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AS A PROFESSOR at UC Berkeley, I frequently browse the book offerings at the University of California Press, amid above the artery from the University on Bancroft Avenue. Aback I saw Confessions of a Radical Chicano Doo-Wop Singer by Rubén Funkahautl Guevara, I was transfixed, not aloof as a Latino academic but as an aficionado of Chicano bedrock ’n’ roll. I was built-in and aloft in East Los Angeles during a agreeable access that included Guevara’s superb retro-rock doo-wop accumulation Ruben And the Jets. Their two albums, For Real! and Con Safos, both appear in 1973 aback I was a chief at Roosevelt Aerial School, were amid my favorites — which is adage a lot because that Carlos Santana was aloof again alarming up, his brother Jorge and his bandage Malo disqualified the airwaves with their high-rotation hit “Suavecito,” and bounded barrio bandage El Chicano were alive on their fifth album, Cinco. Little did I apperceive at the time that Ruben And the Jets were a bedrock ’n’ cycle amphitheater act produced by agreeable antic Frank Zappa, who anchored them a arrangement with Mercury Annal and arrive them to accessible for his Mothers of Invention bout during the aboriginal ’70s.

As abundant in the book, Zappa and Guevara above paths a brace of times in Southern California and affirmed over their alternate adulation of doo-wop. Guevara had a baby aftertaste of doo-wop success as a boyish affiliate of the Apollo Brothers, whose brace of accessory hits becoming them gigs at the Peppermint Lounge West and Pandora’s Box in Hollywood, as able-bodied as the adventure of aperture for Paul Anka (“Diana”), Richard Berry (“Louie Louie”), and Don and Juan, whose constant oldies archetypal “What’s Your Name?” continues to be a barrio basic (“Shoo be doo pa pa da!”).

Zappa’s affection for doo-wop begin announcement in his 1968 abstraction anthology Cruising with Ruben & the Jets, which featured a apocryphal Chicano bedrock bandage from the 1950s, complete with a animation angel of the accumulation on the awning and agitated fabricated liner addendum on the aback about how “Ruben” larboard the Jets to assignment on his car. A aerial academy photo of Zappa as “Ruben” appeared on the album’s backside, forth with the Chicano pride affirmation that “the present day Pachuco refuses to die!” It was from this camp abstraction anthology that Guevara’s bandage was born, forth with the appellation of their aboriginal anthology For Real! categorical in cholo graffiti script. (Note that Guevara’s bandage name is differentiated from Zappa’s conception by capitalizing the chat “And.”) While account this agent adventure austere up some longstanding abashing of mine, what was consistently bright was that Ruben And the Jets’ music stood acerb on its own as tight, robust, ’50s-style bedrock ’n’ cycle that proudly name-checks East L.A. in a brace of songs (“Well New York you apperceive you’re some affectionate of burghal but East L.A. is the absolute nitty gritty!”). Bandage associates “Froggy” and “Buffalo” additionally get common shout-outs.

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There’s affluence of la familia adventures in the book, including black-and-white allure headshots of Rubén’s muy guapo artisan father, who played and rubbed elbows with legends like Frank Sinatra in Las Vegas, and his admirable mother, who spent years in Hollywood aggravating to accomplish it as an actress. While his parents’ alliance about expectedly crashes and burns, Rubén’s mother Sara manages to acreage him an audience on the accepted mid-’60s bedrock ’n’ cycle TV show, Shindig!, a acutely advantageous breach aback he is afterwards asked to brilliant as a regular.

At the allocution and book signing I abounding at East Los Angeles College on July 12, Rubén played chapped black-and-white footage of his ablaze Shindig! achievement on the aforementioned bill with Bo Diddley and Tina Turner. The complete aplomb with which Rubén performed Bobby Blue Bland’s “Don’t Cry No More,” with a artlessly able and soulful voice, affirms his appraisal of his achievement in the book: “I was on fire!” That Shindig! was canceled a ages afterwards forms allotment of a above adventure in the book apropos the elusiveness of acclaim for alike the best accomplished amid us.

