Festival of Vina del Mar, 1987, in the official program of the Festival of Viña del Mar were not on the list, something that baffled fans and the media. instead 24 Upa!, plus Cinema, plus Argentine rock group Soda Stereo, GIT and this last band was the most popular at the event. The trio from San Miguel expressed their rejection of Soda Stereo in their interviews.
In November 1986 they were invited to perform at the Festival International of Montevideo Rock, where they shared stage with Soda Stereo, Fito Paez, GIT, Sumo, among others. They released their albums in the country but there was a great success so never back. In March 1987 were presented at the Chateau Rock Festival at Estadio Cordoba and Buenos Aires Works, Argentina, almost nobody liked the Argentine media band and I just wondered Pinochet. Peru and Ecuador, the group was a success, the first country had three songs in the top ten, «El baile de los que sobran» took first place for six Similar success took week. Also in Bolivia, Ecuador and Colombia.
La Cultura de la Basura and support of the NO
Main article: La cultura de la basura
In October 1987 they started recording the third album La cultura de la basura by the band’s and was away for the first time with songs written by Narea and Tapia: “Somos solo ruido,” “Algo tan Moderno” “El Vals” and “Lo estamos pasando muy bien”. During the sessions began the first disagreements between the band, Lyon Caco not stand apathy Jorge, and left the session, leaving the job to his assistant Antonio Gildemeister, who just a rookie to make the recordings and mixtures so the sound is dirty.30 Caco said that the disk is very messy and wrong filled.31 The album was released on December 3 that year.
Cover of La cultura de la basura
He sold 10 000 copies in advance sales, 24 but did not surpass the success of Pateando piedras, making only sell 70 000 copies, 5 being considered by critics as an artistic and commercial failure of the band, “but it was still a double platinum ‘, commented ironically on that. González, Claudio, Fonseca and Miguel blamed that George was relaxed when they were made componer. But Gonzalez was not a failure within two points of view but if the low point of Los Prisioneros. To Charles, as you like “” but the rest liked was how to display the hilacha”.
So this was the only song Narea and Tapia that was included in the Latin American edition of Gonzalez took “Another Day” and “able to choose”, so 14 songs were reduced to 10.36 temasde returned to record some new, 37 also in “Lo estamos pasando muy bien” (We Are having A Good Time) Jorge Claudio’s voice replaced by it 38 And he added a new song, which opens the album, “We are Sudamerican rockers’ .37 This album was released in Chile.39 Today is considered for some fans the best album of the band (in the original edition) and An example of an album by The Beatles and Revolver, according to Juan Marquez of El Mercurio.
Gonzalez and Fonseca had a heated argument over the choice of first single, “Do not wrecking your life”, the latter, who was heard to say that the song was appropriate for the radios, was that this song was not appropriate as ” Damn sudaca “41” Do not wrecking your life “is a song that John wrote to Claudius, who at that time was having trouble in their marriage and their parents involved more than firstly indeed to.
On March 28, 1988, Los Prisioneros called a press conference to explain the promotional tour for the trash culture: 40 dates from Arica to Punta Arenas, and later would bring South America and Mexico. When the end came Cristián Rodríguez, a former record store-dependent fusion, invited by Miguel Tapia, was the last question on a plebiscite in October of that year. And Gonzalez responded immediately and without hesitation: “En el plebiscito votaremos que No” (In The upcoming plebiscite be will vote NO) .41 What resulted that the 40 scheduled dates could only make 7.41 After the plebiscite returned to Argentina to participate in the commemoration of the 40 years of the Universal Declaration of Human Rights in the concert of Amnesty International, which had sought to present in Chile, but Pinochet’s government prevented it. On October 14, 1988 in the World Cup Stadium in Mendoza Los Prisioneros shared the stage with Sting, Peter Gabriel, Tracy Chapman, Bruce Springsteen, Youssou N’Dour, the group mendozino Markama and Chilean group Inti Illimani, performing together on “Get Up, Stand Up” by Bob Marley, 42 to 10 000 18 000 Chileans and Argentines.
