input: The band took an experimental approach for the recording process of its fourth album by allowing fans to download demos from its official website in return for feedback. After the release of the album, the band said that this process was something of a failure, as the fans did not supply the group with coherent, constructive advice. Cuomo eventually delegated song selection for the album to the band's original A&R rep, Todd Sullivan, saying that Weezer fans chose the "wackest songs". Only the song "Slob" was included on the album due to general fan advice.  The recording was also done without input from Weezer's record label, Interscope. Cuomo had what he then described as a "massive falling out" with the label. In early 2002, well before the official release of the album, the label sent out a letter to radio stations requesting the song be pulled until an official, sanctioned single was released. Interscope also briefly shut down Weezer's audio/video download webpage, removing all the MP3 demos. Online Weezer fans staged a brief protest, with several websites proclaiming "Free Maladroit".  In April 2002, former bassist Matt Sharp sued the band, alleging, among several accusations, that he was owed money for cowriting several Weezer songs. The suit was later settled out of court.  The fourth album, Maladroit, was released on May 14, 2002, only one year after its predecessor. The album served as a harder-edged version of the band's trademark catchy pop-influenced music, and was replete with busy 1980s-style guitar solos. Although met with generally positive critical reviews, its sales were not as strong as those for the Green Album. Two singles were released from the album. The music video for "Dope Nose" featured an obscure Japanese motorcycle gang, and was put into regular rotation. The music video for "Keep Fishin'" combined Weezer with the Muppets, and had heavy rotation on MTV. Both videos were directed by Marcos Siega.  Weezer released its much-delayed first DVD on March 23, 2004. The Video Capture Device DVD chronicles the band from its beginnings through Maladroit's Enlightenment Tour. Compiled by Karl Koch, the DVD features home video footage, music videos, commercials, rehearsals, concert performances, television performances, and band commentary. The DVD was certified "gold" on November 8, 2004.

Answer this question "Are there any other interesting aspects about this article?"
output: demos. Online Weezer fans staged a brief protest, with several websites proclaiming "Free Maladroit".

input: While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles's Mercury Theatre on the Air and Campbell Playhouse series (1938-1940), which were radio adaptations of literature and film. He conducted the live performances, including Welles's famous adaptation of H. G. Wells's The War of the Worlds broadcast on October 30, 1938, which consisted entirely of pre-existing music. Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre (1943), the third film in which Welles starred.  When Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane (1941) and received an Academy Award nomination for Best Score of a Dramatic Picture. He composed the score for Welles's second film, The Magnificent Ambersons (1942); like the film itself, the music was heavily edited by the studio, RKO Pictures. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits.  Herrmann also created the music for Welles's CBS radio series the Orson Welles Show (1941-1942), which included the debut of his wife Lucille Fletcher's suspense classic, The Hitch-Hiker; Ceiling Unlimited (1942), a program conceived to glorify the aviation industry and dramatize its role in World War II; and The Mercury Summer Theatre on the Air (1946). "Benny Herrmann was an intimate member of the family," Welles told filmmaker Peter Bogdanovich.  Herrmann was among those who rebutted the charges Pauline Kael made in her 1971 essay "Raising Kane", in which she revived controversy over the authorship of the screenplay for Citizen Kane and denigrated Welles's contributions.

Answer this question "Are there any other interesting aspects about this article?"
output: Herrmann was among those who rebutted the charges Pauline Kael made in her 1971 essay "Raising Kane", in which she revived controversy over the authorship

input: Several sources argue that arthritis alone confined Barrymore to a wheelchair. Film historian Jeanine Basinger says that his arthritis was serious by at least 1928, when Barrymore made Sadie Thompson. Film historian David Wallace says it was well known that Barrymore was addicted to morphine due to arthritis by 1929. A history of Oscar-winning actors, however, says Barrymore was only suffering from arthritis, not crippled by it. Marie Dressler biographer Matthew Kennedy notes that when Barrymore won his Best Actor Oscar award in 1930, the arthritis was still so minor that it only made him limp a little as he went on stage to accept the honor. Barrymore can be seen being quite physical in late silent films like The Thirteenth Hour and West of Zanzibar, where he can be seen climbing out of a window.  Paul Donnelly says Barrymore's inability to walk was caused by a drawing table falling on him in 1936, breaking Barrymore's hip. Barrymore tripped over a cable while filming Saratoga in 1937 and broke his hip again. (Film historian Robert Osborne says Barrymore also suffered a broken kneecap.) The injury was painful enough that Donnelly, quoting Barrymore, says that Louis B. Mayer bought Barrymore $400 worth of cocaine every day to help him cope with the pain and allow him to sleep. Author David Schwartz says the hip fracture never healed, which was why Barrymore could not walk, while MGM historian John Douglas Eames claims that the injury was "crippling". Barrymore himself said in 1951, that it was breaking his hip twice that kept him in the wheelchair. He said he had no other problems, and that the hip healed well, but it made walking exceptionally difficult. Film historian Allen Eyles reached the same conclusion.  Lew Ayres biographer Lesley Coffin and Louis B. Mayer biographer Scott Eyman argue that it was the combination of the broken hip and Barrymore's worsening arthritis that put him in a wheelchair. Barrymore family biographer Margot Peters says Gene Fowler and James Doane said Barrymore's arthritis was caused by syphilis, which they say he contracted in 1925. Eyman, however, explicitly rejects this hypothesis.  Whatever the cause, Barrymore's performance in Captains Courageous in 1937 was one of the last times he would be seen standing and walking unassisted. Afterward, Barrymore was able to get about for a short period of time on crutches even though he was in great pain. During the filming of 1938's You Can't Take It With You, the pain of standing with crutches was so severe that Barrymore required hourly shots of painkillers. By 1938, Barrymore used a wheelchair exclusively and never walked again. He could, however, stand for short periods of time such as at his brother's funeral in 1942.

Answer this question "How did it affect him?"
output:
confined Barrymore to a wheelchair.