Problem: Ogilvie was born on 5 December 1962 in Calgary, Alberta, Canada. From a young age, he had imagined working in a studio as a singer, describing it as his own "manifest destiny". He was also interested in magic and had attempted to become a magician, even joining the International Brotherhood of Magicians. He would entertain his parents with magic shows, noting that his tricks would often fail humorously.

Ogre's first collaboration with Al Jourgensen was in 1987 during the recording of the song "Show Me Your Spine" for the film RoboCop. The song was recorded by PTP, a side project of Jourgensen's alongside Ministry cohort Paul Barker. Jourgensen explained that he "didn't even know who he [Ogre] was, but somebody said he was some singer from somewhere, so I just said "hey man, make yourself useful, get in here and sing". Ogre would later go on tour with Ministry to promote their album The Land of Rape and Honey in 1988. Ogre asked Jourgensen if he would produce the 1989 Skinny Puppy album Rabies, a job he accepted. Jourgensen noted that there were "bad vibes" in studio since it had been Ogre, not Key and Goettel, who asked for assistance on the record; "Sometimes bad vibes make for great, tension-filled music, and that's what Skinny Puppy thrived on".  Ogre next worked with Jourgensen on the Ministry album The Mind Is a Terrible Thing to Taste, receiving credit as a writer on the song "Thieves". Ogre introduced Jourgensen to Toronto native Angelina Lukacin whose voice was recorded for the album closer "Dream Song". Ogre joined Ministry on tour contributing guitars, keyboards, and vocals. He said that "Playing with Ministry was insane everywhere, especially during the tour for The Mind Is a Terrible Thing to Taste, which had the cage set up at the front of the stage. It became all you saw, the cage separating you from the raging mass of people in front of you". The single "Burning Inside" featured a live cover of the Skinny Puppy song "Smothered Hope", with Ogre contributing vocals.  Ogre had also worked with Jourgensen in the industrial group Revolting Cocks, originally as a touring member. Ogre mentioned that he "had a gas" while on tour, referring to it as an initiation; "My brain was rotating about four feet above my head". He continued to work with the group by providing vocals for their 1990 effort Beers, Steers, and Queers. However, Ogre declined the invitation to go on tour, noting that there were some tensions between Jourgensen and himself. "There were a few things that happened between me and him [Jourgensen] that really made me question our whole friendship and his reason for having me down there. So I decided to bow out of the Revolting Cocks tour. If I hadn't, I would have come back totally addicted to heroin".

what else did they collaborate on?

Answer with quotes: 1989 Skinny Puppy album Rabies,


Problem: Sir Pelham Grenville Wodehouse  (; 15 October 1881 - 14 February 1975) was an English author and one of the most widely read humorists of the 20th century. Born in Guildford, the son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school, he was employed by a bank but disliked the work and turned to writing in his spare time.

A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.  Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public."  In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club.  The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel.  Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson.

Was he successful?

Answer with quotes:
In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin.