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93-697: Corazones is the fourth studio album by the Chilean rock band Los Prisioneros , released in 1990. Produced by the Argentine Gustavo Santaolalla , in conjunction with Aníbal Kerpel on the EMI label, it was recorded, mixed and mastered in Los Angeles, California being the first album recorded outside of Chile. It was distributed overseas by the Capitol label. Before the production of

186-569: A band with Miguel, where they would pretend to be John Lennon and Paul McCartney from the Beatles . After watching them play; Narea nicknamed them "Los Vinchukas"."Vinchukas" are small insects of northern Chile; this nickname inferred that the Jorge and Miguel were «The Chilean Beatles». As they all got to know each other, they eventually invited Narea to join the band . Shortly after Alvaro Beltran joined on guitar, and Miguel Tapia, who had received

279-615: A case of hepatitis and had to return to Chile to rest, leaving the band to suspend their promotional tour in that country. In June 1989, Jorge Gonzalez and Carlos Fonseca traveled to Los Angeles , US, to record what would become the band's fourth album Corazones produced by the Argentinian Gustavo Santaolalla. This was the first album in which Jorge was not also the producer; all other previous albums were produced almost exclusively by him. Narea and Tapia thought that they would participate composing like they did in

372-628: A classic of the genre and remembered in much of Latin America. "...Under our shoes, mud plus concrete The future is nothing like what was promised during those twelve games (referencing grades 1 through 12 of education) Others learned secrets we weren't told Others were truly given that thing we call "education" They asked us for effort, they asked us for dedication And for what?! So that we could end up dancing and kicking stones! English translation of Baile De Los Que Sobran (Dance Of The Ones Left Behind). The album sold five thousand copies in

465-739: A commemoration show in Santiago on September of the same year. During 2017, Javiera signed a contract with Sony Music, to release a new album. Its first single "Dentro de mi" was showcased at November in Santiago. Her fourth album called Espejo was released in April 2018. In 2019, Javiera Mena performed at Coachella Music Festival in Indio, CA. Javiera released her first digital EP called I. Entusiasmo in 2021 with five songs. They all became singles. As Javiera Mena has been living in Spain for quite

558-462: A compilation which sold 100.000 albums dobles.54Later, 40 songs were selected and featured in a double compact disc compilation album titled, Ni Por La Razón, Ni Por La Fuerza (Nor by reason, Nor by force). Its cover shows the faces of Jorge González , Miguel Tapia and Claudio Narea above the face of Bernardo O'Higgins , Jose Miguel Carrera and Manuel Rodríguez , considered the Fathers of

651-665: 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, at their High 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 with them. 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 did not speak to them for two or three months while working to raise money for college. Rodrigo, who had reconciled with Jorge and Miguel, convinced Claudio to return to

744-582: A later date, Jorge Gonzalez then introduced 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 because; as Jorge Said: "Los Prisioneros, were the three of them 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 he got them to play around Santiago, Chile. Carlos also wrote an article about

837-483: A limited production and is now a hard to find collector's item. On September 5, 2001, the original lineup of The Prisoners was to officially launch the return of the group with a single. It was 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, "Ni por la razon, Ni Por La fuerza"(Not by reason, Nor by Force) The same year EMI edited

930-525: A member of the band "Aparato Raro"— and future members of Los Prisioneros Robert Rodríguez and Carlos Fonseca with whom he established an instant friendship. It was not long before Jorge Gonzalez y Carlos Fonseca dropped out of the university. Shortly afterwards, Jorge González began to work at the Fonseca's family business (a record store called Discos Fusión), while Carlos Fonseca went out looking for new talent. Some time later Jorge asked Carlos Fonseca to be

1023-525: A press conference to explain the promotional tour for La Cultura de la Basura : 40 dates were announced from Arica , Chile's northernmost city to Punta Arenas , Chile's southernmost city. The tour later would also include other South American countries and Mexico . At the end of the press conference; Cristián Rodríguez — a former representative of the Independent Record Label Fusion who was invited by Miguel Tapia — asked about

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1116-502: 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 quite noticeable between Jorge and Claudio. In September, Claudio Narea was dismissed by the band,

