Über dieses Produkt

Product Identifiers

PublisherBloomsbury Publishing

ISBN-101628929464

ISBN-139781628929461

eBay Product ID (ePID)212047515

Product Key Features

Book TitleGeto Boys' the Geto Boys

Number of Pages152 Pages

LanguageEnglish

Publication Year2016

TopicGenres & Styles / Rap & Hip Hop, History & Criticism, Composers & Musicians, General

GenreMusic, Biography & Autobiography

AuthorRolf Potts

Book Series33 1/3 Ser.

FormatTrade Paperback

Dimensions

Item Height0.4 in

Item Weight4.9 Oz

Item Length6.5 in

Item Width4.7 in

Additional Product Features

Intended AudienceTrade

LCCN2015-043358

Reviews"The Geto Boys is a welcome addition to the 33 1/3 canon, as it brings some much-needed diversity on several levels...Potts delivers a strong history lesson that is well-researched and gives the Geto Boys their due as hip-hop pioneers." -- Houston Press, The Geto Boys is a welcome addition to the 33 1/3 canon, as it brings some much-needed diversity on several levels.Potts delivers a strong history lesson that is well-researched and gives the Geto Boys their due as hip-hop pioneers.

Table Of ContentIntroduction 1. Fuck 'Em 2. Size Ain't Shit 3. Do It Like a G.O. 4. Scarface 5. Let a Ho Be a Ho 6. Life in the Fast Lane 7. Mind of a Lunatic 8. Gangster of Love 9. Trigga Happy Nigga 10. City Under Siege 11. Assassins 12. Talkin' Loud Ain't Saying Nothin' 13. Read These Nikes

SynopsisAt the outset of summer in 1990, a Houston gangsta rap group called the Geto Boys was poised to debut its self-titled third album under the guidance of hip-hop guru Rick Rubin. What might have been a low-profile remix release from a little-known corner of the rap universe began to make headlines when the album's distributor refused to work with the group, citing its violent and depraved lyrics. When The Geto Boys was finally released, chain stores refused to stock it, concert promoters canceled the group's performances, and veteran rock critic Robert Christgau declared the group "sick motherfuckers." One quarter of a century later the album is considered a hardcore classic, having left an immutable influence on gangsta rap, horrorcore, and the rise of Southern hip-hop. Charting the rise of the Geto Boys from the earliest days of Houston's rap scene, Rolf Potts documents a moment in music history when hip-hop was beginning to replace rock as the transgressive sound of American youth. In creating an album that was both sonically innovative and unprecedentedly vulgar, the Geto Boys were accomplishing something that went beyond music. To paraphrase a sentiment from Don DeLillo, this group of young men from Houston's Fifth Ward ghetto had figured out the "language of being noticed" - which is, in the end, the only language America understands., At the outset of summer in 1990, a Houston gangsta rap group called the Geto Boys was poised to debut its self-titled third album under the guidance of hip-hop guru Rick Rubin. What might have been a low-profile remix release from a little-known corner of the rap universe began to make headlines when the album's distributor refused to work with the group, citing its violent and depraved lyrics. When The Geto Boys was finally released, chain stores refused to stock it, concert promoters canceled the group's performances, and veteran rock critic Robert Christgau declared the group "sick motherfuckers." One quarter of a century later the album is considered a hardcore classic, having left an immutable influence on gangsta rap, horrorcore, and the rise of Southern hip-hop. Charting the rise of the Geto Boys from the earliest days of Houston's rap scene, Rolf Potts documents a moment in music history when hip-hop was beginning to replace rock as the transgressive sound of American youth. In creating an album that was both sonically innovative and unprecedentedly vulgar, the Geto Boys were accomplishing something that went beyond music. To paraphrase a sentiment from Don DeLillo, this group of young men from Houston's Fifth Ward ghetto had figured out the "language of being noticed" -- which is, in the end, the only language America understands.

LC Classification NumberML421.G465P68 2016