Original image by There Stands the Glass.
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.