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Make the Dream Real: World-Building Performance by El Vez, The Mexican Elvis
by Karen Jean Martinson
- Book Review by Nigel Patterson, August 2025
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Book Review
Make the Dream Real: World-Building Performance by El Vez, The Mexican Elvis
(Karen Jean Martinson)
University of Chicago Press, USA/Intellect Publishing, UK, 2025, Hardback, 240 pages, Chapter Notes, Illustrated (color), ISBN-13: 978-1835951002 (also available in ePDF and ePub formats)
Reviewed by Nigel Patterson, August 2025
Make the Dream Real interrogates how El Vez’s playful engagements hold the United States to its egalitarian promises, voicing and enacting – however fleetingly – a just and richly inclusive social space through performance.
World-building in an El Vez show immerses the audience in a social space in which equal rights are guaranteed, inclusivity is fostered, difference is valued, and the violence of economic inequality is mitigated. - (Book promotion)
It has been said many times that the Elvis world and legacy is an eclectic one. This diversity is the same in the realm of Elvis tribute artists where you have the very young Elvis (under 10), the 1950s Elvis, the older Elvis, the female Elvis, the flying Elvises, the punk Elvis, and Elvii from more than 30 countries including the USA, Britain, Philippines, Japan, Italy, Germany, France, Austria, the Netherlands, Norway, Sweden, Finland, Argentina, Brazil, Yugoslavia, Australia, New Zealand and South Africa.
However, there is one performer who starkly stands out from the rest. He is an artist who takes the Elvis sound and performance to another level – Robert Lopez aka El Vez aka The Mexican Elvis.
The El Vez character is part Elvis - part David Bowie with a potent punk underlay, and a compassionate heart.
Given the nature and political intent of his performance it is long overdue for a serious examination of Robert Lopez’s alter-ego, El Vez. This is rectified with the publication of Karen Jean Martinson’s book, Make the Dream Real: World-Building Performance by El Vez, The Mexican Elvis.
El Vez is unique among those interpreting Elvis’ song repertoire in that he makes them a political statement, changing lyrics to highlight social injustice/exclusion, economic inequality and rancid cultural mores, suggesting something very different, and as the book title suggests, it is ”world-building”. El Vez’s performance strikes a balance between being visually and aurally entertaining and politically confronting.
An understanding of what is meant by “world building” is important to appreciating Robert Lopez’s El-Vez. The term is defined in the book as:
“the use of a variety of theoretical, theatrical, and musical tactics that refutes the current economic, political, social, and cultural configurations of the United States.”
The author explains that when watching an El Vez performance you will believe you have stumbled into an alternate universe. The artist on stage decries inequality and calls for reclamation of a positive human spirit where everyone is welcome and equal.
Make the Dream Real explores various aspects of his performances - his costumes, music, and interactions with the audience - highlighting how these elements combine to drive, however briefly, a sense of social equality in/for his audience. In one sense, it momentarily “mitigates the violence of inequality”.
To illustrate one of the ways El Vez initiates political commentary (disadvantage), Martinson notes that as his alter-ego, Lopez feigns a Mexican accent, commenting:
The accent reinforces the story he tells as the character of this song [Immigration Time] – that he is an eager immigrant to the United States who intends to achieve the American Dream. By positioning himself as the thickly Mexican Elvis, he purposely marks the difference in a way that mirrors negative portrayals of undocumented workers as uneducated aliens.
Visually, as reported by the Los Angeles Times, for his El Vez mode, Lopez has taken Elvis (read also: Evel Knievel) - inspired jumpsuits composed of tight-fitting polyester and lamé and added Mexican cultural clichés such as sequined images of Our Lady of Guadalupe, extravagantly embroidered bolero jackets, sombreros with ball fringe, pointed-toe boots, and elements of mariachi costuming.
The robust narrative in Make the Dream Real is powerful, considering the violence of social and economic inequality. It resonates with important themes including (gender and racial) identity, authenticity, empathy, essentialism, the role of audience, irony, manipulation of popular culture, dominant and minority positions, and the power of performance. The tensions inherent in (caused by) these themes are challenging, but well explored, and elicit both learning and questioning by the reader.
On the issue of “authenticity” in El Vez’s music and performance, the author views the issue through the lens of the experience eliciting an ‘emotional response, and cites the work of sociomusicologist and rock critic, Simon Frith, including his position that “It’s not where pop songs come from that matters, but where they get to.”
