ABSTRACT
This chapter examines the case study of the Latin pop music artist known respectively as “Flex” in the US and as “Nigga” in Mexico, Panama, and across parts of Latin America. One tool that has the potential to hinder as much as to aid the successful global crossover of music artists is the Internet. Felix Danilo Gomez acknowledges that as a crossover pioneer for this presumably “new” genre to the mainstream market, he wants to open the doors for other Panamanian artists performing “romantic style” to attain commercial success and global visibility. Within Gomez’s crossover attempt, not all was represented and not all representations were created equally. Gomez continues to maintain a dual presence online, but what is promising is that fan sites also serve as spaces where fans/anti-fans are able to speak back and contest the ways in which these problematic representations seek to interpellate them as audiences.