1209-520: A while, she was invited to participate in the inaugural edition of Benidorm Fest 2022, Spain's national selection for the widely-known Eurovision Song Contest . She performed in the second semi-final with her song "Culpa" and earned 50 points, placing 6th and failing to qualify to the final. Her fifth album, called Nocturna was released during October 2022 and she toured Spain, Chile, Argentina and Mexico in an exhausting promotion work. Early in her career, Spanish canción melódica singer Jeanette

1302-408: A wider use of synthesizers and more danceable beats than her previous work. Also, this stage reflects a bigger interest in the visual aspects of her career regarding music videos and live shows. The first single released was the song "Espada" ("Sword"), released in 2013, whose video (and lyrics) became widely popular due to its references to LGBT community. The video was directed by Luis Cerveró (part of

1395-514: Is a Chilean singer, songwriter, musician, and record producer based in Madrid , Spain. She started her musical career in the Chilean indie music scene in 2001 and achieved wider success after the release of her debut studio album Esquemas Juveniles (2006). Her musical style tends to be synthesized electronic sound, although in her career beginnings she made acoustic-oriented songs, accompanied solely by guitar. Javiera Mena began performing live at

1488-457: Is believed that had Los Prisioneros began their group as they were at that time; they would have been able to win trophies, awards and thousands in sales, even if in the end they would have lost their historic significance. In Argentina, though they were never very popular, Jorge Gonzalez was paid author's rights - in places like Córdoba and Rosario , the album was a success. They also were able to sign with Capitol Records to release Corazones in

1581-445: Is considered by some the best album of the band (in the original edition) according to Juan Marquez of El Mercurio . González and Fonseca had a heated argument over the choice of the first single, "Que No Destrocen Tu Vida" (Don't Let Them Destroy Your Life), a song about parents meddling in the lives of their sons. The song was probably inspired by Claudio's struggles with his parents. Gonzalez and Fonseca disagreed over which song

1674-498: Is known in Chile. They attended The «Liceo Number 6 from San Miguel , Santiago de Chile . Their high school has since been renamed Liceo Andres Bello . In 1980, Jorge and Claudio, along with brothers Rodrigo and Alvaro Beltran, formed the band "The Pseudopillos" (the Pseudo-thieves). The group created humorous songs a cappella (mostly by Jorge and Claudio), using everyday objects as percussion . Simultaneously, Jorge had

1767-455: The USACH to study engineering. There Narea also met Igor Rodriguez (Aparato Raro), and Robert Rodriguez (who would eventually become the lead of Banda 69 ). It was not long before Claudio Narea drops out of college as well (none of them had expected him to do that). While Carlos Fonseca focused on his radio program at "Radio Beethoven" (a Chilean Radio station that played only classical music), he

1860-563: The 2005 compilation album Panorama Neutral . Another song, "Cámara Lenta", shortly after was included in the soundtrack of Alberto Fuguet ’s movie Se arrienda . Her debut album, Esquemas Juveniles , was recorded between 2004 and 2005 and it was produced by Cristian Heyne . The album was first released in 2006 in Argentina by an indie label owned by Entre Ríos, and then was released in Chile and Japan through local indie labels. Her music began to achieve attention worldwide mainly because of

1953-500: The 2012 movie Joven y Alocada , Fakuta , covered the song "Cuentame una historia original". Produced by Vicente Sanfuentes and Lego Mustache, the song "Estrechez de corazón" was covered by Carlos Cabezas, Francisca Valenzuela , and the group Villa Cariño. Being recorded in Triana studios by the famous engineer Gonzalo González, with a music video directed by Felipe Foncea. In the tribute album to Jorge González , "Nada es para Siempre",

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2046-493: The 40 scheduled dates, only 7 were possible to make without censorship. Here the reference of " El Plebiscito " Consisted of 2 choices: "Yes" to continue with the Dictatorial Government of Augusto Pinochet or "NO" meaning to convocate national elections to choose a new president. This political referendum battle is known as the "NO" Campaign versus the "Yes" Campaign. The "NO" Campaign being the most popular and

2139-613: The Chilean Homeland . The compilation album was promoted through the radios with the song "Las sierras Eléctricas", a song originally written and composed for the album Corazones , in 2001 a new version of This song was used to announce the reunion of the group in two shows of the National Stadium . They played privately in one event, in Balmaceda 1215, however, there was no talk about getting back together, nor

