Pardon that cliché, but, on the subject of GWS, there’s no way to resist references to Arthur Miller’s masterpiece, Death of a Salesman. Nor is it possible to avoid comparisons, however indirect, to the Maysles Brothers’ Salesman, David Mamet’s Glengarry Glen Ross, Barry Levinson’s Tin Men, Danny Boyle’s Vacuuming Completely Nude in Paradise and, yes, Meredith Wilson and Franklin Lacey’s The Music Man.

Unlike the corrupt cop and rackets boss who get stung in the The Sting, the targets of GWS behave like sheep anxious to be fleeced. Some of them can carry a tune and write decent-enough lyrics, but most wouldn’t make the cut for an American Idol gag reel. What all the marks have in common, however, is an inability to resist exchanging hard-earned dollars for a bogus recording session and a pipe full of dreams.