The Ascent Of Baby Keem From Underground Rapper To Grammy-Winning Artist

Once obscure from the bright lights of mainstream rap, the name and profile of Baby Keem has risen the past year with the release of his debut album, The Melodic Blue, elevating him from an underground treasure to one of the genre’s most promising young stars.

Off the heels of sleeper-hit “Orange Soda” in 2019, the 21-year-old artist has scaled the Billboard charts with songs like “Range Brothers” and “Family Ties,” both assisted by his Pullitzer Prize-winning cousin Kendrick Lamar. His freshman album drew critical praise and some hardware to show for his musical ascension.

The Vegas-raised artist, born Hykeem Jamaal Carter Jr., was named Billboard’s first 2021 R&B/Hip-Hop Rookie of the Year and received three nods for the 64th Grammy Awards, including Best New Artist. He didn’t take home that coveted award — bested by Olivia Rodrigo — but was still able to take the Grammys stage for a win in the Best Rap Performance category.

Keem, the once faceless artist who hid behind palette-styled cover arts early in his career, has stepped firmly into his place as a transcendent musical talent, expanding from his enigmatic underground status to a known product of today’s sound. But even before his freshman debut and his signing to Kendrick Lamar’s pgLang media company, Keem started rapping at age 13, eventually honing his skittish flow and charismatic delivery over a cheap microphone.

“When I really started, I was 13 and I had Apple studio sh*t on my computer,” Keem said in an interview with Lamar for the 40th Anniversary Issue of i-D Magazine. “I had borrowed $300 from my grandma and I got my stuff on Craigslist. I was probably 15. I got a mic for $50. It was sh*t but it worked. So, I just started learning on that. I made it work.”

From the point his music developed, he landed a few production credits on Kendrick Lamar’s Black Panther soundtrack and the albums of Top Dawg Entertainment associates Jay Rock and ScHoolBoy Q. Keem gained some traction from his first mixtape The Sound Of Bad Habit in 2018, which set the stage for his stop-and-go flow to shine, rapping “Dare I say it / B*tch, I’m Baby Keem, I don’t have time for trends” on the opener “Wolves.”

His name flashed to the masses with Die For My B*tch a vivacious and stylishly moodish project, with the standout track “Orange Soda” becoming a platinum-certified hit because of the song’s pulsating beat, hilariously cheeky lyrics, and outward brashness. Despite the buzz from Keem’s first two mixtapes, much about him was still a mystery.

Back then, an image or interview with the California-born artist could barely be found. But things changed once rumors about Keem’s affiliation with Lamar began to swirl, and soon, the cloak of invisibility surrounding him would shed as their kinship was revealed. As an artist, Keem didn’t lean on their relationship at first. Instead, he revealed in an interview with The Rap Pack that he worked on his music without the “Alright” artist knowing. That way, he could come into form on his own and leave any thoughts of nepotism to the wayside. “He didn’t even know I made music for a while,” Keem said. “He was on some, ‘What do you want to do?’ And I was like, ‘Man, I just want to go to college, bro. I’m going to figure it out.’ I wasn’t even 100 percent sure I was even good at music.”

Keem later added: “If I wasn’t ready to like do what I’m doing now, then it wouldn’t be happening, you know what I’m saying? Even in the process […] I wouldn’t even ask for anything. I didn’t send him my music until later, later. I just wanted to make sure it was from me personally; I wanted to make sure it was owned.”

That was then, but now, Keem has doubled down on his relationship with Lamar and squared his focus on refining his creative process and broadening his sound. As Keem highlighted in an interview with Ebro Darden in October, everything he does is in service of the music. No matter the occasion, he’s always searching for things that spark inspiration and lead to his evolution as an artist, songwriter, and record producer:

“I don’t really leave that mold. I feel like when I go home, everything I do is for the sake of the music. If I watch a movie, or if a play a video game, I’m studying something. There’s something in there I can use, especially a movie for sure. If I watch Netflix right now, I’m watching the way it’s shot because I want to shoot a music video, or I’m looking at the actors and studying them in their gestures because I might want to mimic or take inspiration from it.

I try to have my moment, but I be bored. Like, people go on vacations and things like that and I’m not there yet. I don’t know how to go on vacation yet.”

From his first project to this year’s Grammy, Keem has carved out a lane all his own, using his frenetic and experimental sound to pierce through the guards of hip-hop circles. Once overlooked, he’s now recognized as one of the industry’s young musical supernovas. On “Trademark USA,” he declares his placement in rap, “I took the torch / I quit being nice.”

