The glittering facade of the music industry often hides a labyrinth of ambition, betrayal, and cutthroat rivalries. In a recent, explosive interview, controversial rapper Tekashi 6ix9ine pulled back the curtain, offering an unvarnished account of his meteoric rise, his collaboration with Trippie Redd, and the dramatic, violent fallout that ensued. His narrative is a chilling exposé of jealousy, accusations, and physical altercations that underscore the perilous journey to stardom.

Tekashi 6ix9ine, known for his distinctive multicolored hair and provocative persona, began by recounting the unlikely genesis of his professional relationship with Trippie Redd. At a time when both artists were burgeoning figures in the underground scene, their paths converged, not through a grand label introduction, but through a series of serendipitous events. Tekashi described his initial struggle to gain traction, even recalling an attempt to secure an interview with Adam22, which he claims was repeatedly rebuffed. “I took a flight to do an Adam22 interview,” he stated, explaining how he met Adam22 in New York and requested an interview, only to be seemingly dismissed. He characterized Adam22’s reaction as, “Yo, who’s this underground rapper trying to get an interview with me?”

His early career was far from glamorous. Tekashi recounted how he and his team scraped together money, taking on videography gigs – one notable instance being a video for “some dude at Home Depot” – to fund their ambitions. With a mere $700, they booked a “Spirit” flight from Philadelphia to Los Angeles, landing in an Airbnb in Venice Beach. His attempts to connect with Adam22 continued to be fruitless, leaving him and his crew feeling stranded and directionless. “The [guy] just go ghost, so I’m like, ‘Damn, we came out here for nothing,’” he recalled, painting a picture of desperation and uncertainty.

It was during this period of struggle that the idea of collaborating with Trippie Redd emerged. A suggestion from his right-hand man, Andrew (Tribe Drew), to work with Trippie Redd, who was “hot right now on Soundcloud,” sparked the initial contact. Tekashi admitted to not initially liking Trippie Redd, but recognized the strategic value of the collaboration. “I really didn’t want to do a song with the [guy] ’cause I didn’t like the [guy]. Andrew liked the [guy],” he confessed, highlighting the pragmatism that often dictates early career moves in music.

Their first joint venture materialized at a studio on Sunset Boulevard called Hitway, where they recorded the track “Poles 1469” on the spot. The creative synergy was immediate, and the song’s potential was undeniable. The next day, Trippie Redd expressed a desire to shoot a video, a proposal that initially presented a financial hurdle for Tekashi. “I ain’t got no money,” he remembered thinking, though he conveyed to Trippie Redd that he would need to cover the costs. Trippie agreed, taking them to the desert for an ATV excursion that served as the backdrop for the now-iconic video.

Tekashi, ever the hands-on artist, took charge of the visual production. “I shoot and edit my own videos,” he proudly stated, detailing how he chopped up and edited the footage that very night, releasing it the following day. The video for “Poles 1469” exploded, gaining rapid traction and catching the attention of industry heavyweights. This viral success led to a pivotal meeting with Elliot Grainge, son of Lucian Grainge, who had already signed Trippie Redd.

Tekashi, unfamiliar with the echelons of the music industry at the time, described his initial apprehension. “I don’t know Lucian, I don’t know Elliot, I don’t know these [guys],” he explained, recounting the meeting at Grainge’s 888 Wilshire office. The offer was significant: a $50,000 signing bonus. “I said, ‘How much you gonna give me?’ He’s like, ‘Yo, 50,000.’ I said, ‘What?’” Tekashi recalled his astonishment, emphasizing the rapid change in his fortunes. This meeting ultimately led to his signing with Elliot Grainge in July or August 2017, a few months after “Poles 1469” dropped.

The success of “Poles 1469” and subsequent tracks like “Gummo” propelled both artists into the spotlight, establishing their distinctive look with face tattoos and vibrant hair as the “next wave of music.” However, this shared success quickly soured. Tekashi claims that Trippie Redd’s initial support morphed into intense jealousy. “You hearing the jealousy coming. You don’t got to say it, the jealousy is loud,” Tekashi asserted, pointing to the stark contrast between their collaboration and the animosity that followed.

The turning point, according to Tekashi, was Trippie Redd’s public diss track and accusations on Twitter, where he allegedly called Tekashi a “pedophile” and declared an end to their working relationship. “Out of nowhere, he just called me a pedophile,” Tekashi lamented, suggesting that these accusations were a calculated move to “hate on” him as his star continued to rise. He believes the industry and public were quick to embrace the negative narrative against him due to his rapid growth and “shock value.”

Tekashi vehemently denied the pedophile accusations, connecting them to broader criticisms he faced about “minor stuff,” implying a pattern of baseless attacks. He recalled making a video from his car, expressing confusion and dismay over Trippie Redd’s sudden hatred, especially given their shared label and commercial success. “Yo, why you hating on me? We on the same label,” he recalled saying in the video, highlighting his genuine bewilderment.

The feud escalated beyond verbal jabs. Tekashi openly admitted to orchestrating a physical altercation involving Trippie Redd in a New York hotel lobby. “That was us… The people who beat up Trippie, that was us,” he confessed, pleading guilty to the incident. He described receiving a call, tracking Trippie Redd to his hotel, and witnessing the confrontation unfold. Tekashi claimed that despite Trippie Redd being surrounded by “30 people,” his smaller crew of four initiated the attack.

His vivid, almost theatrical, description of the fight painted a chaotic scene: “Niggas rocked Trippie’s grills out his mouth. Like, his grills flew 10 feet in the air… That [guy] went through the revolving doors. He came in spinning and left spinning.” He compared the scene to a “Tom and Jerry” cartoon, emphasizing the intensity and one-sided nature of the attack. Tekashi even recalled Trippie Redd’s brother, Lucky, at the elevator, seemingly trying to avoid the fray.

The interview also touched upon other controversial accusations, specifically Tekashi’s claims that Trippie Redd and other rappers engaged in sexual relations with Bad Baby when she was underage. “All these rappers [had sex with] Bad Baby while she was underage,” he asserted, suggesting a hypocritical stance from those who criticized him while allegedly engaging in similar behavior. He even claimed to have uploaded a picture of Trippie Redd “laying on the chest underage,” reinforcing his willingness to expose uncomfortable truths.

Tekashi 6ix9ine’s account offers a raw and unfiltered look at the realities of the music business, where collaborations can quickly turn into bitter rivalries, and success often invites jealousy and personal attacks. His story is a testament to the turbulent journey of an artist navigating fame, loyalty, and the relentless scrutiny that comes with being in the public eye. The accusations and counter-accusations, the dramatic rise and fall of friendships, and the undeniable violence underscore a narrative that is as compelling as it is unsettling.