The Chileans were happy to be outside the country. They were released. But the experience was strange because we were not too comfortable. There was always this tension between Argentina and Chile. We had no a pleasant memory.
They started the tour in Colombia, Venezuela and Mexico are the first country where the greatest impact achieved. Three consecutive tours in September and November 1988 and April. The song “Pa pa pa” was the top seller in Bogota, according to Mario Ruiz, manager of marketing for the Latin market EMI at the time, said the group Chile managed to open the Colombian market for Spanish rock.
After the tour was canceled in Venezuela, then came to Mexico, where they were a virtually unknown band with little spread in the country and his songs “¿Quien Mató a Marilyn?”, “La voz de los 80” and “Muevan Las Industrias “spread especially in stations do not comerciales. Soon they reached the Aztec country were doing promotion, a time when Claudio started to feel sick because of hepatitis and had to return to Chile to take rest, and , suspended the promotional tour for the band that was scheduled in that country.
First break and recess (1990-2000)
Narea output, Corazones, separation and Grandes éxitos
In June 1989, Jorge and Carlos Fonseca traveled to Los Angeles, USA, produced by Gustavo Santaolalla to record what would become the band’s fourth album Corazones, which was very different from previous ones. The songs Narea and Tapia were left out, according to Fonseca because they could not travel because of problems with their visas, “Law said Jorge González was the composer of the group,” said Narea. Electronic music dominates the album with the keyboard as an instrument principal. In those days, the friendship of George and Claudio was ending, not just songs, because the first was inclined to technopop, like Miguel Tapia, and the second for rock and roll and blues from the 50 and 60. In February 1989 Claudio found love letters from his wife, Claudia Carvajal, written by his then best friend Jorge, spent a year yet to Narea’s decision to leave the group after his wife returned to him after have had a brief affair with Jorge. Corazones’ songs are mostly about love, as Claudio said they were committed to their wife. Finally in January 1990 after one trial in which he participated for Corazones Claudio decided to withdraw from the band.
When it was unveiled in May of that year the output Narea Claudio, he stated:
“I decided to leave because he was not comfortable, to say the least. Everything was done to the painting of George, who has long been considered not at all my opinion or that of Miguel. It is time running out of lies. The Prisoners were a sham from a moment. in the beginning, and shortly after he left kicking stones, were authentic, but begin to change …”.
In 1990 it ratified the victory of the NO campaign ending the Chilean military regime. This also became the talk of a new album and the departure of Claudio Narea. In an interview with Katherine Salosny, Jorge says he feels bad about the departure of Claudio, featuring the album’s first single “Tren al sur” Premiering the clip 17 of this item on the agenda Extra Jóvenes.
Later he joined Cecilia Aguayo (ex The Cleopatras), Jorge told him that she was the newest member of Los Prisioneros, she could not play any instrument, yet left medicine to devote himself to learning his Casio keyboard. Rehearsed every day in her house when her friends came to visit him because he played topics asked Prisioneros-Jorge told him not to tell anyone until it was officially introduced as a member of the group, and she responded because I like.
Eight months after its launch took Corazones to become successful, when the new lineup debuted at the Festival of Viña del Mar, the album managed to sell 180 000 copies sold and triple platinum in Chile. He was the most praised work critically, which states that if a party would have won first prizes and thousands of sales, they had lost their significance final. In Argentina, where prisoners were never very popular in Córdoba and Rosario, the album was an exit.52 also signed by Capitol Records to release Corazones Fonseca United States.24 But the group still represents the day after the Festival.
On 24 October of that year, George and Michael announce the separation of the group, 22 released a video and album titled “Los Prisioneros: Grandes Éxitos”, which sold over 120,000 copies in Chile and 54,000 in the exterior. Start the tour farewell that ended in the Estadio Chile, where people started screaming – “Narea, Narea, Narea” – Jorge González 17 responded to this mockery of the new band of former teammate, referring as “Proxenetas y Flemáticos” but the public became increasingly insistent, George could not bear it, he threw the guitar down and went into the dressing room to cry. The last concert of Los Prisioneros was in Valparaíso in 1992.
