In 1964 on the brink of the British Invasion the music business in America shunned rock and roll. There was no rock press no such thing as artist management -- literally no rock-and-roll business. Today the industry will gross over $20 billion. How did this change happen? From the moment Pete Seeger tried to cut the power at the 1965 Newport Folk Festival debut of Bob Dylan s electric band rock s cultural influence and business potential have been grasped by a rare assortment of ambitious and farsighted musicians and businessmen. Jon Landau took calls from legendary producer Jerry Wexler in his Brandeis dorm room and went on to orchestrate Bruce Springsteen s career. Albert Grossman s cold-eyed assessment of the financial power at his clients fingertips made him the first rock manager to blaze the trail that David Geffen transformed into a superhighway. Dylan s uncanny ability to keep his manipulation of the business separate from his art and reputation prefigured the savvy -- and increasingly cynical -- professionalism of groups like the Eagles. Fred Goodman a longtime rock critic and journalist digs into the contradictions and ambiguities of a generation that spurned and sought success with equal fervor. The Mansion on the Hill named after a song title used by Hank Williams Neil Young and Bruce Springsteen breaks new ground in our understanding of the people and forces that have shaped the music.