2232-434: The Chilean military regime of Pinochet. Their albums were completely re-released in remastered compact disc formats, once Chile was no longer under a military regime. There was also talk of a new album and the departure of Claudio Narea. In an interview with Katherine Salosny , Jorge said he felt bad about the departure of Claudio Narea. The ""Agenda Extra Jóvenes"" featured the album's first single "Tren al sur" and premiered

2325-543: The International Song Festival of Vina del Mar in 1987, the band was not in the official program, something that baffled fans and the media. Instead, there were other groups present at the bill, such as 24 Upa!, Cinema, Argentine rock group Soda Stereo and GIT (the latter band being the most popular at the event). The trio from San Miguel expressed their rejection of Soda Stereo during interviews. In November 1986 they were invited to perform at

2418-606: The Latin market EMI at the time, the Chilean group managed to open the Colombian market for Spanish rock . After the tour was canceled in Venezuela, they went to Mexico, where they were a virtually unknown band with little exposure in the country, and the band's songs "¿Quien Mató a Marilyn?", "La voz de los 80" and "Muevan Las Industrias" were mainly played on non-commercial radio. Soon after they reached Mexico, Claudio contracted

2511-603: The United States, Canada and Europe. On October 1, 1993, the MTV Latin American made his debut using the music video for "We Are Sudamerican Rockers" by Los Prisioneros. In 1996 Los Prisioneros were seen again after several years, and started collecting the band's success, and unreleased songs, covers of some songs released abroad discarded songs, with more oddities from the time of Los Pseudopillos , Los Vinchukas , Gus Gusano y Los Apestosos . They created

2604-507: The United States. On October 24, 1990, Jorge and Miguel announce the dissolution of the group, and released a video and album titled "Los Prisioneros: Grandes Éxitos", which sold over 120,000 copies in Chile and 54,000 outside of Chile. They started their farewell tour which ended in the National Stadium Chile, At the end of the performance people started screaming - "Narea, Narea, Narea" - Jorge González responded by mocking

2697-617: The Video clip 17 of the Album. Later that year, Cecilia Aguayo (ex The Cleopatras) joined the group, Jorge told them that she was the newest member of Los Prisioneros, but she could not play any instrument, yet she left her medicine studies to devote herself to learn keyboard on a Casio Keyboard. She Rehearsed every day in her house and when her friends came to visit her, and asked why she always played Prisioneros songs, she responded because I really like them-Jorge told her not to tell anyone until she

2790-514: The Villa Center Detoxification Quinque in that country. In October 2000 Carlos Fonseca released under the label Warner Music , the tribute album Tributo a Los Prisioneros s, made up of 18 groups in Chile, with Jorge González doing Chorus vocals. Tributing bands included Glup! , Javiera y Los Imposibles , Lucybell , Los Tetas and La Ley . A month later, and produced by Jorge Gonzalez El Caset Pirata and

2883-484: The age of 17. Her first concert was held in a classroom of Juan Gómez Millas Campus at the University of Chile . In 2002, she began to study musical composition and musical arrangement at the music academy ProJazz , while also performing at underground parties and clubs. In 2003 she recorded various demos which leaked to the internet shortly thereafter and spread by her friends. In 2004, she performed outside Chile for

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2976-432: The album The Culture of Garbage. They composed 3 songs; however, the songs by Narea and Tapia were left out of the album. The reason for this —Carlos Fonseca stated— was that according to the law Jorge González was the composer of the group ; and because Tapia could not travel due to problems with his visa. The new album was a departure from what they had done in the past. It had a new sound: with Electronic music dominating

3069-404: The album began without the collaboration of Claudio Narea, who left the group in the middle of the work process, in the midst of love problems that were finally reflected in the lyrics distributed on the album. Narea's departure was marked by the hidden relationship between his wife and Gonzalez, but he also had a musical artist: "He did not agree with the sound that the group's leader wanted to give

3162-406: 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

3255-485: The album, Corazones , between July and August 1989, the group Los Prisioneros recorded at the Konstantinopla Studios owned by Carlos Cabezas Rocuant, "Beaucheff 1435". Whose name is due to the musician's home address Jorge González , where the songs on the album were composed the vast majority. A part of these themes were known in 1996 with the album compilation Ni Por La Razon, Ni Por La Fuerza , and

