Richard, Patricio Renán, Los Ángeles Negros, José Alfredo Fuentes and Cecilia, considered by some critics as the greatest teen star of the mid-1960s. The Nueva Ola has been criticized for foreignizing Chilean music because the style, lyrics and even names were heavily lifted from American and British culture. For some, the Nueva Ola movement is not considered the true origin of Chilean rock. They point instead to groups like Los Mac's, Los Jockers and Los Vidrios Quebrados, who modelled themselves more on bands like The Rolling Stones and The Beatles, and "were the first groupings who can really be identified as ‘rock made in Chile’, going further than the pop figures of the Nueva Ola." Bands that followed them were Los Picapiedras, Los Beat 4, Los Lark's and Los Sonny's one of the bands of future Florcita Motuda. Folk, Fusión Latinoamericana and psychedelic rock (1965–1973) New chilean song During the second half of the 1960s and early 1970s, after the strong American and British influences of the Nueva Ola, the Chilean rock movement began to return to the country's indigenous and Latin American sounds looking for his own identity. A neo-folk movement developed with the aim of recovering traditional Chilean folk music and merging it with Latin American rhythms such as andean music. This would have its fullest expression in the Nueva Canción Chilena (the New Chilean Song), which grew up in parallel to other nueva canción movements across Latin America. The Nueva Canción Chilena was characterized by a rediscovery of the instruments and sounds of historic Latin American traditions, and in particular the work of the artists Violeta Parra and Victor Jara. Despite being mainly acoustic, both Parra and Jara were extremely influential in the development of a new, socially aware folk culture, and rock culture as well, which looked beyond traditional peasants themes and drew in contemporary issues from across Chile and Latin America. They tried to represent the reality of life for working-class people, instead of the idealized portrait traditionally seen in older folk music. Fusión Latinoamericana After the singer-songwriter approach of the Nueva Canción, Los Jaivas would lead the movement to a more progressive rock style. Forming in 1963 in Viña del Mar, Los Jaivas mixed rock with South American ancestral music to form what became known as folk progressive rock or Fusión Latinoamericana. The 1981 album Alturas de Macchu Picchu (based on lyrics from The