Warner Bros. Entertainment Inc. referred to as Warner Bros. and abbreviated as WB, is an American entertainment company headquartered in Burbank, California and a subsidiary of AT&T's WarnerMedia. Founded in 1923, it has operations in film and video games and is one of the "Big Five" major American film studios, as well as a member of the Motion Picture Association of America; the company's name originated from the four founding Warner brothers: Harry, Albert and Jack Warner. Harry and Sam emigrated as young children with their parents to Canada from Krasnosielc, Poland. Jack, the youngest brother, was born in Ontario; the three elder brothers began in the movie theater business, having acquired a movie projector with which they showed films in the mining towns of Pennsylvania and Ohio. In the beginning and Albert Warner invested $150 to present Life of an American Fireman and The Great Train Robbery, they opened their first theater, the Cascade, in New Castle, Pennsylvania, in 1903. When the original building was in danger of being demolished, the modern Warner Bros. called the current building owners, arranged to save it.
The owners noted people across the country had asked them to protect it for its historical significance. In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company, to distribute films. In 1912, Harry Warner hired. By the time of World War I they had begun producing films. In 1918 they opened the first Warner Brothers Studio on Sunset Boulevard in Hollywood. Sam and Jack produced the pictures, while Harry and Albert, along with their auditor and now controller Chase, handled finance and distribution in New York City. During World War I their first nationally syndicated film, My Four Years in Germany, based on a popular book by former ambassador James W. Gerard, was released. On April 4, 1923, with help from money loaned to Harry by his banker Motley Flint, they formally incorporated as Warner Bros. Pictures, Incorporated; the first important deal was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers, from theatrical impresario David Belasco.
However, Rin Tin Tin, a dog brought from France after World War I by an American soldier, established their reputation. Rin Tin Tin debuted in the feature; the movie was so successful. Rin Tin Tin became the studio's top star. Jack nicknamed him "The Mortgage Lifter" and the success boosted Darryl F. Zanuck's career. Zanuck became a top producer and between 1928 and 1933 served as Jack's right-hand man and executive producer, with responsibilities including day-to-day film production. More success came. Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, was on The New York Times best list for that year. Despite the success of Rin Tin Tin and Lubitsch, Warner's remained a lesser studio. Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummel; the film was so successful. By the end of 1924, Warner Bros. was arguably Hollywood's most successful independent studio, where it competed with "The Big Three" Studios. As a result, Harry Warner—while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin—was able to convince the filmmakers to spend $500,000 in newspaper advertising, Harry saw this as an opportunity to establish theaters in cities such as New York and Los Angeles.
As the studio prospered, it gained backing from Wall Street, in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nationwide distribution system. In 1925, Warners' experimented in radio, establishing a successful radio station, KFWB, in Los Angeles. Warner Bros. was a pioneer of films with synchronized sound. In 1925, at Sam's urging, Warner's agreed to add this feature to their productions. By February 1926, the studio reported a net loss of $333,413. After a long period denying Sam's request for sound, Harry agreed to change, as long as the studio's use of synchronized sound was for background music purposes only; the Warners signed a contract with the sound engineer company Western Electric and established Vitaphone. In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore; the film was silent. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, renamed it Warners' Theatre.
Don Juan premiered at the Warners' Theatre in New York on August 6, 1926. Throughout the early history of film distribution, theater owners hired orchestras to attend film showings, where they provided soundtracks. Through Vitaphone, Warner Bros. produced eight shorts in 1926. Many film production companies questioned the necessity. Don Juan did not recoup its production cost and Lubitsch left for MGM. By April 1927, the Big Five studios had ruined Warner's, Western Electric renewed Warner's Vit
MTV is an American pay television channel owned by Viacom Media Networks and headquartered in New York City. The channel was launched on August 1, 1981, aired music videos as guided by television personalities known as "video jockeys". At first, MTV's main target demographic was young adults, but today it is teenagers high school and college students. Since its inception, MTV has toned down its music video programming and its programming now consists of original reality and drama programming and some off-network syndicated programs and films, with limited music video programming in off-peak time periods. MTV had struggled with the secular decline of music-related subscription-based media, its ratings had been said to be failing systematically, as younger viewers shift towards other media platforms, with yearly ratings drops as high as 29%. In April 2016, then-appointed MTV president Sean Atkins announced plans to restore music programming to the channel. Under current MTV president Chris McCarthy, reality programming has once again become prominent.