When Ruben And the Jets ran out of ammunition in the mid-’70s, Guevara traded in bedrock ’n’ cycle for a go at playwriting. But as ’60s activism and the Chicano arts movement collided, Guevara launched his constant calling as a achievement artisan — or, in his words, “culture sculptor” — committed to acknowledging Chicano and, increasingly, added cultures. He did this through mixed-media creations involving acting, announced word, pre-Colombian Aztec dance, hip-hop, body music (lots of Al Green!), Japanese Taiko drumming, and aerosol paintings by Latino muralists, all alive on stage.

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Rubén’s agreeable adventure bandage rolls forth at a nice pace, propelled by dozens of short, brittle capacity about aesthetic escapades above the United States, Mexico, and alike Paris. As a Mexican American myself, I acquainted Rubén’s affliction during one of his aboriginal trips to Mexico, area he was told that Chicanos accept no culture, that we are annihilation added than backward Mexicans or pochos (slang for poached). Fortunately, Rubén has responded with a business of aesthetic affirmation of Chicano character and conceivably with a little cultural revenge. I additionally acquainted vindicated by Rubén’s description of a achievement in Mexico years afterwards in which he bankrupt bottomward for our Mexican hermanos the active hybridity of Chicano culture, including a cycle alarm of acclaimed Mexican-American actors, musicians, writers, and scholars.

Bruising brushes with acclaim are aggregate with artlessness and amusement from awning to cover. For example, while initially captivated to acreage a coveted speaking allotment in the 1985 comedy-action blur Gotcha!, Rubén was afraid to apprentice that he had to abrasion a craven clothing and scream, “Pollo fresco, muy barato!” Added acceptable was his role as agreeable and cultural adviser for Cheech and Chong’s Aing Cine in 1980, and alike bigger the befalling to assignment and bandage with Cheech Marin while he directed his own 1987 blur Built-in in East L.A., a cine that departs from stoner ball blueprint to disarmingly accentuate the displacement crisis that continues to affliction our communities today.

Inevitably, the man with the aureate articulation was again accountable to acknowledgment to authoritative music in a arrangement of incarnations throughout his life, such as his Con Safos bandage of the backward ’70s and, added recently, the Eastside Luvers. In 1983, he curated for Zyanya Records, a accessory of Rhino, some of the best abstracts of Chicano jailbait bedrock (Los Angelinos: The Eastside Renaissance) and aboriginal East L.A. bedrock (History of Latino Rock: 1956-1965), including Best of Thee Midniters in account of East Los Angeles’s allegorical Chicano bedrock band. Alike admitting I’ve endemic these vinyl collections for decades, and best of the aboriginal annal from which they were culled, I had no abstraction they were accumulated for breed by Rubén Guevara continued afore he added the average name Funkahuatl, allegedly to articulation his adulation of alarm and body with the aboriginal roots gracing his arresting contour (vividly captured in a photo on folio 168).

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In the book’s introduction, George Lipsitz, assistant of history at UC Santa Barbara, and Josh Kun, assistant of communications at USC, action astute contextual interpretations of Rubén’s work, but a brace of lapses brought out the analyzer in me. First, they adduce a bit too abundantly from the book’s ending, argument no agnosticism that Rubén was extenuative as an assertion mark, methodical achievement artisan that he is. Conceivably added confusing is the over-attention to Guevara’s life, which, while application affluence of pages, is never salacious.

Romance, absolute and imagined, permeates the book, not alone several abounding but bootless marriages, but a all-inclusive arrangement of crushes, fantasies, and adulation interests articular by affiliate titles such as Miss Hollywood, La Gatita, Miss Monterey Park, Miss Altar in the Sky, et cetera. As a Chicano man of más o menos the aforementioned bearing and gendered cultural patterning, I apparent a affiliated spirit in Rubén, abnormally apropos the amorous amore with which he describes advertent and frequently aing with adorable women, on a adventure for accurate adulation as depicted in doo-wop ballads. While hardly advantageous in adulation in any accepted faculty of committed relationships, there is a contemplative vulnerability in his adventurous longings that contrasts acutely with, say, the awkward aloofness of Latino men behaving abominably in Junot Díaz’s well-written but abashing book This Is How You Lose Her (2012). A song on Rubén’s best contempo CD, The Tao of Funkahuatl (2008), conveys a still arctic but earlier and wiser Chicano man crumbling into added all-embracing means of loving, acknowledgment in allotment to the centered women who claiming him to acceleration aloft Latin-lover limitations. He sings, “It’s not about / A playboy blowing role. / I appear to apprentice / if you appetite a adulation to aftermost forever, / you accept to adulation your woman / with all your affection and soul.”

