| 000 | 01500nam a22003258i 4500 | ||
|---|---|---|---|
| 001 | 693219 | ||
| 005 | 20210719174318.0 | ||
| 008 | 160115s2016 enk 000|0|eng|d | ||
| 020 |
_a9781628929461 (pbk.) : _c£9.99 |
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| 035 | _a(StDuBDS)9781628929461 | ||
| 040 |
_aStDuBDS _beng _cStDuBDS _erda |
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| 072 | 7 |
_aMUS _2eflch |
|
| 072 | 7 |
_aMUS _2ukslc |
|
| 082 | 0 | 4 |
_a782.4'21649'0922 _223 |
| 100 | 1 |
_aPotts, Rolf, _eauthor. |
|
| 245 | 1 | 4 |
_aThe geto boys / _cRolf Potts. |
| 264 | 1 |
_aLondon : _bBloomsbury, _c2016. |
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| 300 |
_a160 pages ; _c17 cm. |
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| 336 |
_atext _2rdacontent |
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| 337 |
_aunmediated _2rdamedia |
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| 338 |
_avolume _2rdacarrier |
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| 490 | 1 | _a33 1/3 | |
| 520 | 8 | _aCharting 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. | |
| 610 | 2 | 0 | _aGeto Boys (Musical group) |
| 650 | 0 |
_aRap musicians _zTexas _yHouston _xHistory _y20th century. |
|
| 650 | 7 |
_aMusic. _2eflch |
|
| 650 | 7 |
_aMusic. _2ukslc |
|
| 830 | 0 | _a33 1/3. | |
| 942 | _n0 | ||
| 999 |
_c46113 _d46113 |
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