3348-449: The album; and with keyboard as the main instrument. In those days —the partnership of Jorge and Claudio was ending— not just professionally (Jorge was inclined to synthpop ; and Narea to rock and roll and blues from the 50 and 60) but personally as well. In February 1989 Claudio found love letters for his wife (Claudia Carvajal) written by his best friend and bandleader Jorge Gonzalez. A whole year passed before Narea's decision to leave

3441-527: The attention of the Spanish local press. In 2012, Mena was featured in El Guincho 's single "Novias". In March 2013, Mena along with fellow countryman artist Gepe collaborated with Mexican singer-songwriter Julieta Venegas for a song entitled "Vuelve". In October 2014, Javiera Mena released her third album, Otra Era . This album marks the search of the artist for a heavy 1980s disco sound, with

3534-578: The band in the Dinners Club World magazine under a pseudonym. On December 13 of 1984, their first album titled La voz de los '80 (The Voice of the 80's) was released under the label "Fusion", which was property of the Fonseca Family. The album hardly received any radio airplay, but became emblematic in the Chilean music scene later on. During that time, Chilean Radio and Television mostly favored Argentinian artists, so their exposure

3627-487: The band members were Jorge González as bass player and lead singer, Claudio Narea on the guitar and Miguel Tapia playing drums, percussions and backing vocals. That same year, Jorge González entered the University of Chile School of Arts, where he met several people whom -although unknown at the time- would become stars of the "Nuevo Pop Chileno" (New Chilean Pop). Singers such as Igor Rodríguez —who would eventually become

3720-402: 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 did not 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

3813-543: The band would perform their last concert. Musically, Los Prisioneros marked the beginning of a new musical era in Chile, leaving behind the 1960s folk-inspired music of Víctor Jara and Violeta Parra , and starting the new era of Nuevo Pop Chileno (New Chilean Pop)., setting the stage for many other Chilean bands, such as Aparato Raro, Cinema, Upa!, Valija Diplomática, Aterrizaje Forzoso, Electrodomésticos , Banda 69, Fulano , among others. Songs like "La Voz de los '80", "Muevan las Industrias", and " Tren al Sur " are among

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3906-535: The band, recording the covers album Los Prisioneros En Las Raras Tocatas Nuevas De la Rock & Pop. Shortly after, Sergio "Coty" Badilla and Gonzalo Yáñez would join the band, and would form part of the lineup that would record their sixth and final studio album; Manzana and would go on tour in Canada, the United States, Mexico, Ecuador, Peru, Bolivia, Colombia, and Chile. On February 18, 2006, in Caracas , Venezuela

3999-682: The band. After Narea's wife returned to him following a brief affair with Jorge Gonzalez. The Songs from the Album Corazones(Hearts) are mostly about romanticism, but also classism and male chauvinism. Claudio attributed Gonzalez's songs as being inspired by the affair with his wife. Finally, in January 1990 Claudio bitterly decided to withdraw from the band. When the album was unveiled in May of that year Claudio Narea stated: «...I decided to leave because I did not feel comfortable, to say

4092-598: The band. At this critical phase, the band decided to use a brand new name, this time seriously. First they chose Los Criminales ("the Criminals") reflecting their views as being outsiders, but Miguel suggested the name Los Prisioneros reflecting more accurately their reality in the authoritarian repressed Chile of the 1980s . The rest liked the name, and on July 1, 1983, they debuted with the name Los Prisioneros at Festival de la Canción del Colegio Miguel León Prado (Miguel Leon Prado High School Song festival). At that time

4185-534: The charango to solidify a sonic identity that was "originally and unquestionably Latin American". Corazones was released on May 20, 1990 on the EMI label. The album sold over 190,000 copies, and was certified with four platinum records . It stands today as one of the best selling albums in Chile . Its first single, "Tren al Sur", was released on May 7, 1990, prior to the album’s official release. In 1990, Jorge

4278-429: The compilation album Antologia, su historia y sus exitos, Los Prisioneros would reunite in 2001, and would play two reunion shows in Santiago's Estadio Nacional to a total of almost 150,000 people, the largest Chilean concert at the time. They would record a self-titled reunion album in 2003, and Narea left the band shortly after due to heightened tensions with the band, with Los Tres frontman Alvaro Henríquez joining

