"In a lot of ways it was like the mafia. It was controlled by a small group of families (Universal, Warner, Sony/BMG and EMI), it attracted the dregs of the society, we always had backstage passes, drugs and strip clubs were practically in the job description, and it seemed corruption was our main function. Corruption in the music business is really a company’s only edge. A hit song is nothing more than a collective opinion and more often than not, the last thing that formed that opinion was the music. Hits are made by controlling the avenues of exposure. A radio programmer could tell you the song isn’t good and you’d have to say, “How can I make it sound better?” Since they survived on our ad dollars (the big picture) it was an offer they couldn’t refuse."
I enrolled in a music/business management course just after 'Hit Men' was published. The lecturer referred regularly to 'Hit Men' during the course and screened various passages on an overhead projector.
I felt the course should have been mandatory, not so much those interested in getting into the management side of the business, but moreso for bands and musicians themselves as a reality check of how the business really operated.