Ni Por La Razón, Ni Por La Fuerza, Los Dioses and El Caset Pirata
In 1996 Los Prisioneros were seen again after several years, and started collecting the band’s success, more oddities from the time of Los Pseudopillos, Los Vinchukas, Gus worms and stinky. The compilation sold 100 000 albums dobles.54 About 40 items were selected in a double compact disc entitled, not by reason or by force. They played in one instance, privately, in Balmaceda 1215, however, no agreement was finalized back together, nor the media took the news.
In 1998 George and Michael are reunited, along with Venezuelan Argenis Brito, to form the trio Gods, toured Chile and Peru, interpreting classics of the prisoners, who did some gigs not very fortunate, in a tour subtitled “Lo Mejor de Los Prisioneros.” Gonzalez’s aggressiveness and lack of care on the scene away to public.44 Jorge collapse due to his addiction to drugs and left the group in March 1999.56 no album released. Argenis Brito Miguel and continued together under the name of Reason 56 In 2000 Jorge Humanitaria. Suddenly stopped promoting his latest solo album, traveled to Cuba, to overcome his drug addiction in the Villa Center Detoxification Quinque that country.
In October 2000 Carlos Fonseca released under the label Warner Music, the album Tribute to the prisoners, made up of 18 groups in Chile, with Jorge González on vocals. A month later, and produced by Jorge Gonzalez El Caset Pirata and this compilation of hits from the band recorded live from 1986-1991.57 40 as an advance released a single before the album’s release on October 30, “No necesitamos banderas”, a presentation of the 1992 farewell tour banda.58 the album sold 20 000 copies.
Experimental new album, tension and one departure
Main article: Los Prisioneros (album)
In 2003 the band released their first new album since Claudio Narea left the band in 1990. It was titled self-titled, “Los Prisioneros”. The reviews for the album were quite mixed, some loved it while others didn’t or thought that the band no longer sounded like Los Prisioneros. The album had a whole new sound, but it kept the political lyrics of the band in most of their songs. Basically the first half of the album is very centered in the rock genre while the second half moves into more of an electronic and acoustic folk guitar influence. They made two videos for the album, one for “San Miguel” and one for “Ultra-Derecha”. They then began a tour to promote the album in 2003.
The same year, Los Prisioneros played in the famous music festival of Viña Del Mar in Chile. This was a live broadcast show and a very controversial one. Jorge González changed or added lyrics expressing his anger towards George W. Bush, about the Iraq and Afghanistan invasions, and other major things happening in Chile. By this time, Jorge was becoming very outspoken which caused controversy and tension began to become noticeable between Jorge and Claudio.
In September, Claudio Narea was dismissed by the band, the remaining members said they talked it out like gentlemen, and decided to keep the reason of his dismissal between the three, and then until the band’s final break up in 2006, Los Prisioneros would face on and off disrespect from certain newspapers and sometimes even Claudio. During a press conference to announce Claudio’s departure, his replacement, who was called “guest of honor on guitar”, and the recording a covers album that would be coming out that same year, the press kept bringing the subject up of Claudio’s departure; Los Prisioneros became annoyed and told several of the press members that they would not give any details regarding the breakup between Los Prisioneros and Claudio and would not talk about it anymore. Eventually, Jorge lost his temper and knocked down all the microphones and threw a glass jar of water which was on the table onto the ground, then he left the conference and so did Miguel and guest of honor on guitar: Álvaro Henríquez with a big smile on his face and waved goodbye.
New formation and a covers album
Los Prisioneros went into the Rock & Pop studios to record their live studio covers album with guest musician Álvaro Henríquez, of Los Tres fame. The album En Las Raras Tocatas Nuevas De La Rock & Pop features only two original Los Prisioneros songs while the rest are but covers. Some of the covers include “Es La Lluvia Que Cae” originally by The Rokes, “Birthday” by The Beatles, “Alone Again (naturally)” by Gilbert O’Sullivan and many others. The album had a limited production and is now a hard to find collector’s item.