4371-445: The compilation of hits from the band recorded live from 1986 to 1991.57 40 As an advance, they released a single before the album's release on October 30, titled "No necesitamos banderas"(We Don't Need Flags), a presentation of the 1992 farewell tour banda. the album sold 20 000 copies. On August 31, 2011, it was re-released along with the other 3 albums La cultura de la basura , Pateando piedras and La voz de los '80 . In 2003

4464-447: The double album ""Antologia, Su Historia Y Sus Exitos" (Anthology, its history and successes), although similar to other Large successes, the first album is full they decided to remove the last album, which only lasted 55 minutes. The label had contractual problems, because they could not edit a record without the consent of the band as they had to accommodate their wishes. Also included, in its original version, "Las sierras eléctricas" that

4557-567: The first and so far the only group to fill twice the National Stadium , a record surpassed in 2007 by Soda Stereo to exceed 126 000 tickets sold in two dates, with the tour "will see me back again". In 2002 they 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 Jorge Gonzalez remarks while performing. In Peru, González said he

4650-507: The first ten days of release, an exploit that was never done before by a young band in Chile. 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. They were considered "The hope in Viña" by the public at the National Stadium Chile. At

4743-532: The first time, opening for Argentine electropop band Entre Ríos in Buenos Aires. Between 2003 and 2006, she was also part of the Electropop duet Prissa (formerly Tele Visa ), along with her friend Francisca Villela . This group released a digital EP entitled Ni Tú Ni Yo . Javiera's first song officially published was "Sol de Invierno", a duet with her friend and singer Gepe which was included in

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4836-515: The ground, then he left the conference and so did Miguel and "the guest of honor in the guitar, who was Álvaro Henríquez . The latter one left with a big smile on his face and waved goodbye. 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

4929-411: The growing popularity of Depeche Mode Tensions between González and Narea escalated during the production of their 1990 album Corazones , when Narea would learn of an affair between González and his wife, and would leave the band, being replaced by Cecilia Aguayo on keyboards, and Robert Rodríguez on bass. The quartet remained active for two years before disbanding in 1992. Following the release of

5022-399: The guitar", the press kept bringing the subject of Claudio's departure. The Band members 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 refuse talk about it. Eventually, Jorge lost his temper and knocked down all the microphones and threw a glass jar of water (which was on the table) to

5115-435: The heart, however the bloodstain is on the opposite side of, this error was not corrected until the 1995 edition. The shirt used was purchased by manager Carlos Fonseca for the photo in a Paris store, located on Lyon venue. "We just knew that Claudio had left. It was very strange to take photos without him", recalled Fonseca. Some of the album tracks were covered by some singers like: "Amiga mía", covered by Javiera Mena for

5208-502: The independent record label Fusión Producciones , and would initially struggle to achieve mainstream popularity before signing to EMI Records in 1985, re-releasing their first album on vinyl records and cassettes. Throughout the 1980s, the band saw a increased popularity in Latin America, in particular, their native Chile and Peru . Starting with the release of 1986's Pateando piedras and 1987's La cultura de la basura , González would begin to experiment with synth pop, influenced by

5301-600: The international Rock Festival of Montevideo in Uruguay where they shared stage with Soda Stereo , Fito Paez , GIT , Sumo , among others. The band released their albums in that country but with little success so they never went back. In March 1987 they played at the Chateau Rock Festival at Estadio Cordoba and Buenos Aires Works, Argentina, although it seemed only half the audience liked them, while Argentine media just asked them questions about Pinochet in

5394-581: The internet, especially through sites such as MySpace . This album was later named the second best album of the 2000s by Latin music website Club Fonograma , while its opening track "Al Siguiente Nivel" was named the best song of the decade. In 2009, Mena performed in Europe for the first time, as being invited by Norwegian duo Kings of Convenience to be their opening act in their concerts held in Spain and Portugal . After four years of production and mastering, Mena's second studio album, entitled Mena ,

5487-572: The last question on the plebiscite/referendum coming up in October of that year, concerning the military dictatorship of General Pinochet still ruling in Chile at the time. Jorge González answered immediately and without hesitation: «...In the upcoming plebiscite we will vote NO (En el plebiscito votaremos que No)» This was a strong public statement against the Dictator of Chile Augusto Pinochet, and it caused much controversy. It resulted that out of