His Grammy win only serves as affirmation for his current spot, and the one he’ll be in the future. But for now, he’ll enjoy the ride, and in time, learn to take the proper vacation he deserves.

– UPROXX

Don Toliver closes Rolling Loud's SXSW showcase with thunderous performance

The final hours of Rolling Loud's South by Southwest showcase were very, very Texas. 

After Houston legend Trae the Truth took center stage Saturday, drawing in lovers of syrup-sipping tunes from the city's musical roots, emerging trap-rap and R&B crooner Don Toliver crept under the platform's blistering lights to the horns of "After Party."

Fans jumped over discarded beer cans and water bottles inside the mosh pit, screaming "Donny" over the stage's booming speakers and whiffs of marijuana smoke at Stubb's Waller Creek Amphitheater.

As many fans as there were inside the venue, just as many were stacked inside the divided entrance lines, with many able to catch only the echoing sounds of Toliver's electrifying vocals.

The "What You Need" artist started out with ear-rattling tunes like "Backend," "Cardigan," and "HAD ENOUGH" before switching to his more atmospheric and wavier standouts.

His dark silhouette could be seen under the bright lights and smoke cannons while he zipped from one end of the stage to the other, enchanting fans with his fiery energy and harmonic runs as he transitioned between songs.

The neo-Houston artist couldn't help but confess his love for his hometown and the city of Austin, where many of his day-one fans reside and have watched as he's grown in musical stature.

Collaborations with artists like Kanye West and Kid Cudi on "Moon" and Eminem on "No Regrets" are evidence of his expansion since 2018's "Donny Womack" and a sign of what's to come from the 27-year-old headliner.

As he closed out his set with "Can't Feel My Legs," Donny Womack gave his respect to Austin and Rolling Loud, which stood behind the emerging talent as he's racked up popular songs like "No Idea," "5X" and others from his deepening musical index. 

"Austin, I love y'all," he said as he walked off the Rolling Loud stage to a roaring crowd. 

– Austin 360

From pink polo shirts to weird boots: How Kanye's fashion has evolved

It’s hard to imagine a time when the masses weren’t drawn to artist and fashion designer Kanye West, a man who's spearheaded some of the biggest cultural shifts and era-defining trends since he first stepped into the industry spotlight.

But the Netflix documentary Jeen-yuhs: A Kanye Trilogy chronicles the days when West was a quietly confident producer who was known for his soul-stirring beats but fighting to land a record deal as a solo artist.

The first two episodes of the three-part film, titled “Act I: Vision” and “Act II: Purpose,” are pieced together from 20-year-old footage recorded by now-director Coodie Simmons, who gave viewers a glimpse into the recording sessions of songs that made West a household name. Simmons, who directed the project with fellow filmmaker Chike Ozah, first turned his camera to West with the belief he would ascend to rap superstardom. But even with his remarkable foresight, not even Simmons envisioned what kind of force West would become in the world of fashion.

Nobody knew — except Ye.

“LOUIS VUITTON DON”

The self-proclaimed “Louis Vuitton Don,” a nickname West first christened himself on the song “Last Call” from his debut album The College Dropout, mixed luxury brand pieces like Dior, Gucci and others with streetwear essentials — which blurred the lines of modern couture forever.

From leather kilts, Margiela masks, and Venetian shutter shades, hip-hops fans and high fashion mavens have been drawn to West's influence. And for the 44-year-old rapper, conquering the fashion industry was a goal he set from the time he signed his record deal at Roc-A-Fella Records.

“If West’s rubber BALENCIAGA RAIN BOOTS aren't evident enough, HIS STYLE has always been AGAINST THE GRAIN.”

In “Act II: Promise,” West made his intentions clear during an interview following his car accident in 2002: “I had an accident and almost died and everything, right? But I was sitting up in the hospital for the first seven days, and I’d just be watching TV and I just came to this revelation …. people are like, ‘You almost just died. What came from this?’ And I just sit back, and just decided that I’m going to be the best, the best, dressed rapper in the game because their gear was crazy whack.”

If West’s rubber Balenciaga rain boots aren't evident enough, his style has always been against the grain. On his song “Touch the Sky,” West addressed how his stylistic choices early in his rap career hindered his success: “Back when they thought pink Polos would hurt the Roc/Before Cam got the sh*t to pop/The doors was closed/I felt like Bad Boy’s street team: I couldn’t work the locks.”

