[4] The group would develop a new wave sound that would have its roots in British punk rock, in particular The Clash, and would incorporate rockabilly, reggae and ska influences, and later synthpop,[5] and would make themselves known for their controversial, witty and subversive lyricism that criticized the socio-economic structures, education and societal attitudes of dictatorship-era Chile and Latin America as a whole.

[11] Following the release of 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.

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.

At that time 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.

According to Claudio Narea, the Televisión Nacional de Chile (Chilean National Television), controlled by the Military Government at the time, cut the teleton signal and broadcast commercials instead of their performance.

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 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.

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).

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.

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 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)»[7] This was a strong public statement against the Dictator of Chile Augusto Pinochet, and it caused much controversy.

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.

[27] 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.

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.

Only in the beginning, and shortly after Pateando Piedras, we were authentic —but after that— things began to change...»[29][page needed]In 1990 the victory of the NO campaign, was ratified ending the Chilean military regime of Pinochet.

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 was officially introduced as a member of the group.

The album Corazones was their most praised work and the most critically acclaimed, it 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 2000 Jorge suddenly stopped promoting his latest solo album, and he traveled to Cuba, to overcome his drug addiction in 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 Prisioneross, made up of 18 groups in Chile, with Jorge González doing Chorus vocals.

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.

Eventually, Jorge lost his temper and knocked down all the microphones and threw a glass jar of water (which was on the table) to the ground, then he left the conference and so did Miguel and "the guest of honor in the guitar, who was Álvaro Henríquez.

The album En Las Raras Tocatas Nuevas De La Rock & Pop features only two original Los Prisioneros songs while the rest are but covers.

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.

Los Prisioneros became 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".

The dissolving of the group was agreed upon long before; although their closest fans were already aware of it, the press not informed, They cited the reason for the break up on the fact that they were all living in different cities.

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.

We don't recriminate against one person but against the whole system as such..." According to Carlos Fonseca: The vision they had for the trio of San Miguel is that they wanted to be a successful group, "...That is why we did not dedicate lyrics to Chile... Now, over time, we realize that despite that, the people turned those songs into tools of their struggle against the dictatorship.

We were surprised by the diversity of sounds and beats from rock, to reggae, from jazz to even a bit of waltz added with humor, it was something so completely new for us..." Even Jorge Gonzalez declared "Sandinista!"

The wonder and appreciation they felt for the British band also led them to listen to other artists who cultivated the same genres, such as: The Specials, The Stranglers, Bob Marley, The Cars, Adam and the Ants, and Devo among others.

Ibeas Lalo, lead singer of the group Chancho en Piedra said, "...it was too risky and brave for Los Prisioneros to have made their second album while radically changing the sound of the band.