Expressions of rebellion played throughout the lives of the youth and the Rock 'n Roll movement, so naturally it was important for companies to try to cater to their needs while trying to dispel some of the atmospheric angst. In order to successfully connect with the youth, these music companies and film companies realized the importance of adhering to a presentation of non-threatening rebellion. Although the names of the bands contracted by Orfeón were of the defiant nature, Orfeón was among those music labels who vigorously tried to promote family values, morals, academic excellence, or other less menacing concerns. Thus, unlike their namesake, the formulaic visual presentation of these bands in concerts and in movies was often positive and professional.

Los Rockin Devil's quickly blossomed into a group listeners wanted to adopt as their own Rock N Roll icons. Orfeón quickly pushed for their new collection of bands to appear on television, buying air time from the network to produce their "American Bandstand-like" music television show. The broadcast featured several artists, like Bill Haley, inserted into a Go-Go Dance Club-themed setting, where the bands would strum and sing to playback of their cover songs, ornated by a beautiful and talented female cast of dancers who gyrated and convulsed to their tunes.

Los Rockin Devil's made their first film debut during the mid 1960's; well, their music did, anyway. Juventud Sin Ley was among these works, depicting issues of familial distance and addictive outside influences. Rocanrol music was considered to be among these "addictive" and "harmful" influences, wherein students would often spend their afternoons dancing away their lifes at the club. Yet, the irony among these films is that the music is the one element that seems to bind everyone together in the end; Rocanrol is the proverbial "count of ten," as the anger and tension seems to die down, and the perplexity of life begins to unravel. It is the reocurring theme throughout the Los Rockin' Devils films, where the solution to the world's problems are eased by the cooperation of their music.

Since their musical appearance in Juventud Sin Ley, Los Rockin Devil's have starred in three movies as actual performers. Set within the Go-Go scene, the group played in such movies as Amor A Rítmo De Go Go, probably among the better of their films, where they starred with Javier Solís and Rosa María Vásquez in a comedic love story set against the backdrop of dance club. Next they starred in the Las Tigresas sequel, a Charlie's Angel-esque movie featuring three beautiful woman spies, an inexplicably sinister Dr Klux (bent on replacing the world with evil dopplegangers), and three ridiculous robots who happen to each have a "K" on there jumpsuits (K-K-K) that are part of Klux's clan. The third film stars regulars Leonorilda Ochoa and Chelelo García, a pair who receive a somewhat precious building as an inheritance from a late uncle and are now torn between using the facilty as a Go Go dance club or a "Lucha Libre" wrestling arena. Trying to save money in production costs, the two most recent films were shot at the same time and used the Los Rockin Devil's scenes to supply both films with footage.