Reunion, tours, disco and new break (2001-2003)
On September 5, 2001 the original lineup of The Prisoner to officially launch the return of the group as a single a new version of “Las sierras eléctricas” recorded for the occasion after 12 years, this song was originally recorded by the trio before Narea output Hearts in 1989 and was published posthumously, not by reason, or for the same year fuerza. EMI double album anthology edited, its history and successes, although similar to Large successes, the first album is full so they decided to remove the last album, which only lasted 55 minutes-of catálogos. The label had contractual problems contract because they could not edit a record without the consent of the band at they had to fit the demands of them. Also included, in its original version, “Las sierras eléctricas” that was not owned by EMI. Later that same year, the original band members, González, Tapia and Narea, meet again and perform two concerts at the National Stadium in Santiago on November 30 and December, with a great call, which the musicians had never had that level and grabbing several front pages of newspapers at such congregation and emotional reunion. Los Prisioneros became the first and so far the only group twice replete National Stadium, a record surpassed in 2007 by Soda Stereo to exceed 126 000 tickets sold in two dates, the tour will see me back again.
Entrance concert prisoners in Chuquicamata.
In 2002 he recorded this memorable performance in a live album and DVD, while the band did a successful tour through Chile and various countries in Latin America. It is at this time the band started to create small controversy for his remarks on the presentations, as in Peru, González said she was ashamed of the Anti-Peruvian attitudes of his countrymen, or as in the case of the 2002 Teleton, where González pronounced these ironic about companies associated with the event, accusing the campaign using television for his own benefit, making a business of it. Until today this episode is greatly missed.
In February 2003, had a strong but successful at the Festival of Viña del Mar taking all the awards and in June 2003, Los Prisioneros released to the market a new album (the fifth of his career) simply titled Los Prisioneros. Although it away much of the original sound that made the band famous, social critique and anti-neoliberal policy was not absent. The album achieved gold and platinum, and ultra-right and San Miguel are the themes that emerged as singles. Some months later, again leaving Claudio Narea prisoners, this time in final form, the reasons for his departure he published on the website of the band.
This dismissal was communicated to me on 18 August, as part of a meeting which I was summoned by George and Michael. Without a dialogue or discussion, I contact Jorge González simply that “we do not play more with you.” I accuse you of wanting to excel and discuss my problems with friends within the group. He was particularly upset by an interview in June, the newspaper Las Ultimas Noticias, despite what is a conversation about personal matters which does not reveal any misfeasance on the band.
Tapia and González keep playing together with guest musicians. The big surprise was momentary integration Álvaro Henríquez (Three and a former Los Pettinellis), with whom he recorded the album of covers and re-releases, prisoners in the New Tocatas Rare Rock & Pop, recorded in the same season radial.
On October 23 the prisoners were nominated as “Best Artist Central” by MTV Latin America, 64 who commemorated its ten years of existence and his second award, which is why they put together the supergroup, “Los Black Stripes” for the opening, with different exponents of Latin rock, including Jorge González, who shared with the likes of Charly Alberti and Juanes. Alex Lora (El Tri) started singing “We are Sudamerican rockers”, then joined them Jonaz and Rosso (Plastilina Mosh members), followed them, González appeared singing ‘false Bolero “by Aterciopelados and then shouted” Viva Cuba “. Subsequently criticized MTV’s new line, saying that at first it was oriented to the true rock and today, the television station had become a channel like everyone else, with reality show, Ricky Martin and Alejandro Sanz.
Miguel Tapia (middle) on a plane bound for a fan Iquique in 2004.
