My bookmark was placed between pages 246 and 247 of Rap Capital: An Atlanta Story when I received word of Takeoff’s murder this week. Unlike the thousands of people who expressed shock at the death of the Migos rapper, I wasn’t surprised. Joe Coscarelli’s ominous depiction of the constant threat of death faced by the Atlantans he examines in his essential 415-page study prepared me for the horrific news.

I read Rap Capital to learn more about the Quality Control empire. I didn’t expect to become absorbed in the personal lives of rappers. Coscarelli excels in portraying the life-and-death struggle of young Black men in Atlanta and demonstrates how the success of the city’s music is embedded in the unique societal constructs in Georgia.

Even though I’ve never been a fan of Lil Baby’s music, Coscarelli’s meticulous portrait made me care about the well being of the superstar and his family. Coscarelli’s portrayal of less successful rappers including Lil Reek are no less compelling.

Coscarelli links the success of the record label behind Migos, Lil Yachty, Lil Baby and City Girls to the ascent of music streaming services. A hefty chunk of the music industry’s $8.7 billion in revenue in 2017 went into the pockets of the three men in Migos. Coscarelli’s account of the rappers’ conspicuous consumption is shocking. But why not spend the money if you know each day could be your last?

The gleefully idiotic songs of Migos have been an integral component of the party soundtrack at the There Stands the Glass compound. We often reminisce about how Migos stole the show from Drake at a 2018 concert at the Sprint Center. The death of Takeoff and the grim truths revealed by Coscarelli in Rap Capital mean that the music of Migos will never provide the same sort of carefree fun again.

William Brownlee

September 28, 2021

September 2021 Recap: A Monthly Exercise in Critical Transparency

William Brownlee

September 28, 2021

Screenshot of the trailer of 奇跡 by There Stands the Glass.

Top Ten Albums (released in September)

1. Mathias Eick- When We Leave

My review.

2. Borderlands Trio- Wandersphere

My review.

3. Nala Sinephro- Space 1.8

My review.

4. Drake- Certified Lover Boy

Infuriatingly undeniable.

5. Roscoe Mitchell- Dots: Pieces for Percussion and Woodwinds

Solemn incantations from the auspicious octogenarian.

6. Moor Mother- Black Encyclopedia of the Air

Urgent poetry.

7. Pat Metheny- Side-Eye NYC (V1.IV)

My review.

8. Lea Desandre- Amazone

Sensual baroque chamber music.

9. RP Boo- Established!

Zany Chicago footwork.

10. The Count Basie Orchestra- Live at Birdland

My review.

Top Ten Songs (released in September)

1. Tokischa and Rosalía- "Linda"

Besos.

2. Priya Ragu- "Lockdown"

Not so solitary.

3. Chlöe- "Have Mercy"

Oh Lord.

4. Lauren Alaina- "On Top of the World"

My album review.

5. Lydia Loveless- "Let's Make Out"

“The maid won’t be here until nine or ten.”

6. Amyl and the Sniffers- “Don’t Need a **** (Like You to Love Me)”

Rock’s not dead.

7. Paul Wall and Rich The Factor- "Countin' Paper"

Stacks.

8. Kirby- "Coconut Oil"

Silky.

9. Lady Blackbird- "Fix It"

Peace piece.

10. Jonas Kaufmann and Helmut Deutsch- “Im Rhein, im schönen Strome”

I’ve contracted a nasty case of Lisztomania.

Live Music

The books I read outnumbered the shows I attended in September. I intend to venture out a lot more in October. I’ve even timed a trip to Detroit to catch a concert by an artist listed above who has conspicuously bypassed Kansas City for years.

Top Ten Films (viewed for the first time in September)

1. Lawrence of Arabia: Director’s Cut (1962)

T.E. Lawrence as white savior.

2. Body and Soul (1925)

Paul Robeson’s first film.

3. Hoří, má panenko/The Firemen’s Ball (1967)

Shameful Czech corruption.

4. The Golden Ring: The Making of Solti’s Ring (1965)

My notes.

5. Street Girl (1929)

Betty Compson stars in a racy Jazz Age musical.

6. 奇跡/I Wish (2011)