[12] This high school was not only representative for being the place where they met, as González explained during a visit to his establishment in 1987, it was also instrumental in the creation of the band's first album.

[13] In 1982, when they were in their last year of high school, they learned to play the guitar, it was at that time that González began to write the first songs that would be part of the debut album.

[14] After taking the Academic Aptitude Test (PAA), in March 1983, González entered the Faculty of Arts at the University of Chile to study a degree in music.

Among his colleagues were those who would later form part of the new Chilean pop scene: Igor Rodríguez (future Aparato Raro), Robert Rodríguez (future Banda 69) and Carlos Fonseca, with the last two he quickly established a friendship; Fonseca first became friends with González and Igor, because their musical tastes were similar and different from the rest.

[17] Fonseca entered the Catholic University to study commercial engineering, at the same time he opened the Fusión record store.

[18] According to the unauthorized biographer of Los Prisioneros, Freddy Stock, one afternoon while they were waiting for Juan Amenábar, their audition teacher, Fonseca approached González to see what he was writing, concentrating on his notebook, and read the first scribbles of "Latinoamérica es un pueblo al sur de Estados Unidos".

"[20] At the end of the class, González went to another piano taught by a teacher named Georgina González, but instead of practicing what she requested, he composed half of the repertoire that would make up the first album: "Latinoamérica es un pueblo al sur de Estados Unidos", "Eve-Evelyn", "No necesitamos banderas", «La voz de los '80» and other songs that did not remain.

[21] César Quezada, a classmate at the Faculty, pointed out that González's first compositions were very simple in C and A minor, "and, precisely, those are the first scales that begin to be seen in the first semester of a career like this."

[22] González explained that when he made songs like "Eve-Evelyn", he had a certain concern for the semitones and for a type of harmony that put "as a nervous medium".

[23] According to González's biographer, Manuel Maira, he composed "La voz de los '80" as a ballad, but little by little his pulse quickened, until it became a "disco hit"; He recorded the first demo using two boom boxes, together with Tapia, to whom he told that "the drums had to save bass drums and rolls to speed up his game."

[19] When Fonseca met the rest of the group, he pointed out to González and Tapia that Narea had to be changed, seeing that he was not very neat on the guitar, however, they refused to replace him, since all three of them formed Los Prisioneros.

[35] Others were distributed to various record stores, including Feria del Disco, and in March, 1985 Fonseca made another 500 copies.

[37] In August 1985, the EMI label reissued the album with new artwork, which also was photographed by Galáz, but this time it was in La Vega Central instead.