MTV has spawned numerous sister channels in the U. S. and affiliated channels internationally, some of which have gone independent, with 90.6 million American households in the United States receiving the channel as of January 2016. Several earlier concepts for music video-based television programming had been around since the early 1960s; the Beatles had used music videos to promote their records starting in the mid-1960s. The creative use of music videos within their 1964 film A Hard Day's Night the performance of the song "Can't Buy Me Love", led MTV on June 26, 1999, to honor the film's director Richard Lester with an award for "basically inventing the music video". In his book The Mason Williams FCC Rapport, author Mason Williams states that he pitched an idea to CBS for a television program that featured "video-radio", where disc jockeys would play avant-garde art pieces set to music. CBS rejected the idea, but Williams premiered his own musical composition "Classical Gas" on the Smothers Brothers Comedy Hour, where he was head writer.
In 1970, Philadelphia-based disc jockey Bob Whitney created The Now Explosion, a television series filmed in Atlanta and broadcast in syndication to other local television stations throughout the United States. The series featured promotional clips from various popular artists, but was canceled by its distributor in 1971. Several music programs originating outside of the US, including Australia's Countdown and the United Kingdom's Top of the Pops, which had aired music videos in lieu of performances from artists who were not available to perform live, began to feature them by the mid-1970s. In 1974, Gary Van Haas, vice president of Televak Corporation, introduced a concept to distribute a music video channel to record stores across the United States, promoted the channel, named Music Video TV, to distributors and retailers in a May 1974 issue of Billboard; the channel, which featured video disc jockeys, signed a deal with US Cable in 1978 to expand its audience from retail to cable television.
The service was no longer active by the time MTV launched in 1981. In 1977, Warner Cable a division of Warner Communications and the precursor of Warner-Amex Satellite Entertainment launched the first two-way interactive cable television system named QUBE in Columbus, Ohio; the QUBE system offered many specialized channels. One of these specialized channels was Sight on Sound, a music channel that featured concert footage and music-oriented television programs. With the interactive QUBE service, viewers could vote for their favorite artists; the original programming format of MTV was created by media executive Robert W. Pittman, who became president and chief executive officer of MTV Networks. Pittman had test-driven the music format by producing and hosting a 15-minute show, Album Tracks, on New York City television station WNBC-TV in the late 1970s. Pittman's boss Warner-Amex executive vice president John Lack had shepherded PopClips, a television series created by former Monkee-turned solo artist Michael Nesmith, whose attention had turned to the music video format in the late 1970s.
The inspiration for PopClips came from a similar program on New Zealand's TVNZ network named Radio with Pictures, which premiered in 1976. The concept itself had been in the works since 1966, when major record companies began supplying the New Zealand Broadcasting Corporation with promotional music clips to play on the air at no charge. Few artists made the long trip to New Zealand to appear live. On Saturday, August 1, 1981, at 12:01 AM Eastern Time, MTV was launched with the words "Ladies and gentlemen and roll," spoken by John Lack and played over footage of the first Space Shuttle launch countdown of Columbia and of the launch of Apollo 11; those words were followed by the original MTV theme song, a crunching rock tune composed by Jonathan Elias and John Petersen, playing over the American flag changed to show MTV's logo changing into various textures and designs. MTV producers Alan Goodman and Fred Seibert used this public domain footage as a concept. A shortened version of the shuttle launch ID ran at the top of every hour in various forms, from MTV's first day until it was pulled in early 1986 in the wake of the Challenger disaster.
A cult following comprises a group of fans who are dedicated to a work of culture referred to as a cult classic. A film, musical artist, television series or video game, among other things, is said to have a cult following when it has a small but passionate fanbase. A common component of cult followings is the emotional attachment the fans have to the object of the cult following identifying themselves and other fans as members of a community. Cult followings are commonly associated with niche markets. Cult media are associated with underground culture, are considered too eccentric or subversive to be appreciated by the general public or to be commercially successful. Many cult fans express a certain irony about their devotion. Sometimes, these cult followings cross the border to camp followings. Fans may become involved in a subculture of fandom, either via conventions, online communities or through activities such as writing series-related fiction, costume creation, replica prop and model building, or creating their own audio or video productions from the formats and characters.