5580-453: The least. Everything was done for the approval and liking of Jorge, who for too long never considered at all my opinions nor those of Miguel's. It is time to walk away from lies. The Prisoners have been sham for a while. Only in the beginning, and shortly after Pateando Piedras, we were authentic —but after that— things began to change...» In 1990 the victory of the NO campaign, was ratified ending

5673-426: The manager of the band. "...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 got there to rehearse, and we thought we were so cool, because we were real, with songs which were unknown but were our own. The others only did versions of already famous People. I remember that we performed as the opening number." In 1983 Claudio Narea also entered

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5766-487: The media showed any interest with the news, this album was re-released in others formats like; in 2012 when the compilation album was released on Vinyl . In 1998 Jorge and Miguel were reunited, along with the Venezuelan artist Argenis Brito, to form the trio "Los Dioses" (The Gods), they launched a tour titled "Lo Mejor de Los Prisioneros" (The Best of The Prisoners) and toured Chile and Peru, interpreting classics of

5859-506: The most famous, important, and musically influential songs of Latin America, and the song " El baile de los que sobran " became an anthem for the 2019-2022 Chilean protests . In 2023, Rolling Stone would name Corazones among the 50 best Latin-American albums of all time. 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 or Secondary Education as it

5952-569: The most popular and best selling albums in Chile. According to the Chilean Magazine Vea , the band's Song "Sexo" was the most played by Chilean radio. EMI records would edit all their albums until 2001. On September 15, 1986, their second studio album titled Pateando piedras was released under the EMI label. Highlights from this album are "¿Por qué no se van?", "Muevan las industrias" and especially "El Baile de los que sobran", considered

6045-813: The musicians Gepe and Javiera Mena, accompanied by Cecilia Aguayo, Uwe Schmidt, Felipe Carbone, and Gonzalo Yáñez performed a version of "Cuentame una historia original". In 2020 David Eidelstein, the bassist of Los Tetas known as "Rulo", covered the song "Estrechez de corazón". Side A All tracks are written by Jorge González Side B Los Prisioneros The band initially met in high school, studying at San Miguel's Liceo 6, and form as "Los Vinchukas " (a play on The Beatles , one of their biggest influences), with Miguel Tapia on drums, Claudio Narea on guitar and Jorge González serving as their lead vocalist, bassist, main songwriter and de-facto leader. After changing their name to Los Prisioneros, they would record their first album, La voz de los '80 , and release it on

6138-529: The new band of former his teammate, referring to them as "Proxenetas y Flemáticos" but the public became increasingly insistent with "Narea, Narea, Narea", Jorge González could not bear it, he threw his guitar down and ran into the dressing rooms crying. The last concert of Los Prisioneros was at that time was in Valparaíso, Chile in 1992. Throughout the decade of the 1990s, their music spreads out, reaching all of South and Central America as well as some parts of

6231-462: The other band members they would all write together. As it turned out Gonzalez wrote the album by himself while Narea and Tapia composed four songs together: "Somos solo ruido" (We Are Only Noise), "Algo Tan Moderno" (Something So Modern), "El Vals" (The Waltz) and "Lo estamos pasando muy bien" (We Are Having A Good Time). During those sessions, the first disagreements within the band began. Caco Lyon could not stand Jorge's apathy and nonchalance, and left

6324-504: The other remain in public knowledge with Internet. Some of these songs mixed melancholic melodies, more intimate lyrics and a couple of dance songs, all led by synthesizers and programmed drums, highlighting pieces such as "En forma de pez", "Ella espera" and "Las sierras electricas". The sound of the album is a continuation of the sonic search for La cultura de la basura , but with elements of house . In addition, González's acute social vision finds its place in "Las sierras eléctricas", with

6417-734: The press conferences that they attended. It was a completely different story in Peru where the group was a success, they had three songs in the top ten, «El baile de los que sobran» took first place for six consecutive weeks. They achieved similar success in Bolivia , Ecuador and Colombia . In Peru Los Prisioneros held their most famous concert in September 19 of 1987 at the bullring Plaza de toros de Acho . In October 1987 they started recording their third album La cultura de la basura (Culture of Garbage or Junk Culture). Jorge González promised