Re-awakened popularity and Manzana
Main article: Manzana (album)
In 2004, a new line-up with Gonzalo Yáñez (as guest musician) and Sergio “Coti” Badilla, released their new album called “Manzana”. The album received great reviews, and sales, even though Jorge has said it’s been hard to promote the album. The album featured a far more pop rock influence than the previous album. The album sounds as if Los Prisioneros were somehow realizing their roots and in some of the songs, it is evident of past Los Prisioneros albums that came out in the 1980s. While the album has a lot of electronic synths and in general electronic influence, each song pretty much stayed in the Rock genre. Their lyrics were a lot more up front than their previous album.
They specifically attacked El Mercurio in the song “Mr. Right” about how that newspaper created propaganda against Allende and hinted the Chilean coup of 1973 where Chile’s current president (Salvador Allende) of that time was mysteriously killed by (depending on the sources) himself or the army Pinochet commanded. They made a video “El Muro” and began a tour that same year to play in South and Central America, Mexico, the U.S.A. and Canada. During the tours, two more videos followed “Manzana” and “Eres Mi Hogar”.
In late 2004, Jorge González talks extensively about its history and work with the Chilean writer and journalist Emiliano Aguayo, which became the book Cursed Sudaca: Conversations with Jorge Gonzalez (Ril Publishers, 2005, Chile). This is considered the longest interview the musician has ever given.
On February 18, 2005, performed, after having successfully performed in Canada, United States, Mexico, Ecuador, Peru, Bolivia, Colombia and Chile, over the past two years, his last concert in Caracas, Venezuela. The solution was agreed upon long before, even his closest fans were already aware of, but not the press, by differences in living cities in each. While Jorge González had taken up residence in Mexico Miguel and Sergio Tapia Badilla, remained in Santiago of Chile.
Final concerts and official dissolution
In 2005, Gonzalo Yáñez left the band (he was only a guest guitarist) to continue on his next album as a solo artist. The band continued touring until the end of 2005, and Jorge González had relocated to Mexico, D.F.. After a dismal tour in early 2006 (of dates which the band were in contract to perform) the band announced on their official website that the band would be over in March 2006. This proved to be true when Jorge announced his new group Los Updates which has seen a very well received first full length album in Europe, Japan and the United States where he has had good reviews by the specialized media in music.
On the other hand, Claudio Narea and Miguel Tapia and break their differences kept them apart since 2003 and brought together in 2009 forming a new project called “Narea and Tapia”, performing several live shows with the group indicated and recording new songs, published on December 20, 2010 for free download from the Internet.
Two of the three original members of The Prisoners: Jorge Gonzalez-Claudio Narea each doing their own submission, in the Chilean Rock Summit II in 2009.
Social and political legacy
According to several authors, the prisoners became, by his letters contingent and social criticism in the voice of thousands of young Chileans and Latin Americans in the 1980s. On July 1, 1983 was the year of Gonzalez Tapia Narea and for the first time they called “The Prisoner”, while on the other hand, on 11 May of that year, held the first protest against Augusto Pinochet’s regime giving a chain of protests until the end of 12 October 1984. Both paths crossed and Prisoners unwittingly became the banner of struggle in their being censored in the mainstream media, including the then state government network, Televisión Nacional de Chile (Channel 7), left the signs of the 1985 Telethon, as Prisoners made their appearance. According Narea, detected something that could be dangerous to the stability of the government of General Pinochet, 66 while Fonseca said the band’s first album, The Voice of 80, made no direct attack on the dictatorship nor a tribute Salvador Allende.
Claudio Narea in his autobiography Mi Vida Como Prisionero (My life as a prisoner) said Los Prisioneros were left:
“I remember when George began to talk of socialism one day as we walked by San Miguel. (…) I said it was only fair that no one would starve to death and that life would be better for everyone when that system was implanted, and that insurance would be implemented. (…) But in fact it was so common that within the band we were talking about politics, because music was what filled us. (…) We had no political prisoners in our families, and we went to protest, as (…) although Pinochet got to hate watching things that happened in those days, as the case of slain professionals, for example. Jorge Gonzalez has said many times that the letter was a fill in the songs of the prisoners. It was he who invented those songs. (…) Our band will be remembered forever by those who lived through the dictatorship because of that, because there was no dictatorship and could do almost nothing but sing songs of the prisoners. I have no idea if the fame and popularity of the band had been the same without the soldiers, but it seems not. I think we belong to this period we like it or not.”