There is not always a clear difference between mainstream media. Series such as Star Trek, Star Wars, Doctor Who, Harry Potter, The Lord of the Rings, Game of Thrones, Rocky Horror, Ethel & Ernest, The Dark Knight, Mean Girls attract mass audiences but have core groups of fanatical followers. Professors Xavier Mendik and Ernest Mathijs, authors of 100 Cult Films, argue that the devoted following among these films make them cult classics. In many cases, films that have cult followings may have been financial flops during their theatrical box office run, received mixed or negative reviews by mainstream media, but still be considered a major success by small core groups or communities of fans devoted to such films; some cults are only popular within a certain subculture. The film Woodstock is loved within the hippie subculture, while Hocus Pocus holds cult status among American women born in the 1980s. Certain mainstream icons can become cult icons in a different context for certain people. Reefer Madness was intended to warn youth against the use of marijuana, but because of its ridiculous plot, overwhelming amount of factual errors and cheap look, it is now watched by audiences of marijuana-smokers and has gained a cult following.
Quentin Tarantino's films borrow stylistically from classic cult films, but are appreciated by a large audience, therefore lie somewhere between cult and mainstream. Certain cult phenomena can grow to such proportions. Many cancelled television series see new life in a fan following. One notable example is Arrested Development, cancelled after three seasons and, because of the large fanbase, returned for a 15-episode season, released on Netflix on May 26, 2013. Futurama is another notable series, put on permanent hiatus after its initial 72-episode run. Strong DVD sales and consistent ratings on Cartoon Network's Adult Swim block led to four direct-to-DVD films which, in turn, led to the revival of the series in 2010 on Comedy Central following Adult Swim's expiration of the broadcast rights. Space Ghost Coast to Coast had a cult following throughout its eleven season run on television, help pave the wave of other shows of similar style, which had cult followings Aqua Teen Hunger Force. Star Trek: The Original Series is notable in that it was cancelled after three seasons but gained a cult following through broadcast syndication and spawned a successful media franchise.
Another cancelled series that has attained cult status is the NBC teen dramedy Freaks and Geeks which had an 18-episode run. Another series, cancelled but gained a second life with cult status is the FOX teen medical dramedy Red Band Society which had a 13-episode run. Other examples include Firefly, Community, Joan of Arcadia, Twin Peaks, Veronica Mars, Pushing Daisies, Young Justice and The Adventures of Pete & Pete, which had short lives, yet achieved large fanbases. In a BBC review of Farscape episode "Throne for a Loss", Richard Manning said "Farscape is now a cult series because it's being shown out of sequence"; the episode in question was shown as the second episode, after the premiere. Series considered cult classics include the long-running BBC series Doctor Who, The Prisoner and the Australian soap opera Prisoner: Cell Block H; some video games attract cult followings, which can influence the design of video games. An example of a cult video game is Ico, an initial commercial flop which gained a large following for its unique gameplay and minimalist aesthetics, was noted as influencing the design of Brothers: A Tale of Two Sons and Rime, among other games.
Other games which have cult followings include EarthBound, a commercial flop that resulted in the creation of a "cottage industry" selling memorabilia to the EarthBound fandom, Yume Nikki, a surreal free-to-play Japanese horror game. Another game with a large cult following is Crash Twinsanity, considered by fans to be the best Crash Bandicoot game post-Naughty Dog era despite only average critic reviews. In particular, it is well known as the turning point in theming for the series. Sleeper hit Underground music Jancik, Wayn
Los Angeles Times
The Los Angeles Times is a daily newspaper, published in Los Angeles, since 1881. It has the fourth-largest circulation among United States newspapers, is the largest U. S. newspaper not headquartered on the East Coast. The paper is known for its coverage of issues salient to the U. S. West Coast, such as immigration trends and natural disasters, it has won more than 40 Pulitzer Prizes for its coverage of other issues. As of June 18, 2018, ownership of the paper is controlled by Patrick Soon-Shiong, the executive editor is Norman Pearlstine. In the nineteenth century, the paper was known for its civic boosterism and opposition to unions, the latter of which led to the bombing of its headquarters in 1910; the paper's profile grew in the 1960s under publisher Otis Chandler, who adopted a more national focus. In recent decades, the paper's readership has declined and it has been beset by a series of ownership changes, staff reductions, other controversies. In January 2018, the paper's staff voted to unionize, in July 2018 the paper moved out of its historic downtown headquarters to a facility near Los Angeles International Airport.
