Sam Prekop is an American rock/pop musician in the band The Sea and Cake. He has released four solo albums. Prekop grew up in Chicago, he studied at the Kansas City Art Institute. Back in Chicago, Prekop formed the band Shrimp Boat, active from 1988 to 1993. After Shrimp Boat dissolved in 1993, Sam Prekop and Eric Claridge formed The Sea and Cake, recruited Archer Prewitt and John McEntire. Prekop enlisted the help of Jim O'Rourke to produce his self-titled first solo album in 1999. Bassist Josh Abrams, drummer Chad Taylor, guitarist Archer Prewitt contributed their talents; the album was described with tinges of Brazilian pop. IN April that year Prekop performed with Aerial M in Toronto. In 2005, Who's Your New Professor featured drummer Chad Taylor and cornetist Rob Mazurek, bassist Josh Abrams, guitarist Archer Prewitt, drummer John McEntire. Old Punch Card featured modular synthesizer. Released in 2015, The Republic further explored the emotional possibilities of the modular synthesizer; the first nine tracks were assembled as part of an art installation by the artist David Hartt called The Republic.
His father is the photographer Martin Prekop. He has the furniture designer Hank Prekop and the painter Zak Prekop. 1999: Sam Prekop 2005: Who's Your New Professor 2010: Old Punch Card 2015: The Republic Sam Prekop at AllMusic Sam Prekop discography at Discogs The Sea And Cake Sam Prekop's Artwork at Tiny Park
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Paramount Pictures Corporation is an American film studio based in Hollywood, a subsidiary of the American media conglomerate Viacom since 1994. Paramount is the fifth oldest surviving film studio in the world, the second oldest in the United States, the sole member of the "Big Five" film studios still located in the Los Angeles neighborhood of Hollywood. In 1916, film producer Adolph Zukor put 22 actors and actresses under contract and honored each with a star on the logo. In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only; the company's headquarters and studios are located at 5555 Melrose Avenue, California, United States. Paramount Pictures is a member of the Motion Picture Association of America. Paramount is the fifth oldest surviving film studio in the world after the French studios Gaumont Film Company and Pathé, followed by the Nordisk Film company, Universal Studios, it is the last major film studio still headquartered in the Hollywood district of Los Angeles.
Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, an early investor in nickelodeons, saw that movies appealed to working-class immigrants. With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time. By mid-1913, Famous Players had completed five films, Zukor was on his way to success, its first film was Les Amours de la reine Élisabeth. That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish known as Samuel Goldwyn; the Lasky company hired as their first employee a stage director with no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood, near Los Angeles, for his first feature film, The Squaw Man. Starting in 1914, both Lasky and Famous Players released their films through a start-up company, Paramount Pictures Corporation, organized early that year by a Utah theatre owner, W. W. Hodkinson, who had bought and merged several smaller firms.
Hodkinson and actor, producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor. Famous Players and Lasky were owned while Paramount was a corporation. In 1916, Zukor maneuvered a three-way merger of his Famous Players, the Lasky Company, Paramount. Zukor and Lasky bought Hodkinson out of Paramount, merged the three companies into one; the new company Lasky and Zukor founded, Famous Players-Lasky Corporation, grew with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players-Lasky and its "Paramount Pictures" soon dominated the business; because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions.
It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years. The driving force behind Paramount's rise was Zukor. Through the teens and twenties, he built the Publix Theatres Corporation, a chain of nearly 2,000 screens, ran two production studios, became an early investor in radio, taking a 50% interest in the new Columbia Broadcasting System in 1928. In 1926, Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations, they purchased the Robert Brunton Studios, a 26-acre facility at 5451 Marathon Street for US$1 million. In 1927, Famous Players-Lasky took the name Paramount Famous Lasky Corporation. Three years because of the importance of the Publix Theatres, it became Paramount Publix Corporation. In 1928, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City.
