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In his lawsuit filed in 2011, earned

In his lawsuit filed in 2011, earned $1,750 per week with a $1,000 retainer for weeks when there was no work.But he allegedly was promised greater rewards ahead.

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In his lawsuit filed in 2011, earned $1,750 per week with a $1,000 retainer for weeks when there was no work.

,750 per week with a

In his lawsuit filed in 2011, earned $1,750 per week with a $1,000 retainer for weeks when there was no work.But he allegedly was promised greater rewards ahead.

||

In his lawsuit filed in 2011, earned $1,750 per week with a $1,000 retainer for weeks when there was no work.

,000 retainer for weeks when there was no work.

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The judge didn't find admissible evidence about the consent of bandmembers to enter into an agreement where be co-owner of the band.

And as to the oral promise that he'd be a co-owner after two years paying his dues, the judge says it was subject to the statute of frauds, requiring a written agreement.

By the way, they’re, in some ways, garbage music, to use a [Tom] Scharpling term. They’re actually way better than Wheatus or a lot of other horrible bands of that era. Now, maybe he was there one day or one night on an off-hour, but I never saw him again, and I’m at the studio all the time. Years later, I was cleaning up some little dusty corner of the studio, and I found one of their 3EB guitar picks.

AVC: You really think he never came to the sessions? So when I hear “Semi-Charmed Life,” I don’t just hear a garbage, fun, white-boy rap tune. Again, that has the same force of hearing “Jumper” or “Semi-Charmed Life,” where the whole experience just comes back, and it’s just like an internal cringe. Like when you make a terrible decision and it echoes throughout the ages.

In Hate Song, we ask our favorite musicians, writers, comedians, actors, and so forth to expound on the one song they hate most in the world.

The hater: Songwriter and producer John Vanderslice has been active in the music industry since the mid-’90s, spending five years as a member of experimental band MK Ultra before going solo, releasing a number of his own records, and expanding his role at San Francisco’s Tiny Telephone studio, which he owns.First off, kicking it off with Jon Wurster was genius because he sets a wonderful, wonderful tone. You can’t be just, like, dynamiting fish in a lake. It’s garbage music, clearly, but “Semi-Charmed Life” is a fine recording. He’s a guy you really want to be making your ’90s pop music. Evidently, you have to talk to a lot of people before they even meet you, but I talked to their producer, Jason Carmer, on the phone, and he was an incredible asshole to me. This guy was just yelling at me, and I think back now and wonder how many people he has yelled at since he yelled at me. We are so under market that we shouldn’t have even allowed a major-label band in there. He was doing like 101 intimidating negotiating tactics or whatever that he Googled the night before. And so I said, “Honestly, we’re sold out every day, and I really think there’s a disincentive to me to book six weeks for you because I’m going to push out my normal clients,” etc. I also said, “Hey, we’re way under market,” gave him all these reasons. He stood up with his helmet, and he started pacing the live room.He’s just one of the most articulate and surprising thinkers out there. But anyway, my first impulse was that I had to pick someone like George Harrison. Then I thought it was going to be George Harrison, with maybe something off Revolver because I’m actually a huge Beatles fan. He’s actually a really brilliant engineer, so I have a lot of respect for the song. He was probably the rudest person I’ve ever talked to in 15 years regarding booking the studio. But I was really naïve, and I thought maybe this would be good for the studio. All the other crew, they know just to be quiet because this is his mode of whatever douchebaggery. He paces the studio, and then he just blurts out, “Okay, let’s do it.” Then he walks out of the door, fires up his motorcycle, and leaves.Think rock bands are like democracies, with each bandmember having an equal say about where to tour, creative decisions and whom to hire? Today's lesson in intra-band politics comes from Third Eye Blind, which hit it big in the '90s with chart-topping songs like "Semi-Charmed Life," "Jumper" and "How's It Going to Be." On Monday, a California jury awarded 7,329 to ex-guitarist Anthony Fredianelli, minus ,256 for making personal charges on the band's credit card.The ruling is small solace for Fredianelli, who was frozen out of the band in 2009 after playing with them full-time for nine years.Unfortunately, this also makes it a little simplistic -- the group can craft a naggingly memorable hook, as evidenced by the single "Semi-Charmed Life," but they aren't always able to fashion them into songs.

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