is known on how these were composed and updated. The formerly thriving Nueva canción scene suffered from the exile or imprisonment of many bands and individuals. A key musician, Víctor Jara, was tortured and killed by elements of the military. According to Eduardo Carrasco of Quilapayún in the first week after the coup, the military organized a meeting with folk musicians where they announced that the traditional instruments charango and quena were banned. The curfew imposed by the dictatorship forced the remaining Nueva Canción scene, now rebranded as Canto Nuevo, into "semiclandestine peñas, while alternative groove disseminated in juvenile fiestas". A scarcity of records and the censorship imposed on part of the music catalog made a "cassette culture" emmerge among the affected audiences. The profiferation of pirate cassettes was enabled by tape recorders, and in some cases this activity turned commercial as evidenced by the pirate cassette brand Cumbre y Cuatro. The music of Silvio Rodríguez became first known in Chile this way. Cassettes aside, some music enthusiasts were able to supply themselves with rare or suppressed records with help of relatives in exile abroad. The dictatorship controlled the Viña del Mar International Song Festival and used it promote sympathetic artists, in particular those that were part of the Acto de Chacarillas in 1977. In the first years of dictatorship Pinochet was a common guest at the festival. Pinochet's advisor Jaime Guzmán was also spotted on occasion at the festival. Festival presenter Antonio Vodanovic publicly praised the dictator and his wife Lucia Hiriart on one occasion on behalf of "the Chilean youth". Supporters of the dictatorship appropriated the song Libre of Nino Bravo, and this song was performed by Edmundo Arrocet in the first post-coup edition while Pinochet was present in the public. From 1980 onward when the festival begun to be aired internationally the regime used it to promote a favourable image of Chilea abroad. For that purpose in 1980 the festival spent a big budget on bringing popular foreign artist including Miguel Bosé, Julio Iglesias and Camilo Sesto. The folk music contest of the Viña del Mar International Song Festival had become increasingly politicized during the Allende years and was suspended by organizers from the time of coup until 1980. Elements of military distrusted Mexican music which was widespread in the rural areas of south-central Chile. There are testimonies of militaries calling Mexican music "communist". Militaries dislike of