The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was one of the first Hollywood studios to release what were known at that time as "talkies", in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film. By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban, his brother A. J. Balaban, their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-stor
Walter Yetnikoff is an American music industry executive, the president of CBS Records International from 1971 to 1975 and president and CEO of CBS Records from 1975 to 1990. He is known for his memoir, the New York Times-acclaimed Howling at the Moon. During his career at CBS, he guided the careers of Michael Jackson, Billy Joel, Wind & Fire, Cyndi Lauper, Bruce Springsteen, Barbra Streisand, "Weird Al" Yankovic, Gloria Estefan, a host of other well-known artists. In 1975, William Paley made him CEO of CBS Records. During his tenure he attracted stars like James Taylor and ex-Beatle Paul McCartney away from Warner Bros. Records and EMI, went on to "preside over the most profitable and prestigious stable of artists of all time."With Yetnikoff at the helm of CBS Records, Michael Jackson's Thriller sold over 40 million copies, Wind & Fire's I Am and Springsteen's Born in the U. S. A. each sold over 20 million and Billy Joel's The Stranger sold in excess of 13 million. Yetnikoff helped launched the careers of Lauper and Estefan.
Yetnikoff was known for being a strong artist advocate. For example, Billy Joel speaks of how Yetnikoff bought back Joel's publishing rights and gave them to him as a birthday present. Yetnikoff notes in the documentary film The Last Play at Shea that he had to threaten Artie Ripp to close the deal; when MTV first declined to air the music video to Michael Jackson's "Billie Jean", Yetnikoff charged the new cable channel's executives with racism and threatened to pull all of CBS' material off the station. At CBS, Yetnikoff was the chief architect of the sale of CBS Records to Sony to create Sony Music Entertainment in January 1988. Yetnikoff was born to a Jewish family in Brooklyn to Max Yetnikoff, he attended P. S. 182. P. S. 149 and the prestigious Brooklyn Technical High School. He went on to graduate magna cum laude at Brooklyn College and while there was a member of the Phi Beta Kappa fraternity. In 1953 he attendedColumbia Law School where he attained a full scholarship after his first year and was an editor of the Columbia Law Review.
He served in the United States Army in Cold War-era West Germany from 1956 to 1958. Following his discharge, he was hired by the law firm Rosenman, Kaye and Freund, which represented William S. Paley and CBS. In 1962, Yetnikoff joined CBS Records as a staff attorney at the behest of general counsel Clive Davis, a former colleague from Rosenman & Colin. After serving as general counsel of the CBS Records law department, he moved over in 1969 as Executive Vice President of CBS Records International, which grew exponentially under his leadership. In 1968, as general counsel, Yetnikoff was instrumental together with Harvey Schein in forming CBS/Sony, a Japanese joint venture which became profitable under Akio Morita and Norio Ohga. Yetnikoff forged a close and lucrative working partnership with Sony executives, thereby establishing a groundbreaking collaboration between a major U. S. company and Japanese corporation. In 1971 he was appointed President of CBS Records International. In 1975 he became CEO of CBS Records.
Among his most famous accomplishments, he is credited with breaking the MTV color barrier via Michael Jackson's "Billie Jean". He nurtured Michael Jackson's solo career from Off the Wall through Thriller. At the 1984 Grammy Awards, Jackson called Yetnikoff up to the podium saying that he was "the best president of any company."Yetnikoff was credited by Billy Joel with providing the necessary financial and promotional support that propelled his career to its eventual record breaking heights. Under Yetnikoff's partial watch, "Weird Al" Yankovic became the highest-selling comedy artist of all time. Gloria Estefan became the most successful crossover performer in Latin music to date under Yetnikoff's watch. Yetnikoff popularized and helped usher in the genre of freestyle via Lisa Lisa & Cult Jam. Yetnikoff relentlessly pursued Paul McCartney and persuaded him to gain a deal that put the ex-Beatle's North American releases on CBS, which had a pressing plant, distribution network, office, in McCartney's native England.