In the same way he was viewed as an artist, West’s clothing style didn’t fit the mold of a “rapper,” which better aligned with the gangster rap image that loomed over the genre in the early 2000s. When everyone was wearing XXXL Mitchell & Ness jerseys, jump-rope length chains and baggy jeans in the early 2000s, he was draped in bright rugby shirts, a monogrammed ​​Louis Vuitton backpack and Ralph Lauren sweaters adorned with the "Polo Bear," later inspiring the “Dropout Bear” that was placed on his first three album covers.

Throughout the documentary, West was also spotted in Superhero and movie-themed graphic T-shirts, knit turtleneck sweaters and a retainer that was far from camera shy. While maligned at the time, a lot of the pieces West wore 15-20 years ago are touted in high fashion circles today, which is a true testament to his vision for future trends. Vintage Polo pieces and other brands West donned in his “College Dropout” days are treasured items for hype beasts and online resellers, and some pairings would even hint at future brand collaborations.

During West’s Def Poetry Jam performance of “All Falls Down” called “Self Conscious,” he wore Adidas Superstars, and even sported a Gap shirt throughout the series, foreshadowing the release of his “Yeezy Gap engineered by Balenciaga” collection in late February.

But in time, everyone would begin to rap, produce and dress like West.

RESISTANCE

Before becoming a rap superstar, West maneuvered through the industry on his own accord, using the scraps and resources he had to place his form of artistic expression at the forefront. And much was the same when it came to fashion. Even with a Louis Vuitton footwear collection, West arranged to intern for Fendi in 2009 alongside the late Virgil Abloh, who was the artistic director at Louis Vuitton's menswear collection before he passed in November 2021.

The New York Times reported that the two men were making $500 a month to run errands and fetch coffees at the famed fashion house. And in a 2013 interview with former BBC Radio 1 host Zane Lowe, West reaffirmed his genius, claiming that he and Abloh introduced the idea of leather jogging pants to Fendi – a trend that would emerge in high-end circles years later.

In 2009, West enlisted industry notables such as Abloh, Don C, Kim Jones, who was Louis Vuitton’s men’s artistic director at the time, and others to establish his first clothing line in 2009: Pastelle. It wasn’t his first dive into the depths of fashion design — that was Mascotte by K West, which was scrapped in 2004, but Pastelle was his first full-fledged attempt at creating his own brand.

But after West’s outburst against Taylor Swift at the 2009 Video Music Awards, Pastelle’s LA office shut down and his plans for the brand’s flagship stores and events soon did as well, according to Complex. His frustrations were made public during an interview on Jimmy Kimmel Live!,”where West talked about the resistance he’s faced at the gates of the fashion world.

“I WANT to make the next RALPH LAUREN.”

“I spent 10,000 hours at this; I dedicated my life to this. And a lot of people say, ‘OK, you know, you have to do music.’ Imma keep doing music, but what if people told me I couldn’t rap. What would have happened? What if people told me I couldn’t perform?’” he said. “I’m only 36 years old, I have other goals and other things, and I’m going to use my platform and every platform to stand up and say, ‘I want to make something. I want to make the next Ralph Lauren.’”

While the interview was nearly a decade ago, it’s reminiscent of the moment in Jeen-yuhs when West played “All Falls Down” to a puzzled music executive, whose colleagues roamed in and out of the room, and he left the Roc-A-Fella office momentarily deflated.

YEEZY EMPIRE

After footwear deals with Louis Vuitton and Nike, West continued to push for his own clothing line and would eventually take the reins of his Yeezy brand in 2015. And in the seven years since its inception, the brand’s apparel and sneaker releases have helped boost West’s estimated $1.8 billion net worth, according to Forbes.

Yes, the numbers are astronomical, but West’s impact has been nearly unmatched because of the stylistic trends he’s set ablaze. He broke ground years ago with collaborations and footwear deals with high fashion brands, inspiring other rappers to level up their drip game and even delve into the business of fashion.

As Yeezy has generated millions of dollars — and quenched the thirst of hype beasts from around the world — he’s opened doors for others to succeed in fashion and has consistently drawn in the industry’s top talent. Designers like Heron Preston and Matthew Williams, who’s now the creative director of Givenchy women’s and men’s collections, have made their marks in fashion after working alongside West and his extended creative team.

So, while many will point to West’s polarizing statements, failed presidential campaign, thickly rubberized rain boots (for now, at least) and his antics on social media, which has half the country calling Pete Davidson “Skete,” his impact in fashion is undeniable and will remain an integral part of his legacy – just as he envisioned.

– Input Mag

'Just be a little nerdier': Austin fashion designer creates 'nerd-wear' based on science

In an industry built on creative nuance and a flair for chic stylings, Austin designer Ryan Britton has embraced the call for originality.

