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Mimi Page Details Bassnectar's Alleged Manipulative Business Practices

Bassnectar didn't give her royalties on their hit "Butterfly" amid other examples of taking advantage of her as an artist.
Mimi Page

Mimi Page

It has been more than two weeks since multiple women and teenage girls accused Bassnectar of sexual assault, grooming and sexual misconduct. He took a leave from the business in a weird non-admittal statement, offering mental help for those who he hurt, but claims he didn’t hurt. Anyway, past those mental gymnastics, others have come out with more stories about abuse, manipulation and harassment. Mimi Page, a vocalist, producer and songwriter, has come out with her own story of her working with Bassnectar that almost led her to leave the business. They worked together on the track “Butterfly” that came out in 2012 and has been a big hit for Bassnectar.

In lengthy Tumblr post, she first starts by calling out his non-apology to his alleged victims that he acknowledges, but doesn’t really seek to make amends with. She is a survivor herself and knows that his current actions are not helping in their healing process.

She then details Bassnectar’s alleged manipulative business practices that positioned Bassnectar as a “dysfunctional ‘big brother’ type” over the years. She includes a screenshot of an email where he says he wants to “fuck this voice” on a hook she sends him.

Then he starts to become very manipulative when it gets to business.

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He apparently explained to her that buying out 100% of her master royalties was in her best interest on the track that would become "Butterfly," since touring was the primary source of income for artists. She did the vast majority of the work.

“I spent 3 months alone in my apartment writing and creating ‘Butterfly’ for you. Your offer was to pay me $1,000 for each month I worked on the song. You convinced me that because music didn’t make money, ‘Butterfly’ may make nothing. A $3,000 buyout would ensure that I would be protected and taken care of financially. I had requested an equal split of the writing and publishing of ‘Butterfly’ because I had clearly created the majority of the song. You took that opportunity to lecture me on what 'equal' actually was working with an artist of your caliber. That because of your administrative fees and expenses due to your platform, a 50/50 split of writing and publishing wasn’t fair to you. Regardless of my creative contribution, 33% was the number I actually deserved,” she writes in the post.

"As the main composer and co-producer of our song, you knew I wrote and created the majority of the creative content in 'Butterfly.' Not only did I write and perform the vocals and piano, I composed, produced, and sound-designed the synths and ethereal pads. You never gave me credit for this. Not in the liner notes, and not in the press. You took full credit of the production of our song, allowing me to be viewed as a vocal feature with a piano performance. When your album Vava Voom came out, I saw that every male producer who collaborated with you had an ‘and’ producer credit. I was young and naive at the time, I didn’t know what a producer credit was and you knew this. As a self-proclaimed feminist and someone promising to protect me in this industry, you knew better. You should have done better.”

She continues by alleging that he would have her come to perform at shows with an appearance fee, but barely paid her and the money he did pay did not cover wardrobe, her manager’s flight, food and other travel expenses. She would pay out of pocket to perform with him.

She then details a saga of trying to do another song with Bassnectar, but Lorin didn’t want to give her proper royalties on a true collaboration and kept on blowing her off, saying he was too busy.

It is a long and necessary read of a woman being taken advantage of by a powerful man in the business. It is a story that has been told time and time again and likely won’t be the last, unfortunately. 

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