The Times was first published on December 4, 1881, as the Los Angeles Daily Times under the direction of Nathan Cole Jr. and Thomas Gardiner. It was first printed at the Mirror printing plant, owned by Jesse Yarnell and T. J. Caystile. Unable to pay the printing bill and Gardiner turned the paper over to the Mirror Company. In the meantime, S. J. Mathes had joined the firm, it was at his insistence that the Times continued publication. In July 1882, Harrison Gray Otis moved from Santa Barbara to become the paper's editor. Otis made the Times a financial success. Historian Kevin Starr wrote that Otis was a businessman "capable of manipulating the entire apparatus of politics and public opinion for his own enrichment". Otis's editorial policy was based on civic boosterism, extolling the virtues of Los Angeles and promoting its growth. Toward those ends, the paper supported efforts to expand the city's water supply by acquiring the rights to the water supply of the distant Owens Valley; the efforts of the Times to fight local unions led to the October 1, 1910 bombing of its headquarters, killing twenty-one people.
Two union leaders and Joseph McNamara, were charged. The American Federation of Labor hired noted trial attorney Clarence Darrow to represent the brothers, who pleaded guilty. Otis fastened a bronze eagle on top of a high frieze of the new Times headquarters building designed by Gordon Kaufmann, proclaiming anew the credo written by his wife, Eliza: "Stand Fast, Stand Firm, Stand Sure, Stand True." Upon Otis's death in 1917, his son-in-law, Harry Chandler, took control as publisher of the Times. Harry Chandler was succeeded in 1944 by his son, Norman Chandler, who ran the paper during the rapid growth of post-war Los Angeles. Norman's wife, Dorothy Buffum Chandler, became active in civic affairs and led the effort to build the Los Angeles Music Center, whose main concert hall was named the Dorothy Chandler Pavilion in her honor. Family members are buried at the Hollywood Forever Cemetery near Paramount Studios; the site includes a memorial to the Times Building bombing victims. The fourth generation of family publishers, Otis Chandler, held that position from 1960 to 1980.
Otis Chandler sought legitimacy and recognition for his family's paper forgotten in the power centers of the Northeastern United States due to its geographic and cultural distance. He sought to remake the paper in the model of the nation's most respected newspapers, notably The New York Times and The Washington Post. Believing that the newsroom was "the heartbeat of the business", Otis Chandler increased the size and pay of the reporting staff and expanded its national and international reporting. In 1962, the paper joined with The Washington Post to form the Los Angeles Times–Washington Post News Service to syndicate articles from both papers for other news organizations, he toned down the unyielding conservatism that had characterized the paper over the years, adopting a much more centrist editorial stance. During the 1960s, the paper won four Pulitzer Prizes, more than its previous nine decades combined. Writing in 2013 about the pattern of newspaper ownership by founding families, Times reporter Michael Hiltzik said that: The first generations bought or founded their local paper for profits and social and political influence.
Their children enjoyed both profits and influence, but as the families grew larger, the generations found that only one or two branches got the power, everyone else got a share of the money. The coupon-clipping branches realized that they could make more money investing in something other than newspapers. Under their pressure the companies split apart, or disappeared. That's the pattern followed over more than a century by the Los Angeles Times under the Chandler family; the paper's early history and subsequent transformation was chronicled in an unauthorized history Thinking Big, was one of four organizations profiled by David Halberstam in The Powers That Be. It has been the whole or partial subject of nearly thirty dissertations in communications or social science in the past four decades; the Los Angeles Times began a decline with Los Angeles itself with the decline in military production at the end of the Cold War. It faced hiring freezes in 1991-1992. Another major decision at the same time was to cut the range of circulation.