But in the 1980s to Jorge-leader and principal songwriter of the group, The Prisoner did not belong to any political party and that their songs are not partisan, “We only have what everyone feels. Some people claim against capitalist society not because they had read Marx but because they simply can not afford the money to buy everything that television should have taught that to be happy. “He does not believe that their songs are in a base ideological, but it appears that once made the background. Nor that they are so rebellious, because that would mean, for example, have a generational conflict with their parents. “I have no problems with them and I never left the house, he said. To say that sounds are protesting advertising. No other claim is not against a person against the system tal.
According to Fonseca: They had another vision of music they wanted to be successful, and everywhere. So no points confined to Chile. Now, over time, you realize that despite the people that turned those songs into a tool of struggle against the dictatorship. So George is upset when asked about this, because he never felt doing protest songs “
Musical style, influences
In 1981 the British band known punk rock band The Clash, through a 90-minute cassette Claudio and Rodrigo Beltran happened to that recorded for a special Radio Concert band’s latest album: Sandinista!. They found an unprecedented versatility for them to be the inspiration for the further development of the prisoners, argued Narea. In La voz de los ’80s took the attitude of defiance, and the pose and the art of trash culture. The aesthetic and lyrical in the video “We are Sudamerican rockers.” “We saw those pants and military and wanted to be like them. Better yet in Pinochet’s Chile to use those clothes. It made sense, “said Nare. Prisoners were to meet Joe Strummer when he returned to Iquique for a movie he did in Chile, however Strummer died in 2002.
In 1985, George and Michael were gaining influence in the technology, groups like Depeche Mode, Ultravox, for the year Gonzalez team includes keyboard and synthesizers in his later work Kicking stones and Hearts, full albums techno, said Gonzalez, also further stated that prisoners are more techno pop group a group rock.71 Ibeas Lalo, leader of the Pig in Stone, said it was too risky for the prisoners “have made their second album, radically changing the sound of the band pass style of The Clash guitars, sound synthesizers, and yet still sounded like the prisoners’ .72 The situation was not comfortable for Narea, different from the scenario of how they started as a simple trio of guitar, bass and drums for the recording of Kicking stones, Claudio only played the guitar in the songs, including acoustic “Dance of the left over.” During the time before Hearts Narea was felt influenced blues and rock and roll from the 50 and 60, work that could only develop in the posterior band Prophets and Frantic. George always wanted to work with synthesizers, but due to high costs, could only be part of a punk rock group in its infancy. For La cultura de la basura and used electronic music sampler.
The band is classified as rock, pop, folk, punk, post-punk, new wave, techno, electronic music, synthpop and rockabilly. Also, influences of rock and roll, hardcore, reggae, jazz, ska, rap, dance, vals and experimental music.
Awards and recognition
With the success of the media began kicking stones to take seriously Los Prisioneros, the magazine pointed at Super Rocknota 1 as the best group of Chile. Moreover, awarded for best album Pateando piedras, Jorge González as the best composer and chose the theme “Dance of the leftover” as the song of the year were subsequently awarded in Peru for the song El baile de los que sobran, and Ecuador in the topic Sexo.
The video for “Tren Al Sur” was nominated for “Best Video Latin” American chain MTV. On October 1, 1993 was opened for the first time MTV chain and the first video broadcast was We are sudamerican rockers. In the evening attended George González. In 2003, due to celebrate ten years of MTV and his second award, armed the supergroup “Los Black Stripes” with different exponents of Latin rock, including González for the opening ceremony. He left Alex Lora (El Tri) who then joined them Jonaz and Rosso (Plastilina Mosh members) singing We are sudamerican rockers followed them, Gonzalez appeared in interpreting false Bolero of Aterciopelados.65 In 1998 music video for ‘Sex’ was awarded the Coral Black Film Festival in Havana, Cuba.