González rose to fame in the early 1980s when he formed Los Prisioneros with friends Claudio Narea and Miguel Tapia.

One month beforehand Narea quit amid rumours of the love triangle, embarking on a series of interviews with the Prisioneros hating right wing press, blaming his exit from the successful trio on a "sell out" by the band.

But he later decided to ghostwrite a "tell all" book with a writer from El Mercurio, the main dictatorship newspaper, an unexpected move coming from a musician until then considered a hero.

The band split and Jorge got signed by EMI UK and embarked on a successful career until he suddenly broke up a multi-million 6-album deal to look for musical freedom, saying goodbye to stardom for almost a decade.

[citation needed] After the continental success and enormous social significance of Los Prisioneros, González's story as a solo singer-songwriter has been anything but predictable.

His first attempt at this was made when he first broke up with Los Prisioneros, in 1991, and decided to partner with his longtime manager, Carlos Fonseca, to develop a first album of continental promotion.

The production of the famous Gustavo Santaolalla, a luxury studio in Los Angeles, California and a budget of 150 thousand dollars resulted in "Jorge González" (1991), an album with soft melodies and abundant references.

[3] A careful promotional campaign, a glamorous launch at the Sheraton hotel, and full-color posters in the streets of Santiago publicly presented an album that was broadcast with the single "Mi casa en el arbol" (My house in the tree).

Topics such as "Esta es para hacerte feliz" (This is to make you happy) and "Fe" (Faith) initially achieved a less than lukewarm public response, compared to expectations and the memory of his glory with Los Prisioneros.

[3] In his annoyance over an exaggerated promotion that had only managed to spoil him, González calmly prepared a coup from which the EMI label had a hard time recovering.

With a still privileged budget, the musician recorded between Santiago de Chile and Germany the album "El futuro se fue" (1994), in which he experimented with some electronics, and felt it necessary to pay tribute to his newly discovered new idol: Víctor Jara.

He also worked with Dandy Jack to produce the duo "Gonzalo Martinez" which was a hit in Europe, the album is a mix of traditional cumbia music all done through electronic programs, synthesizers, and sequencers.

Unlike most bands, Los Prisioneros reunited without any sponsorship from any company and promoted their own concert in the Estadio Nacional of Chile scheduled for 30 November 2001.

Throughout 2002 a long tour in Chile was successful and in 2003 they played in various other countries in Latin America, Spain, and the US In early 2003 they began work on a new studio album, which was released by Warner Music Latina in 2003.

In the summer of 2006, after relocating to Mexico, D.F., Jorge along with his wife Loreto Otero formed the duo Los Updates.

Los Updates music is solely composed and produced by Jorge with Loreto providing back up vocals and playing the synthesizer for live concerts.

Jorge was invited to perform in the Cumbre del Rock Chileno (a huge festival featuring over 40 bands) in 2007 by himself in Chile, and negated rumors of a possible Los Prisioneros reunion.

In 2008, Jorge decided to organize a short tour in Chile similar to his appearance in the Cumbre del Rock Chileno which was regarded in the press as one of the highlights of the festival.