M/Otherland

This article introduces El Vez, an important performance artist and musician, whose translation of Elvis extends far beyond local audiences. In our historical moment of shrinking public outlets for the circulation and discussion of alternative and oppositional perpectives, his creator, Robert Lopez, has opened up a discursive space – on the terrain of popular music, in the unlikely genre of Elvis impersonation – that enables both critique of the status quo and dialogue concerning progressive social transformation. This article investigates Lopez's artful superimpositions of Chicana and Chicano realities and cultural icons on to the iconography, soundings and lyrics that cluster around Elvis, and claims that Lopez subverts both the myth of ‘Elvis as the embodiment of the American Dream’ and the reactionary assumption that American national identity and cultural belonging are (or should be) equated with exclusionary representations of whiteness. This article also argues that the content of his live and recorded stage shows (which are part strip-tease, part Chicana/o studies, part labour history, and part history of popular music course) respond to hegemonic discourses that fault racialized immigrants and working-class people for the consequences of global economic restructuring, and that his aesthetics of resistance subvert both dominant and subaltern dictates for strict, unyielding definitions of identity, sexuality and citizenship. Finally, it suggests that the positive reception of Lopez's performances by racialized, marginalized, displaced and economically outcast youth in Germany speaks to an identification with Chicana/o struggles that is not based on a specific ethnicity, but instead on an articulation of oppositional politics. In this context, Lopez's music enables the possibility of building coalitions beyond the constraints of the nation-state.