6510-558: The prisoners, and did some gigs not but were not very successful. Gonzalez's aggressiveness and carelessness in front of his audiences pushed the public away. One Day Jorge collapsed due to his addiction to drugs and finally left the trio in March 1999, without releasing an album. Argenis Brito Miguel and continued together under as a duo under the new name "Humanitarian Reason". In 2000 Jorge suddenly stopped promoting his latest solo album, and he traveled to Cuba, to overcome his drug addiction in

6603-421: The recording sessions. Thus leaving the job to his assistant Antonio Gildemeister, who was an amateur in training. He was left to make the recordings and mixing, resulting in the roughness and crudeness of the album's final sound. Lyon later would say that the record was very messy and not properly filled. The album was released on December 3 of that year. They sold 10 000 copies in advance sales, but did not surpass

6696-415: 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 controversy from certain newspapers and sometimes even from Claudio. During a press conference to announce Claudio's departure, and to announce his replacement, who was called "the guest of honor in

6789-581: The remarkable visual collective CANADA) and has more than two million views on YouTube and counting. On the cover of the album Otra Era , Javiera appears in a black and white picture, wearing Eskimo sunglasses by designer André Courrèges (an item which later became an icon of Javiera) and showing full breasts. The cover was censored by the media and music and streaming services like iTunes and Spotify. In 2015, she toured in Otra Era tour, taking its shows to Spain, Mexico, Peru and Chile. In 2016, Javiera

6882-530: 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. In this album they record songs by other bands like Virus and the Children's mini series "31 Minutos". They also make new versions of 2 songs from their previous Albums ( "Concepción" and "En el cementerio"). The album had

6975-548: The romantic counterpart of "En forma de pez": a 7-minute suite inspired by Martin Gore from Depeche Mode . González left for Los Angeles , California in October 1989 with only the company of the band's manager, Carlos Fonseca, since Tapia was unable to obtain a visa to enter the United States . Narea had distanced herself after seeing his role as guitarist and occasional songwriter increasingly diminished. The production of

7068-513: The stage with Sting , Peter Gabriel , Tracy Chapman , Bruce Springsteen , Youssou N'Dour , the Mendozino group Markama and Chilean Group Inti Illimani , performing together the song "Get Up, Stand Up" by Bob Marley to an audience between 10,000 and 18,000 Chileans and Argentinians. Chilean people were happy to be outside their country. They felt liberated. But the experience was strange because we were not too comfortable in Argentina. There

7161-447: The success of Pateando piedras , being only able to sell 70 000 copies. This was considered by media critics as an artistic and commercial failure of the band although, ironically, it was still double platinum. For González, the album was neither a commercial, nor an artistic failure of the band; nevertheless, he considered it to be a low point for the band. Claudio, Fonseca, and Miguel blamed Jorge, saying that he got too relaxed because he

7254-497: The teleton signal and broadcast commercials instead of their performance. It was then that the Chilean Military Government singled them out as potentially dangerous to the stability of the regime of Augusto Pinochet . During August 1985, they signed a contract deal with EMI. In October of that year, their album was re-released in all of Chile and they sold between 100,000 and 105,000 copies; placing them among

7347-495: The trio, influenced by synthesizers and electropop that unfolded in the '80." Finally "Corazones" was dominated under Argentine producer Gustavo Santaolalla, who had recognition with his band Arco Iris and collaborating on records for Wet Picnic and León Gieco. All of their previous albums had been produced by González, however Santaolalla brought an "astounding new level of polish" to the band, infusing jagged electronic melodies with "soaring pop" production and regional instruments like

7440-648: The victorious one; colloquially referred to in Chile simply as "El No" (The No). After the plebiscite, the band returned to Argentina to participate in the commemoration of the 40 years of the Universal Declaration of Human Rights in a concert organized by Amnesty International, which had sought to make it in Chile, but was not able to due Pinochet's opposition. On October 14 of 1988 in the World Cup Stadium in Mendoza, Los Prisioneros shared

7533-555: The year. Club Fonograma gave Mena its first, and to date only, perfect 100 rating, and later named it their 2010 album of the year. In April 2011, Javiera Mena performed live for the first time at Chilean version of Lollapalooza . In May, she toured in Spain and performed live as one of the first Latin American acts of the Primavera Sound Festival in Barcelona. She was praised for her performance and got