Under Yetnikoff, in 1982, McCartney collaborated with Stevie Wonder on the number-one hit "Ebony and Ivory", included on McCartney's Tug of War, with Michael Jackson on The Girl Is Mine from Thriller. The following year, McCartney and Jackson worked on Say Say Say, McCartney's most recent US number one hit. Yetnikoff was involved in Streisand's biggest selling album, Guilty with Barry Gibb from The Bee Gees. Yetnikoff features prominently in Frederic Dannen's landmark 1990 book Hit Men: Power Brokers and Fast Money Inside the Music Business, which chronicles Yetnikoff's many victories, as well as some of his less successful business deals, such as his costly decision to lure Paul McCartney to CBS by giving him the rights to Frank Music, the publishing company that controlled the music of leading composer Frank Loesser - a move, estimated to have cost the label around $9 million, which gave McCartney sole ownership of one of the most lucrative publishing catalogues in the world. Dannen detailed Yetnikoff's volatile temperament, his notoriously abrasive and sometimes abusive personal conduct, his intense business battles with other labels and executives.
Dannen's book focusses on the 1979-1983 conflict between Yetnikoff and his deputy Dick Asher over the shady practice of using independent promotion agents to place new records on radio station playlists - a practice that concerned Asher, both because of its great cost (which Asher estimated in 1980 at $10 milli
Sony produces professional and prosumer camcorders. The VX1000, introduced in 1995, was the first digital consumer MiniDV camcorder, it is widely used by professional skateboarding videographers. Century Optics designed the Mk1 fisheye lens just for the VX1000; the VX1000 excels at daytime colors. These models gained wide-scale popularity when paired with Century Optics Mk1 or Mk2; the VX2000/PD150 sister models added LCD screen. Both models have 1/3" CCD sensors while the PD150 has XLR audio inputs and independent iris and gain controls; the VX2100/PD170 improved on the VX2000/PD150 models with low light sensitivity of 1 lux, improved LCD screen, 24 iris increments from 12. The Sony HDR-HC1, introduced in mid-2005, was the first HDV CMOS camcorder to support 1080i; the CMOS sensor has a resolution of 1920x1440 for digital still pictures and captures video at 1440x1080 interlaced. The camera supports digital image stabilization; the camcorder can convert captured HDV data to DV data for editing using non-linear editing systems which do not support HDV or for creating edits which are viewable on non-HDTV television sets.
The HVR-A1 is the prosumer version of the HDR-HC1, having additional manual controls and XLR ports. The Sony HDR-HC5, introduced in May 2007, was the third DV tape; the 1/3" CMOS sensor has a resolution of 2MP and interlaced 4MP for digital still pictures and captures video at 1440x1080 interlaced. Digital photos can be stored on a Sony Memory Stick, it requires a minimum of 2Lux. The Sony HDR-HC7, introduced in 2008, was another DV tape; the 1/2.9 CMOS sensor has a resolution of 3MP and interlaced 6.1MP for digital still pictures and captures video at 1440x1080 interlaced. The camera includes a manual focus wheel and headphone jacks, a larger imaging sensor, producing 3200K gross pixels versus the HC5' 2100K; the HC7 sports Sony's Super SteadyShot Optical Image Stabilization System. In December 2007, Sony released the HD1000, the shouldermount version of the HC7, its advantage include much more stable off-tripod footage. The Sony HDR-FX1, introduced in late 2004, was the first HDV 3 CCD camcorder to support 1080i.
The Sony HVR-Z1U is the "professional" version of this camera with additional features such as balanced XLR audio inputs, DVCAM recording, extended DSP capabilities. The HDR-FX1 includes three 1/3-inch 16:9 1.12 Megapixel gross CCDs. Each CCD measures 960 x 1080 pixels, it includes a 12x optical Carl Zeiss Vario-Sonnar T* lens, a 3.5-inch LCD screen, a zoom ring, focus ring, an iris / aperture ring. The FX1 offers Cineframe shooting modes at 24 frames per second; the camera uses an interlaced image but extracts progressive images from individual fields by doubling them. The 30fps and 24fps do not offer the same resolution as true progressive scanning; the 24fps Cineframe shooting mode does not offer the same resolution, or motion cadence as true 24fps progressive scanning. When the audio mode of HDR-FX1/HDR-FX1E camcorder is switched to the 16-bit setting and the unit is turned off, the unit resets to the default 12-bit setting, though the LCD indicator of the unit continues to display the 16-bit audio setting.