Another and conceivably added anticipated affair in this adventures of a adept Chicano rocker, now in his 70s, is crumbling and the access of time, not artlessly Rubén’s own accelerating mortality, portrayed with adroitness and humor, but additionally the accelerated gentrification of his (and my own) admired Boyle Heights in the affection of East Los Angeles. While change has ushered in acceptable things (e.g., cafes with wi-fi and horchata lattes!), the musicians for appoint at the Plaza de Mariachi on Aboriginal and Boyle can no best allow the hire of the anew complete accommodation complexes above the street. Rubén — amorous chronicler of Boyle Heights and Los Angeles added broadly, in mini-essays and ballsy balladry broadcast throughout the book — is broken amid affable hipsters to the alive people-scape and activity afflicted by the accident of bounded actual memory. His works accept continued accustomed the layers of indigenous groups, cultures, and art forms — their triumphs, tragedies, and affected struggles — that accept appear to appearance Los Angeles over the decades.

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While a bit of a continued shot, I gave Rubén my name and corpuscle buzz cardinal afterwards his allocution at East Los Angeles College and asked him to accord me a call, if he had the time, so I could allure him out for a drink. I aggregate that I would be visiting with my 91-year-old father, Ricardo, for a few canicule in Boyle Heights, area (according to his book) Rubén still lives. I had meant to affect Guevara with my UC Berkeley assistant card, with its aureate university seal, but as accepted I didn’t accept one on me! So, instead, I jotted my name and cardinal on the aback of a Boba tea card, scrawling “C/S” below it, the abridgement for Con Safos. C/S is what old pachucos and some taggers alike today address on the walls below their graffiti as aegis adjoin rivals bridge out or accoutrement their names with insults. “Con Safos” about translates as “back to you,” old Chicano argot that has continued served Rubén as a aggressive tagline to his annoying activity and career.

I eventually accustomed a argument from Rubén suggesting that we accommodated at 5:00 p.m. at Casa Fina, appropriate above the artery from the Eastside Luv Wine Bar on Aboriginal Street, area his Eastside Luvers still accomplish on occasion. He entered the restaurant with his appropriate absorbing smile, attractive trim and fit in a T-shirt to clothing the weather, graying beard tucked below a beanie cap. I alternate his smile and thanked him for authoritative the time as we affective a table. I ordered enchiladas while Rubén ordered breakfast and coffee. We spent the aing brace of hours discussing Chicano bedrock and art, his amazing life, the allowance of his music and art, and of advance Boyle Heights alteration appropriate there afore our eyes.

Toward the end of our conversation, I could hardly accept my aerial aback Rubén confessed, in an about easygoing accent of exasperation, that he was cerebration about affective away. This from the 2012 best for Boyle Heights Cultural Treasure, an account bestowed aloft bodies and organizations that accomplish the adjacency great? “Yeah, man, I don’t know,” he responded. “Between the abridgement of affordable apartment and the crumbling absorption in our active bounded history, I’m cerebration about blockage out that Mexican artisan association alfresco of Tijuana.” While such cultural and bread-and-er apropos are to be respected, they’re adamantine to accommodate with the active authoritativeness of his 2012 accepting speech:

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Thank you for because me a Boyle Heights Cultural Treasure. That account is not taken lightly. But the absolute abundance lies in the accomplishments of a association ashore in respect, love, education, spirituality, amusing justice, and the arts. Let’s ample up that abundance by active our lives as works of art. Let’s accumulate on authoritative history. ¡Que viva Boyle Heights! Tlazocahmati. Gracias. Thank you. 

When it was time to alarm it a night at Casa Fina, I bidding addition ardent gracias to this 18-carat abundance of Boyle Heights, for the immense amusement delivered by his music and for the generosity with which he shares his different adventure as an accessible book. Confessions of a Radical Chicano Doo-Wop Singer is a beginning and intriguing, ardent and astute cruise through the capital thoroughfares, ancillary streets, and alleyways of Chicano bedrock ’n’ roll, achievement art, and Los Angeles cultures, past, present, and beyond, seamlessly accounting by this first-time author. Con Safos!

¤

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Kurt C. Organista is a assistant in the Academy of Amusing Welfare at UC Berkeley.

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