7626-511: Was a gateway for a lot of people in the country (and in Latin America) who didn't know the work of Javiera, and the end of the show she said "I'm very happy to be here. It's very difficult to be an independent artist in Chile, and besides the numbers and sales, I make music because it comes from my soul, from my heart". 2016 marked 10 years of the career of Javiera Mena (since the release of Esquemas juveniles ), which she celebrated with

7719-404: Was also planning to make a special year-end show with emerging Chilean talents. Jorge brought a song he recorded in a dual cassette radio at home, and also the live performance of the band at their school. Throuroughly amazed after hearing the performances, Carlos convinced his father —Mario Fonseca— that the band had projection and future, and he in turn decided to invest money in the band. At

7812-543: Was always this tension between Argentinians and Chileans. We did not leave with a pleasant memory. They started their tour in Colombia, Venezuela and Mexico, Colombia being the country where they had they made the greatest impact. They sustained three consecutive tours in September and November 1988 and April, all in Colombia. The song "Pa pa pa" was the top seller in Bogota; according to Mario Ruiz, manager of marketing for

7905-470: Was appropriate for Chilean radio circulation. Fonseca wanted "Maldito Sudaca" (Damn South American) as the single: a song about the racist attitudes of Spaniards toward South Americans; "Sudaca" is a racial slur used by Spaniards, which implies people from South America are inferior. In the end "Que No Destrocen Tu Vida" was chosen as the single, while "Maldito Sudaca" became much more popular in Chile and Latin America. On March 28, 1988, Los Prisioneros called

7998-492: Was ashamed of the "Anti-Peruvian attitudes" of his fellow Chilean countrymen. Then, as in the case of the 2002 Teleton, where González made sarcastic comments about the companies associated with the event, accusing them of using the Teleton for their own benefit, turning it into a business. Until this day, those events are well remembered and talked about. Javiera Mena Javiera Alejandra Mena Carrasco (born June 3, 1983)

8091-501: Was chosen as the composer of the year by the Chilean Copyright Society. In 2006 was chosen as the best Ibero-American rock album No. 54  [ es ] by Al Borde , and in 2008 as the ninth best Chilean album  [ es ] by Rolling Stone . The album cover was photographed by Alejandro Barruel and designed by Vicente "Vicho" Vargas, The cover shows González wearing a white shirt with blood on

8184-434: Was invited to participate as a jury in the most popular music festival in Chile, Viña del Mar International Song Festival . She was also invited to play a show at the festival, which was broadcast on national TV and satellite international signal on A&E. Javiera arranged to make a very attractive and spectacular show for the night, including very colorful visuals, fancy garments and a set of numerous female dancers. The show

8277-610: Was limited to "Radio Galaxia", Sábado Gigante and "Canal 11" (Chilean TV Station). They also played at the "Sexta Teleton" (the Sixth Telethon) and suffered their first act censorship while performing the first single of their album "La Voz De Los '80". According to Claudio Narea, the Televisión Nacional de Chile (Chilean National Television), controlled by the Military Government at the time, cut

8370-497: Was not owned by EMI. Later that same year, the original band members, González, Tapia and Narea, meet again to perform two concerts at the National Stadium in Santiago on November 30 and December, with a great acclaim and press coverage, which the musicians had never had that up until that point. They appeared in several front pages of newspapers, and there was such a congregation and emotional reunion. Los Prisioneros became

8463-418: Was not the only one composing as it had been in the past. Fonseca liked the song "Lo Estamos Pasando Muy Bien" (We Are having A Good Time) but he believed the other songs by Narea were similar to "Mostrar La Hilacha" (Showing Loose Thread) one of his other compositions. He added a new song, which opens the album, titled "We are Sudamerican rockers". This version of the album was released only in Chile. Today, it

8556-469: Was officially introduced as a member of the group. It took Eight months after its launch for the album Corazones to become successful; the album managed to sell 180,000 copies; and sold triple platinum in Chile. The Day after the new lineup debuted at the Festival of Viña del Mar Fonseca left his position as Manager. The album Corazones was their most praised work and the most critically acclaimed, it

8649-473: Was released in October 2010. This album was again produced by Cristian Heyne and took a more dancefloor-oriented style compared to her first work, which was more of a balance between dance with mid-tempo and slow ballads. The album's first single, "Hasta la Verdad", was listed as one of the "Singles of the Week" in the American version of the iTunes Store , and iTunes Mexico named Mena as the breakthrough album of

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