The Sony HDR-FX7, was introduced in September 2006. The new camcorder is the first camcorder below $3,000 to offer full 1080 HD resolution with a three-chip sensor. Resolution: Sony claims "full" 1080 HD Sensor: changed to 3 x 1/4” ClearVid CMOS Light sensitivity: worse by 33% Zoom: increased to 20x optical zoom Lens/filter: decreased to 62mm/bayonet mount Optical Image Stabilizator Video out: included HDMI Weight: reduced to 1.6 kg The company claims that HDR-FX7 has much improved resolution under good lighting. In low-light situations, Sony FX1 will still produce better results; the Sony HDR-SR1, introduced in late 2006, was Sony's first high definition hard disk drive based camcorder. It launched with a 30 gigabyte internal drive and - along with the Sony HDR-UX1 - is the first camcorder that records high definition video in AVCHD format. In June 2007, Sony released two new AVCHD format HD Hard Disk camcorders, a 40GB and 60GB model, both of which add the ability to record Dolby Digital 5.1.
In June 2007, Sony released the HDR-CX7, the first Sony AVCHD camcorder to record video to a memory card. The product comes bundled with a 4 GB Memory Stick Duo. Sony HDR-CX7 weighs 15 ounces with the supplied battery and can record nearly one hour of full HD 1080 video on an 8-GB memory, it can record longer videos at quality. This handycam features a crash-proof recording system, it is equipped with a 5.4-54mm / F1.8-2.9 zoom lens. It saves files with a resolution of 1440 * 1080i; the video format specifies a rectangular pixel shape. Most players render this as 1920 * 1080 format after adjusting for the rectangular pixels. For this camera, the maximum recording rate is 15 Mbit/s. In August 2008, Sony released the successor to the HDR-CX7, the HDR-CX12, with a retail price of $899.99. Major features include: 1920x1080i Recording 1/3" ClearVid CMOS sensor Dolby Digital 5.1 audio 10.2MP still image capture Face Detection and Smile Shutter technology Sony released the HDR-CX500V in 2009. The CX500V added GPS tagging capability, a new 1/2.8-inch sensor, enhanced optical
78th Academy Awards
The 78th Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences, took place on March 5, 2006, at the Kodak Theatre in Hollywood, Los Angeles beginning at 5:00 p.m. PST / 8:00 p.m. EST; the ceremony was scheduled one week than usual to avoid conflicting with the 2006 Winter Olympics. During the ceremony, AMPAS presented Academy Awards in 24 categories honoring films released in 2005; the ceremony, televised in the United States by ABC, was produced by Gil Cates and directed by Louis J. Horvitz. Actor Jon Stewart hosted the show for the first time. Two weeks earlier in a ceremony at The Beverly Hilton in Beverly Hills, California held on February 18, the Academy Awards for Technical Achievement were presented by host Rachel McAdams. Crash won three awards including Academy Award for Best Picture. Other winners included Brokeback Mountain, King Kong and Memoirs of a Geisha with three awards apiece, Capote, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Constant Gardener, Hustle & Flow, March of the Penguins, The Moon and the Son: An Imagined Conversation, A Note of Triumph: The Golden Age of Norman Corwin, Six Shooter, Tsotsi, Walk the Line and Wallace & Gromit: The Curse of the Were-Rabbit with one each.