The author references the work of many other scholars including Professor Michelle Habell-Pallán, University of Washington. Professor Habell-Pallán points out the:
“double edged” thrust of the critique at the heart of the El Vez project. Not only does his use of Elvis disrupt white supremacist tropes, but it also allows for multiple embodiments of Chinanx [or Chicano – people of Mexican descent living in the United States] subjectivity. It acknowledges the diversity that exists within groups of people.
Martinson’s book takes this concept further, finding the “genius” of Robert Lopez’s intricate El Vez “world-building” performances is how they enable audiences to imagine a more socially just society.
Given the body of research and commentary around El Vez is, not surprisingly, diverse, at times it is conflicting. In discussing another perspective, the author cites and (on one point) counters Professor Bernadette Calafell, Gonzaga University, who critiqued:
“the ‘contradictions’ of the public performance of El Vez and the ways that Robert Lopez’s backstage performances disidentify with the potentially problematic parts of El Vez’s performance,” particularly his use of stereotype and excess and his seeming embrace of the logic of the American Dream………While she appreciates how his campy performance allows him to interject political commentary into the shows, Calafell questions whether the excess in which El Vez revels might overshadow the critiques embedded in performance and in Lopez’s offstage discourses. I contend that because Lopez willingly inhabits these stereotyped performances and is the author of it, he thwarts its limitations.
As I read Make the Dream Real my mind often wondered what Elvis would have thought of El Vez? Elvis was rarely political in his music, notable exceptions being his quartet of late 1960s recordings, U.S. Male, If I Can Dream, In the Ghetto and Clean Up Your Own Back Yard. However, given his strong interest in the issue of inequality I suspect Elvis would have admired what El Vez has been doing, and doing very well, since the late 1980s - El Vez is a natural extension of Elvis’ political anthem, If I Can Dream – and given current socio-political circumstances in the USA, El Vez’s message has even greater relevance.
Each chapter is fully footnoted and there is a comprehensive bibliography.
Verdict: Make the Dream Real is a stunning and richly textured read. Its consideration of Robert Lopez’s “world-building” music resonates on several levels. It highlights an amazing talent that strongly addresses (embodies in his performance) social and economic inequality and it also reflects how Elvis Presley continues to impact and influence the world, often in the most extraordinary ways. Professor Martinson has painted a colorful portrait of an artist who has mastered creating wonderful music with a strong political meaning that touches his audience. While its academic/intellectual nature may not appeal to all readers, Make the Dream Real offers a revelatory and illuminating journey for those who dare to learn, and importantly, dare to dream.
About the author: Ms Martinson is Assistant Professor of Dramaturgy (the how and why of dramatic composition/performance) at the Herberger Institute for Design and the Arts at Arizona State University.
Reviewers afternote (for the record):
I first became a fan of El Vez in the mid-1990s following the release of his album, Graciasland. Its powerful themes reflected issues around immigration and Chicano culture. The album’s entry in Wikipedia includes:
"Aztlan" is a reimaging of Paul Simon's "Graceland", with the Rio Grande used instead of the Mississippi; Graciasland's album cover also sends up Graceland. "Immigration Time" is a take-off of "Suspicious Minds" that also incorporates elements of "Sympathy for the Devil". "Hurarches Azules" is an interpretation of "Blue Suede Shoes".
The Chicago Reader wrote that El Vez "combines one part Elvis with one part bilingual and musical puns, then adds dollops of everything from Hendrix to the Clash." The Boston Globe noted that El Vez "shuffles the familiar and Williams Burroughs-like, cuts it up and re-contexturalizes it into new, jarring forms, some in English, some in Spanish."
The Press-Telegram called "Immigration Time" "a timely, topical tune sung to the melody of the King's 'Suspicious Minds' with lyrics right outta Prop. 187."
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The song lyrics include:
“We can’t go on together, it's Immigration Time .
“And we can build our dreams, it's Immigration Time.
“All that I have I will share, I'm not asking a lot.”
See Music video for Immigration Time here on YouTube
'AllMusic' also wrote that "Graciasland is El Vez's best work, smoothly combining humor, social and political satire, and great rock & roll in one fell swoop."
Comment on this Review
Check the book out >> Amazon USA --- Amazon UK
Book Review by Nigel Patterson.
-Copyright EIN August 2025
EIN Website content © Copyright the Elvis Information Network.
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