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, in their third album, a collection that was both sonically innovative and unprecedentedly vulgar, the band was 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.