They cut circulation in California's Central Valley, Nevada and the San Diego ed
A demon is a supernatural and malevolent being prevalent in religion, literature, fiction and folklore. The original Greek word daimon does not carry negative connotations; the Ancient Greek word δαίμων daimōn denotes a spirit or divine power, much like the Latin genius or numen. The Greek conception of a daimōn notably appears in the works of Plato, where it describes the divine inspiration of Socrates. In Ancient Near Eastern religions and in the Abrahamic traditions, including ancient and medieval Christian demonology, a demon is considered a harmful spiritual entity which may cause demonic possession, calling for an exorcism. In Western occultism and Renaissance magic, which grew out of an amalgamation of Greco-Roman magic, Jewish Aggadah and Christian demonology, a demon is believed to be a spiritual entity that may be conjured and controlled; the Ancient Greek word δαίμων daimōn denotes a spirit or divine power, much like the Latin genius or numen. Daimōn most came from the Greek verb daiesthai.
The Greek conception of a daimōn notably appears in the works of Plato, where it describes the divine inspiration of Socrates. To distinguish the classical Greek concept from its Christian interpretation, the former is anglicized as either daemon or daimon rather than demon; the original Greek word daimon does not carry the negative connotation understood by implementation of the Koine δαιμόνιον, ascribed to any cognate words sharing the root. The Greek terms do not have any connotations of malevolence. In fact, εὐδαιμονία eudaimonia, means happiness. By the early Roman Empire, cult statues were seen, by pagans and their Christian neighbors alike, as inhabited by the numinous presence of the gods: "Like pagans, Christians still sensed and saw the gods and their power, as something, they had to assume, lay behind it, by an easy traditional shift of opinion they turned these pagan daimones into malevolent'demons', the troupe of Satan..... Far into the Byzantine period Christians eyed their cities' old pagan statuary as a seat of the demons' presence.
It was no longer beautiful, it was infested." The term had first acquired its negative connotations in the Septuagint translation of the Hebrew Bible into Greek, which drew on the mythology of ancient Semitic religions. This was inherited by the Koine text of the New Testament; the Western medieval and neo-medieval conception of a demon derives seamlessly from the ambient popular culture of Late Antiquity. The Hellenistic "daemon" came to include many Semitic and Near Eastern gods as evaluated by Christianity; the supposed existence of demons remains an important concept in many modern religions and occultist traditions. Demons are still feared due to their alleged power to possess living creatures. In the contemporary Western occultist tradition, a demon is a useful metaphor for certain inner psychological processes, though some may regard it as an objectively real phenomenon; some scholars believe that large portions of the demonology of Judaism, a key influence on Christianity and Islam, originated from a form of Zoroastrianism, were transferred to Judaism during the Persian era.
Both deities and demons can act as intermediaries to deliver messages to humans. Thus they share some resemblance to the Greek daimonion; the exact definition of "demon" in Egyptology posed a major problem for modern scholarship, since the borders between a deity and a demon are sometimes blurred and the ancient Egyptian language lacks a term for the modern English "demon". However, magical writings indicate that ancient Egyptians acknowledged the existence of malevolent demons by highlighting the demon names with red ink. Demons in this culture appeared to be subordinative and related to a specific deity, yet they may have acted independent from the divine will; the existence of demons can be related beyond the created world. But this negative connotation cannot be denied in light of the magical texts; the role of demons in relation to the human world remains ambivalent and depends on context. Ancient Egyptian demons can be divided into two classes: "guardians" and "wanderers." "Guardians" are tied to a specific place.
Demons protecting the underworld may prevent human souls from entering paradise. Only by knowing right charms is the deceased able to enter the Halls of Osiris. Here, the aggressive nature of the guardian demons is motivated by the need to protect their abodes and not by their evil essence. Accordingly, demons guarded the gates to the netherworld. During the Ptolemaic and Roman period, the guardians shifted towards the role of Genius loci and they were the focus of local and private cults; the "wanderers" are associated with possession, mental illness and plagues. Many of them serve as executioners for the major deities, such as Ra or Osiris, when ordered to punish humans on earth or in the netherworld. Wanderers can be agents of chaos, arising from the world beyond creation to bring about misfortune and suffering without any divine instructions, led only by evil motivations; the influences of the wanderers can be warded off and kept at the borders on the human world by the use of magic, but they can never be destroyed.
