staccato guitar work, Alfonso's polyrythmic drumming and Hernandez's brooding and haunting vocal style became even more prominent. "Afuera" ("Outside"), the first single, fused rock grooves with an ethnic-inspired guitar solo. "Aquí No Es Así" ("Here Is Not Like That ") and "Ayer Me Dijo Un Ave" ("Yesterday a Bird said to me...") became radio favorites. "Aquí No Es Así" achieved great success in Mexico and several countries of Latin America. It became the last massive hit of the band, shortly before their break up, and its music video, directed by Carlos Marcovich (Alejandro's brother, who also directed "Afuera") tells the history of the Spanish conquest of the Aztec Empire in just one shot. In 1994, Caifanes were at the height of their popularity and was, along with Maná, one of Mexico's top stadium rock acts, selling out stadiums in Mexico and large venues throughout Latin America and the United States. They were a staple on Latin MTV, Rock en Español radio and appeared regularly at music festivals. In 1994, Caifanes opened for the Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival. Breakup 1995 was the end for Caifanes. The relationship between Hernández and Marcovich was strained. On 18 August 1995, Caifanes played the final show in San Luis Potosí. A legal scuffle over the name "Caifanes" ensued, forcing Saúl Hernández to choose the name Jaguares (Spanish for "jaguars") for his new project, which was not a radical departure from the Caifanes sound. Hernández was joined by the former Caifanes and Insolitas drummer Alfonso André. Reunion On December 14, 2010, it was announced that the band would reunite for the Vive Latino festival and the Coachella Festival of 2011, after a reconciliation between Hernández and Marcovich. After not having recorded since 1994, the band released a new single, "Heridos". The band's intention was that the release of the single would be the starting point of what could be the recording of a fifth studio album. Legacy Influence on popular culture Caifanes collaborated in the de-sanitization of rock — its condition was one of marginalization and veiled in a conservative Mexico of the 1980s. Their arrival marked a total rupture in structures and of many taboos of the time, and their look collided with social norms. It was extremely unusual for a Mexican band at the time to wear make-up, dress in black, and have disheveled hair. Influence