The telecast garnered nearly 39 million viewers in the United States. The nominees for the 78th Academy Awards were announced on January 31, 2006, at the Samuel Goldwyn Theater in the Academy's Beverly Hills headquarters by Sid Ganis, president of the Academy, actress Mira Sorvino. Brokeback Mountain earned the most nominations with eight total. All five Best Picture nominees received corresponding Best Director nominations; the winners were announced during the awards ceremony on March 5, 2006. Several notable achievements by multiple individuals and films occurred during the ceremony. Crash was the first Best Picture winner since 1976's Rocky to win only three Oscars. Best Director winner Ang Lee became the first non-Caucasian winner of that category. For this first time since the 34th ceremony held in 1962, all four acting winners were first-time nominees. Best Supporting Actor winner George Clooney was the fifth person to receive acting and screenwriting nominations in the same year and the first person to achieve this feat for two different films.
By virtue of his nominations for both Memoirs of a Geisha and Munich, composer John Williams earned a total of 45 nominations tying him with Alfred Newman as the second most nominated individual in Oscar history. "It's Hard out Here for a Pimp" became the second rap song to win Best Original Song and the first such song to be performed at an Oscars ceremony. Winners are listed first, highlighted in boldface, indicated with a double dagger. Robert Altman — In recognition of a career that has reinvented the art form and inspired filmmakers and audiences alike; the following individuals performed musical numbers. Despite the negative reception from the preceding year's ceremony, the Academy rehired Gilbert Cates to oversee production of the awards gala. However, in an article published in The New York Times, it was stated that 2005 host Chris Rock would not return to host the show. According to a statement released by his publicist, "He didn't want to do it in perpetuity, He'd like to do it again down the road."
Furthermore, many media outlets speculated that several AMPAS members felt uncomfortable with Rock's disparaging comments about Colin Farrell, Jude Law, Tobey Maguire. Cates sought actor and veteran Oscar host Billy Crystal to host the ceremony again. However, Crystal declined. In January 2006, Cates announced that actor and talk show host Jon Stewart, who had hosted two consecutive Grammy Awards ceremonies in 2001 and 2002, was chosen as host of the 2006 telecast. Cates explained the decision to hire him saying, "My wife and I watch him every night. Jon is the epitome of a perfect host — smart, engaging and funny." In a statement, Stewart expressed that he was honored to be selected to emcee the program, jokingly adding, "Although, as an avid watcher of the Oscars, I can't help but be a little disappointed with the choice. It appears to be another sad attempt to smoke out Billy Crystal."Several other people and companies participated in the production of the ceremony. Bill Conti served as musical supervisor for the telecast.
Media firm The Ant Farm produced a thirty-second trailer promoting the broadcast featuring clips highlighting past Oscar winners to the tune of the song "Our Lives" by The Calling. Previous Oscar hosts such as Whoopi Goldberg and Steve Martin, actors Mel Gibson, George Clooney, Halle Berry appeared in an opening comedic sketch. Actor Tom Hanks participated in a pre-taped comedic sketch lampooning Oscar speeches. Stephen Colbert narrated two different mock attack ads lampooning both the intense campaigning and lobbying during Oscar season put forth by film studios and political advertising during elections. Violinist Itzhak Perlman performed excerpts from the five nominees for Best Original Score; when the nominations were announced on January 31, the field of major nominees favored independent, low-budget films over blockbusters. The combined gross of the five Best Picture nominees when the Oscars were announced was $186 million with an average gross of $37.3 million per film. Crash was the highest earner among the Best Picture nominees with $53.4 million in domestic box office receipts.
The film was followed by Brokeback Mou
Allen David Jourgensen is a Cuban-American singer-songwriter and music producer. Related with the independent record label Wax Trax! Records, Jourgensen has an active musical career that spans four decades, is best known as the frontman of the industrial rock band Ministry, which he founded in 1981 and of which he remains the only constant member, he was primary musician of several Ministry-related projects, such as Revolting Cocks, Buck Satan and the 666 Shooters. He has produced and/or recorded with numerous other artists, including The Reverend Horton Heat, Skinny Puppy, Front Line Assembly, The Blackouts, Alan Vega, Iggy Pop, Adrian Sherwood, Jello Biafra and others. Jourgensen is regarded as being one of the most prominent figures of industrial music, influencing numerous other groups and musicians, both in alternative and industrial-associated acts. Born in Havana shortly before the Cuban Revolution of 1959, Jourgensen moved to the United States with his family at age of three, was raised in Chicago and Breckenridge, Colorado.