The El Paso-native combined his love for history and science to create the National Bureau of Product Research, a limited clothing brand that merges streetwear with scientific exploration.

Renderings of planetary surfaces, scrapped rocket blueprints, geographical landmarks and patterns of radio beacons, radiation detector dials, and other tech are placed throughout his clothing pieces.

Interwoven into each garment, which range from $69 to $1,000 in price, are stories that unfold like a paperback, with texts and images detailing the inspiration behind Britton's designs and where they come from – an element he says is missing from fashion and the world at large. 

"I feel like The National Bureau can push things forward a bit by advocating for everybody to have a little more nerd in them – to look at our shared reality a little more empirically," the 49-yar-old designer said.

Described as "nerd wear," the brand's designs are directly drawn from decades-old documents from the National Aeronautics and Space Administration that Britton archived following his days as a science reporter. 

On the brand's "Trippy Trajectory" T-shirt, Britton stitches in a graphic that details a mission NASA developed in 1966 to test its ability to dock two ships in space at the same time. 

The inside of the shirt reads: "The graphic on your shirt illustrates the approach angle the Gemini 12 Spacecraft took in its rendezvous and docking with the unmanned Gemini Agena Target Vehicle. A major objective of the Gemini project was to learn how to dock and tether space vehicles together. The Gemini Spacecraft and Agena Target Vehicle left the Earth's surface on different rockets at different times to successfully meet in low Earth orbit. At the mission's conclusion, Gemini 12 (and its two astronauts) parachuted down and landed safely in the ocean. Everything else burned to a crisp in the atmosphere :-D."

An untraditional path to fashion

Britton's path to becoming a designer is as unique as his aero-inspired motifs. 

Before launching National Bureau, he worked as a journalist for Earth & Sky, a daily radio series focused on science and nature. The company began broadcasting in 1991 and eventually switched its operations to online-only. 

While at Earth & Sky, Britton's admiration for astrogeology was at its highest. He began collecting vintage blueprints, drawings and graphics from past projects and interviews with industry scientists from NASA and other organizations, and soon built a database filled with keepsakes.

Britton developed the archive in 2013, and instead of naming the catalog "Ryan's Database," he settled on the National Bureau of Product Research. 

At the time, he didn't know what purpose the catalog would serve, but he knew he wanted to put the valuable relics to use. 

It wasn't until a friend suggested placing one of the graphics on a T-shirt that he considered getting into fashion. And from there, the concept of the clothing line was born. 

"(Fashion) wasn't really a new thing for me," Britton said.

"It was just me kind of in the middle of my career thinking" no one in fashion was telling stories like his, he said. 

"The idea for a fashion brand was so big in my head, I almost felt obligated to do it," he said. "If I didn't do it, I would just be carrying this idea in my head."

Where to eat on Valentine's Day: Austin restaurants with special menus

Beyond creating basic print designs, Britton wants to give his consumers an inside look into his clothing brand and embrace the pursuit of knowledge and truth through his designs and the stories they carry. 

"The goal is to create a brand but also a community," he said. "There's value in digging a little bit and understanding truth, like real truth, and understanding the value of scientific method and scientific inquiry.

"Let's just be a little nerdier and our world will benefit."

Education at center of the brand

After some time selling his initial designs, Britton decided to join the first cohort of the Austin Community College Fashion Incubator in October 2020, where he remains a designer-in-residence. He'll have access to the program's space until October this year. 

The Fashion Incubator is housed inside the former Highland Mall – Austin's first suburban shopping mall that closed its doors in 2011 and has been transformed into a campus for Austin Community College.

The fashion design school is now housed inside a 7,500-square-foot space, where aspiring designers and entrepreneurs have access to  $13 million of Gerber Technology, business coaches, networking opportunities and other resources to sharpen their skills. 

The year-long program helped Britton hatch his plans for The National Bureau.

Director and fashion designer Nina Means said Britton quickly refined his concept and learned to compose his intricate designs in a way that celebrates the power of education. 

While niche, National Bureau has everything a brand needs to grow into a successful business, Means said.

"I think Ryan is on to something with The National Bureau, and he's tapped into the archival space and into a customer that's also obsessed with learning," said Means, 41, who worked for American Eagle and other brands before taking on her role at ACC.

Science and innovation are next

Before launching the first National Bureau capsule last year, Britton said it was hard for other designers to grasp his concept.

"Before I actually had clothes made, people just didn't get it," he said. "It's taken some education, drawings and things like that to explain what it is I want to do. But when I hand over a T-shirt, people just get it."

Fellow designer Lord Justice Canton was immediately drawn to the brand after a conversation with Britton in a Los Angeles clothing store. 