A sub-category of "wanderers" are nightmare demons, which were believed to ca
Eddie Vedder is an American musician, multi-instrumentalist and singer-songwriter best known as the lead vocalist and one of three guitarists of the American rock band Pearl Jam. He is known for his powerful baritone vocals, he appeared as a guest vocalist in Temple of the Dog, the one-off tribute band dedicated to the late singer Andrew Wood. Hit Parader magazine placed him at number 23 on their list of the "Top 100 Metal Vocalists of All Time". In 2007, Vedder released his first solo album as a soundtrack for the film Into the Wild, his second album Ukulele Songs and a live DVD titled Water on the Road were released in 2011. In 2017, Vedder was inducted into the Roll Hall of Fame as a member of Pearl Jam. Vedder was born Edward Louis Severson III in the Chicago suburb of Evanston, Illinois, on December 23, 1964, to Karen Lee Vedder and Edward Louis Severson, Jr, his parents divorced in 1965. His mother soon remarried, to a man named Peter Mueller. Vedder was raised believing that Mueller was his biological father, he went by the name Edward Mueller for a time.
Vedder's ancestry includes Dutch and Danish. While living in Evanston, Vedder's family fostered seven younger children in a group home. In the mid-1970s, the family, including Vedder's three younger half-brothers, moved to San Diego County, California, it was at this point that Vedder, who had received a guitar from his mother on his twelfth birthday, began turning to music as a source of comfort. He found solace in the Who's 1973 album, Quadrophenia, he said, "When I was around 15 or 16... I was all alone—except for music." His mother and Mueller divorced. His mother and brothers moved back to the Chicago area, but Vedder remained with his stepfather in California so he would not have to change schools. After the divorce, Vedder learned the truth about his parentage: Mueller was his stepfather. Vedder had met his biological father as a child, but had believed that Severson was an old friend of his parents. By the time Vedder learned the truth, Severson had died of multiple sclerosis. During his senior year at San Dieguito High School, Vedder moved out to live on his own in an apartment, supporting himself with a nightly job at a drug store in Encinitas.
Because of the pressure of work and school, Vedder dropped out of high school. He joined the rest of his family in Chicago, it was at this time that he changed his name to Vedder, his mother's maiden name. In the early 1980s, while working as a waiter, Eddie earned his high school GED, attended a community college near Chicago. In 1984, Vedder returned with his girlfriend, Beth Liebling and his friend Frank, he kept busy recording demo tapes at his home and working various jobs, including a position as a contracted security guard at the La Valencia Hotel in La Jolla. Vedder had several stints in San Diego area bands, including the Butts. One of those bands, called Indian Style, included future Rage Against the Machine and Audioslave drummer Brad Wilk. In 1988, Vedder became the vocalist for the San Diego progressive funk rock band Bad Radio; the music of the original incarnation of the band was influenced by Duran Duran. In the 1980s Vedder worked part-time as a night attendant at a local gas station.
Through the Southern California music scene, Vedder met former Red Hot Chili Peppers drummer Jack Irons, who became a friend of Vedder and would play basketball with him. In 1990, Irons gave him a demo tape from a band in Seattle, looking for a singer, he listened to the tape shortly before going surfing. Vedder wrote lyrics for three of the songs in what he described as a "mini-opera" entitled Momma-Son; the songs tell the story of a young man who, like Vedder, learns that he had been lied to about his paternity and that his real father is dead, grows up to become a serial killer, is imprisoned and sentenced to death. Vedder recorded vocals for the three songs, mailed the demo tape back to Seattle; the three songs would become Pearl Jam's "Alive", "Once", "Footsteps". After hearing Vedder's tape, former Mother Love Bone members Stone Gossard and Jeff Ament invited Vedder to come to Seattle to audition for their new band, they were impressed with his unique sound. At the time and Ament were working on the Temple of the Dog project founded by Soundgarden's Chris Cornell as a musical tribute to Mother Love Bone's frontman Andrew Wood, who died of a heroin overdose at age 24.
Soundgarden drummer Matt Cameron and newcomer Mike McCready were a part of the project. The song "Hunger Strike" became a duet between Vedder. Cornell said of Vedder that "he sang half of that song not knowing that I'd wanted the part to be there and he sang it the way I was thinking about doing it, just instinctively." Vedder would provide background vocals on several other songs as well. In April 1991, Temple of the Dog was released through A&M Records. "Hunger Strike" became Temple of the Dog's breakout single. Vedder said. I feel like I could be real proud of it – because one, I didn't write it, two, it was such a nice way to be ushered onto vinyl for the first time. I'm indebted to Chris time eternal for being invited onto that track." On the 2011 documentary Pearl Jam Twenty, Vedder stated.