The Curious Case of Tekashi 6ix9ine by Wilfredo Gomez

The Curious Case of Tekashi 6ix9ine by Wilfredo Gomez | @BazookaGomez84 | NewBlackMan (in Exile)
Rapper Tekashi 6ix9ine recently made an appearance on Power 105’s The Breakfast Club where he proclaimed that the only two entities he feared were the FBI and God. Days later 6ix9ine was indicted on charges ranging from gang-related racketeering to firearms charges. In the immediate aftermath of such charges, there have been a myriad of videos from a plethora of voices that have sought to suggest something about the substance and character of Daniel Hernandez, who raps under the name, Tekashi 6ix9ine.
Speaking to TMZ, New York City rap veteran Fat Joe reiterated a commitment to up and coming rappers, suggesting that the hip-hop community and its veterans in particular, hold the culture accountable for the distinction to be made between the the fantastic, if not fatalistic nature of lyrical content, and the creative personaes that drive the marketing of what increasingly appears to be the branding of hip-hop. But while soundcloud rap and outlets such as instagram and worldstarhiphop have further cemented the democratization of artistry, brand development, and a direct connection to audience (and by extension, an artist’s popularity), the recent events and commentary surrounding one Tekashi 6ixNine is disturbing.  
On the one hand, there are parody videos that mock the details surrounding the charges brought against him as well as his first few days in jail, on the other hand, there are allegations about government cooperation and threats against the lives of Tekashi and those of his closest family members. And while this may not be quite the moral panic anthropologist Yarimar Bonilla articulated in her treatment of Bad Bunny, Puerto Rico’s resident entertainer-strawman, post Hurricane Maria--a particular queering of crique that is simultaneously, a commentary on the failures of institutions and structures of governance on the island, and a metaphorical lens that establishes inherent inequities in Puerto Rico’s relationship to the United States, it does establish some parameters for critical engagement as Tekashi himself is a member of the hip-hop community and Puerto Rican diaspora (being of MexiRican heritage).
It is also noteworthy to think about the recent interview Complex News did with retired NBA star Allen Iverson. During that interview, A.I. drew on his experiences to highlight a changing of the guard that was embodied in the presence of both Michael Jordan and Iverson himself. While Jordan was a transcendent star whose brand Jordan serves as a symbol of excellence and exceptionalism, Iverson was the poster child for hip-hop, equal parts brand ambassador and strawman. Iverson used that characterization to offer up his take on the modern era of the NBA, noting that it was his body and being, targeted as a site of moral panic (where the marriage of professional interests, a politics of respectability, corporate interests, streetball culture, and hip-hop fashions were in constant tension), that permitted the shifting cultural terrain of todays NBA landscape. He becomes very critical of the individuality expressed in today’s NBA, as evidenced in the fashions wore by some of its most notable players (i.e. Russell Westbrook, James Harden, etc.), an expression of self that is a grotesque parody of Halloween, as per the authenticity claims of the man known as “the answer.”
And while this characterization of basketball is a commentary on rule changes, styles of play, and a changing of the guard with regards to the rules of engagement (see Lebron James and to a lesser extent Kevin Durant), there is a connection to be made between the comments of a Fat Joe and the popularity of a 6ix9ine. With the success of recent artists such as Trippie Redd, Juice Wrld, XXXtentacion, and others, the rules of engagement have changed, and Tekashi is a good example of that. Modern rap standards of mainstream success, stress less a focus on the substance of one’s lyrical content, and more of a central focus on affect. Affective hip-hop rules the day!
In the contemporary hip-hop soundscape, being commercially viable and relatable as an artist centers on the susceptibility of cultural production as mediated through the artistic enterprise of creative expression whereby emotions, vulnerability, self-reflexivity, and yes, even mental illness, become signs of cultural and commercial capital to be exchanged (and emulated) through the immediate and interdependent forces of performance that intimately tie performer, artist, and audience. This affective currency, highlighted by individual and collective listening, visual, and representational practices signifies on what perhaps may be a shift in thinking through how aural literacies is changing from generation to generation.
The question this raises is not one that seeks to qualify human complexity, rather it is a query that seeks to unsettle the processes of how individuals fashion and consistently reshape the reconciliation involved in embodying such complexity. The recent murder of rapper XXXtentacion in light of the changes he was trying to make in his life and the awareness of mental health advocacy reflected in his narrative and music speak to this. Tekashi’s comments in the aftermath of XXX’s passing, a public rumination if you will, on the consequences of one's actions and deployment of language, speak to a vulnerability and awareness of what happens when the violence depicted in art spills over into real life. Therein lies my personal interest in the life and art of 6ix9ine.
A variety of videos have highlighted the humanity of Tekashi, and the impact his music and its affectability have made in the lives of others, especially the lives of young children. There are several videos that capture the artist’s efforts to support young black and brown children suffering through cancer, as well a video chronicling his reconnecting with family in Mexico. All of this underscores the humanity behind the tattoos and bravado. In all of these videos, Tekashi appears to be someone who genuinely connects with his young fans. There is a sincerity to his playfulness, a willingness to meet young fans exactly where they are at. However, in spite of these efforts, it is far too easy to point out the obvious: how the implications of these acts stand in stark contrast to accusations and actions that are readily archived via digital footprints--of violence, public feuds with rappers (and other hip-hop luminaries), accusations of gang affiliation, and engaging in sexual acts with underaged girls.
The question remains: how do we reconcile these actions and  our consumption of them, when an artist’s fame stems more from their personae and internet celebrity, than the substance of their lyrical talents. In the aftermath of these charges, his debut album Dummy Boy has seen a postponement, a leakage, and a mysterious disappearance for purchase through formal channels. I am in agreement with Fat Joe. Is this the end of Tekashi 6ix9ine’s career, probably not. But it does present a steep climb for an artist who will one day have to account for the actions and outlook of a young man. Such is the curious case of Tekashi 6ix9ine.
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Wilfredo Gomez is an independent scholar and researcher. He can be reached at gomez.wilfredo@gmail.com or via twitter at @BazookaGomez84.