In his early years, he had developed an early interest to music, was involved in several short-lived bands, as well as performing in the backing band of drag performer Divine. Jourgensen formed Ministry in 1981 in Chicago and received significant attention from music press regarding the band's 1983 debut studio album, With Sympathy. Jourgensen's subsequent releases in the 1980s, most prominently Ministry's The Land of Rape and Honey and The Mind Is a Terrible Thing to Taste, showcased his stylistic transition; the next few years were marked by publicity surrounding Jourgensen's substance abuse which inflicted heavy damage on his creative output. I. Artificial Intelligence. In 2005, Jourgensen established his own record label, 13th Planet Records, through which several Ministry records, among others, were released until early 2010s, he published his autobiography, Ministry: The Lost Gospels... co-authored with Jon Wiederhorn, in 2013. Alejandro Ramírez Casas was born in Havana on October 9, 1958, the son of Margarita "Maggie" Jourgensen and Gualberto Ramiro Casas, the grandson of Julio Brouwer, a biologist.
Jourgensen's extended family has Spanish heritage. In 1961, following the fall of Fulgencio Batista's regime and rise of Fidel Castro to power, his family relocated to Florida. Soon after in 1964, Margarita Brouwer married Ed Jourgensen—a stock car driver and mechanic for Formula One driver Dan Gurney—and adopted his surname for herself and her son. Jourgensen was raised in Chicago and Breckenridge, was a fan of artists such as Liberace, The Beatles, Black Sabbath, Pink Floyd, Kraftwerk, The Rolling Stones, Led Zeppelin, Kitty Wells, Buck Owens, George Jones, Charlie Parker, Charles Mingus, Miles Davis. Jourgensen attended the University of Illinois - Chicago, after enrolling at both the University of Northern Colorado and the University of Colorado, he worked as a radio DJ after college until he decided to pursue a career as a professional musician. Jourgensen formed Ministry in 1981 after leaving a new wave/synthpop band. Early singles by Ministry and Jourgensen's other projects were released on Wax Trax!
Records. He produced Skinny Puppy's Rabies album. During that time, Jourgensen befriended Nivek Ogre, who toured with Ministry; the band broke into the mainstream with 1992's Psalm 69: The Way to Succeed and the Way to Suck Eggs album. Its opening track, "N. W. O.", was nominated for a 1993 Grammy Award for Best Metal Performance, losing to Nine Inch Nails' "Wish". However, its next album, Filth Pig, divided their fan base, leading to a commercial decline that became evident when Warner Bros. Records dropped them from the label in 2001. Ministry's next albums, Rio Grande Blood and The Last Sucker, as well as the 2006 Revolting Cocks album Cocked and Loaded, were released on Jourgensen's new record label, 13th Planet Records, which he formed after falling out with the mainstream agendas of major industry labels. At the specific request of director Stanley Kubrick, Jourgensen appeared with Ministry in the film A. I.: Artificial Intelligence. He related his conversation with Kubrick in an interview: Well, first of all, I hung up on him.
I thought. His secretary was calling and I was like,'Yeah, right.' Click. And he called back and talked to me, I was just freaked out. I mean, who wouldn't be freaked out? Here's this eccentric American God living in the countryside of England, he's calling me up in Austin and saying he wants me to do the music for his film and he wants me to be in his film and he's famous and all that. I didn't believe it. Ministry continued its involvement with the film project after Kubrick's death, Jourgensen revealed that after initial tension, he and Steven Spielberg enjoyed a friendly relationship, with two compositions appearing on the soundtrack: "What About Us" and "Dead Practice". A number of his songs appear in other films, such as Wicked Lake —produced by Fever Dreams and ZP Studios—for which he composed the entire soundtrack, released on his own 13th Planet record label—he makes a small appearance in the film as an art school teacher. In a November 20