Canton, 28, said Britton, a "nerdy, 6-foot white guy with glasses," didn't look like a typical designer, but once he saw the vibrant colors and aero-inspired patterns he created, the Queens-native said he knew Britton and the brand were worth exploring.

"(Britton) is definitely a needle in the haystack," said Canton, who works as a store manager for the LA location of the streetwear brand The Hundreds. "I know a lot of creatives, but a lot of people don't push the boundaries. When I first met him, I knew he was doing something most people don't take the time to do."

Since connecting in LA, Canton has helped Britton drive the creative direction of the National Bureau. From social media posts to public appearances in different pieces, he wants to inspire other lovers of streetwear to put the brand name on their back. 

"It's' going to take some time, but I think he's going to go really far," Canton said. "I think (Britton's) biggest contribution to fashion is his previous work history – going from that to designing. He's also teaching people within the garment. A lot of people that own brands are just not that innovative."

While the first capsule serves as a nod to space exploration, Britton said he's placing computer science and innovation at the center for the next National Bureau line set to release in late May or June. 

So far, the geometric patterns of vintage computer circuit boards are already in play. But above all, Britton said he plans to continue encouraging the world to be a little nerdier.

– Austin American-Statesman

'He influenced everything': Austin musicians react to Vicente Fernández's death

Vicente Fernández endeared himself to generations of fans with his enchanting voice and songs of love, loss and life in rural Mexico. He made his name across the border, but the legend's death on Sunday saddened admirers across Texas, including in the Austin music community. 

"Fernández was 'El Rey de Canción de Mariachi,'" said singer-songwriter Patricia Vonne, 51, a San Antonio native and fixture on the Austin music scene. 

"He was the voice of Mexico that will never be forgotten," she added. "He was Elvis, Sinatra and Tony Bennett rolled into one. He will be sorely missed."

Fernández was called the "King of Rancheras." Before he died at 81, Chente, as he was known to fans, recorded more than 100 albums, sold over 70 million copies, starred in 34 films in Mexican cinema and recorded more than 300 songs. Those songs, like "Por Tu Maldito Amor" and "Volver, Volver," made him royalty in the Latin music world. 

He died in Guadalajara in his native state of Jalisco, four months after being hospitalized and diagnosed with Guillen-Barré syndrome, according to a family statement. News of the singer's death was announced in a post on his official Instagram account.

"Fue un honor y un gran orgullo compartir con todos una gran trayectoria de música y darlo todo por su público. Gracias por seguir aplaudiendo, gracias por seguir cantando,“ the caption read. (Translated from Spanish to English: "It was an honor and a great pride to share with everyone a great musical career and to give everything for his audience. Thank you for continuing to applaud, thank you for continuing to sing.")

With his signature charro outfit and embroidered sombrero, Fernández brought ranchera music to the international stage. 

Having grown up listening to songs like "El Rey" at family cookouts, weddings and quinceañeras, Austin musician Stephanie Bergara said the loss of Fernández is devastating, especially for those who grew up in and around mariachi culture. 

"He influenced everything," said Bergara, a 35-year-old local performer who also fronts the Selena tribute band Bidi Bidi Banda. "Everyone and everything about Mexican culture can be traced back to (him)."

On the day Fernández died, Bidi Bidi Banda posted a picture of him and Selena to their social media accounts, with the image highlighting the impact the two beloved  musicians shared, Bergara said. 

"I think they're having an epic concert up in heaven — drinking tequila and singing for everybody up there," she said. 

Although he grew up outside the mariachi culture, Bradley Jaye Williams, 60, of Austin band Conjunto Los Pinkys said Fernández transcended musical and cultural borders. 

"The songs are really what it's all about," the Saginaw, Michigan, native said. "His music is a part of the fabric of all Mexican music, but also a part of a lot of people's lives in Mexico and the world at this point. It's a worldwide thing."

Another iconic king of pop culture, George Strait, offered words of praise for Fernández.

"Sad news today. We lost (the) amazing legendary Vicente Fernández this morning," country music legend Strait tweeted on Sunday. "One of my heroes. May he Rest In Peace and may God bless and comfort his family. Hasta la Cruz Chente!!"

While Fernández has died, his voice and legacy will remain present, said Beto Martinez, co-founder of the Austin-based, Grammy-winning, Latin-funk band Grupo Fantasma.

"We sang his songs on birthdays, at funerals, weddings and big celebrations. The music will forever be associated with those (magnificent) events, whether happy or sad," Martinez, 44, said. "That legacy will never die down.

"He's an icon and a titan."

– Austin American-Statesman