{"id":8916,"date":"2024-11-04T15:04:33","date_gmt":"2024-11-04T21:04:33","guid":{"rendered":"https:\/\/pages.stolaf.edu\/americanmusic\/?p=8916"},"modified":"2024-11-05T14:21:04","modified_gmt":"2024-11-05T20:21:04","slug":"the-utility-of-commercial-art-the-story-of-the-chicano-cultural-sculptor","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/americanmusic\/2024\/11\/04\/the-utility-of-commercial-art-the-story-of-the-chicano-cultural-sculptor\/","title":{"rendered":"The Utility of Commercial Art: The Story of the Chicano Cultural Sculptor"},"content":{"rendered":"

Rub\u00e9n \u201cFunkahuatl\u201d Guevara took on many personas as he developed his musical career, which reflects the many different ideas about Chicano identity that circulated throughout pop culture during the 60s and 70s, as well as the transformation of Chicano representation in music with the beginning of the Chicano Movement. Rub\u00e9n in particular brings up an interesting conversation about commercialism, and how in his case used it to spread an image of Chicano presence in American music beginning with \u201cdoo-wop\u201d, a variation of blues and rock and roll, especially as he began performing on television shows. Shindig! was a variety show that aired from 1964 to 1966, in which he performed with artists such as Bo Diddley, Tina Turner, and other African American blues artists. In order to be on the show, Rub\u00e9n had to incorporate a stage name, Jay P. Mobey, which you can see in the video below:\u00a0<\/span><\/p>\n