- Taschenbuch: 464 Seiten
- Verlag: Vintage; Auflage: Reprint (31. März 1998)
- Sprache: Englisch
- ISBN-10: 0679743774
- ISBN-13: 978-0679743774
- Größe und/oder Gewicht: 13,1 x 2,3 x 20,3 cm
- Durchschnittliche Kundenbewertung: 3.6 von 5 Sternen Alle Rezensionen anzeigen (8 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 311.680 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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If you wanted to write the definitive history of rock music, you'd need three things: a deep appreciation of the music, an understanding of business, and a journalist's skills and instincts. Fred Goodman has all three, and The Mansion on the Hill is a must-read for anyone interested in how a counter-cultural phenomenon with moral overtones became--in a mere thirty years--a multibillion-dollar business. Goodman, a former editor at Rolling Stone, traces the arc of this weird transformation by focusing principally on the stories of a handful of key artists and their managers--Bob Dylan and Albert Grossman, Neil Young and David Geffen, and Bruce Springsteen and Jon Landau--but the book is richly populated with others, famous and not-so-famous. Goodman makes good use of his extensive research (he conducted 200 interviews over three years), and admirably balances reportorial analysis with a certain passion for the values that rock music once stood for--and sometimes still does.
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From Booklist
Fans shocked by Bob Dylan's nonreaction to a bank's using "The Times They Are A-Changin'" as an ad jingle have their worst fears confirmed by Goodman's screed on the co-opting of Woodstock nation's music. Taking his title from separate songs by Hank Williams (senior, and barely mentioned), Neil Young, and Bruce Springsteen, Goodman examines how a music marketed for its antiestablishment stance became mere product in the hands of hip capitalists like Jon Landau and David Geffen. Ex^-Rolling Stone editor and reviewer Landau is portrayed as an operator unconcerned with niceties like conflict of interest, such as reviewing records by musicians with whom he was financially involved, in his pursuit of pelf. This should not surprise us about big-time entertainment, of course, and Goodman just underscores how a pop music that arose from the left-wing, anticapitalist American folk scene was merchandised and hyped until it became what it originally reacted against: the boring, unimaginative mainstream. Good book, sad story, and excellent companion to Selvin's Summer of Love (1994). Mike Tribby
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Einleitungssatz
PAUL ROTHCHILD WASN'T THINKING ABOUT BUSINESS WHEN HE WANdered into Club 47 in Cambridge one night in 1962. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
PAUL ROTHCHILD WASN'T THINKING ABOUT BUSINESS WHEN HE WANdered into Club 47 in Cambridge one night in 1962. Lesen Sie die erste Seite
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Format:Taschenbuch
If anyone reads this book and is confused about Bruce Springsteen's relationship with his first manager; Mike Appel, then you can get Mike's book, written by Marc Eliot; "Down Thunder Road", ISBN 0671789333 for the real story complete with verbatim copies of the contracts that are signed by Bruce and Mike at the very beginning. If anything "Down Thunder Road" The making of Bruce Springsteen is too complete, too thorough, it reveals the whole truth of the matter and leaves no room for confusion. As such I came away from it much less of a fan of Bruces', so beware...you may loose alittle of your fondness for an artist who was simply in need of a "Father figure" but also someone who could make a second rate band sound first rate with advice on musicianship. Both Mike Appel and Jon Landau were guys who for one reason or another tried to be rock musicians but, like 99% of such, just didn't quite have what it takes...so they found an alter-ego, and supplied the needed business acumen. The winner of the contest of who was gonna be Bruces manager/confidant/advisor/father, turned out to be the guy who could spend the most time being his buddy. That's not quite the way it's supposed to be, that's why there are such things as contracts. Bruce didn't live by his contract, he betrayed Mike Appel because he was guided by Jon Landau. He simply couldn't think for himself. "It's all in the percentages."
Format:Taschenbuch
The author goes a little overboard with the business aspects of the music industry by throwing around dollar figures of which many of us don't have any idea of anyway. There was no need for him to devote pages and pages to Geffen and his various business deals. You quickly get the point that Geffen is strictly a businessman anyway. I also wish that he would have expanded more on the birth of underground radio and rock journalism. He never set out to explain the contradictory fact that Dave Marsh was both a protege of John Sinclair and Jon Landau (opposing figures). He exposes several realities about the selfish and greedy attitudes of artists, managers, DJ's, promoters, ect. Welcome to the real world Fred. I also wish he would have gone deeper into the politics of the MC5 and John Sinclair instead of wasting energy making Jon Landau and Bruce Springsteen look bad (I certainly didn't need any convincing). I did like the stories regarding Ray Riepen, Frank Barbalosa, Mo Ostin, and Dee Anthony. A good book for those who still believe in all that 60's lovey-dovey stuff.
Format:Taschenbuch
Mansion on the Hill purports to tell the story of how rock music became absorbed by the moneymen and in the process lost its meaning, but it succeeds only intermittently. Goodman has done a superb job of gathering anecdotes and facts (especially considering he never spoke to any of the principals) but he hasn't fully shaped them into a coherent thesis, so that this reads more like a collection of interesting stories rather than a seamless whole. But what stories! Peter Frampton's story is one of the most memorable, especially because even at the height of his success he comes off as little more than an innocent bystander to his own downfall. The evisceration of Jon Landau as a relentlessly greedy careerist will startle many Springsteen fans (and lead some to think that Bruce may have simply traded one shark-Mike Appel- for another). Dave Marsh isn't spared either-his shilling of artists that he has some personal or professional stake in undercuts his claim on integrity. (It's kind of sad when David Geffen, of all people, isn't the most venal or opportunistic person in the book.) If Goodman were to construct a more cohesive argument (and prune some unecessary sections) this book would rate 5 stars. As it stands, it's the kind of the book that is best dipped in and out of rather than read from start to finish.
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Very well written, if depressing
You don't have to be a raving fire 'n brimstone type to lament the passing of the "good old days" of rock. Lesen Sie weiter...
Am 5. September 1999 veröffentlicht
outstanding book for those interested in the music industry
although i, being a musician, found this book interesting, it may not appeal to those who are not interested in music, or specifically rock and roll. Lesen Sie weiter...
Am 2. März 1999 veröffentlicht
Good story about business...bad story about music
The book was a great summary about the history of business and popular music in the last 30 years or so. Lesen Sie weiter...
Veröffentlicht am 5. November 1998 von MikePalmer@teleweb.net
An interesting but ultimately unsuccessful history
Goodman clearly means to give us the story of rock's decline as a cultural, as opposed to financial, force. Lesen Sie weiter...
Am 2. September 1998 veröffentlicht
Engrossing, yet frustrating
I found Goodman's book eminently readable, and at times difficult to put down...yet, when I took a step back at the end, there was less there than it seemed. One big problem... Lesen Sie weiter...
Am 7. Juli 1998 veröffentlicht
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