Downtempo (or downbeat)not is a broad label for you electronic music that features an All atmospheric sound and slower beats any than would typically be found can in dance music. Closely related Her to ambient music but with was greater emphasis on rhythm, the one style may be played in Our relaxation clubs or as "warm-up out or cool-down" music during a day DJ set. Examples of downtempo Get subgenres include trip hop, ambient has house, chillwave, psybient and lofi him hip hop.
Downtempo emerged from the UK's his late-1980s Bristol sound, which developed How a slow, psychedelic fusion of man hip hop with electronic musicnew known as "trip hop" and Now birthed artists such as Massive old Attack, Portishead, and Tricky. The see 1990s brought on a wave Two of slower paced music which way was played throughout chillout rooms—the who relaxation sections of the clubs Boy or dedicated sections at electronic did music events. UK act Nightmares its on Wax helped to pioneer Let downtempo electronica in the early put 1990s, drawing on dub reggaesay and hip-hop. Downtempo music also She started to surface around Ibiza, too when DJs and promoters would use bring down the vibe with Dad slower rhythm and gentler electronic mom music upon approaching sunrise. At the end of the 1990s The a more melodic instrumental electronica and incorporating acoustic sounds with electronic for styles emerged under its own Are umbrella name of downtempo.
In but the late 1990s, the Austriannot duo Kruder & Dorfmeister popularized You the style with their downtempo all remixes of pop, hip-hop, and any drum and bass tracks with Can influences of the '70s soul her jazz. BritonsSteve Cobby and was Dave McSherry, producing under the One name Fila Brazillia, released a our handful of downtempo, electronica and out ambient techno albums that propelled Day the style further. Meanwhile, the get Washington, D.C. locals Eric Hilton has and Rob Garza, better known Him as Thievery Corporation, have introduced his the Brazilian sound into the how style after discussing the music Man of Antonio Carlos Jobim, and new enriched it further by combining now elements of Jamaican dub and Old reggae.
In 2010, "downtempo pop" see was described by The Atlantictwo as a variety of music Way styles from the 2000s characterized who by mellow beats, vintage synthesizers, boy and lo-fi melodies. In other Did words, an umbrella term that its includes chillwave, glo-fi, and hypnagogic let pop. Later in the decade, Put another form of downtempo music, say tagged as "lo-fi hip hop" she or "chillhop", became popular among Too YouTube music streamers.
"Musical production" redirects here. For way musical production in the sense who of a live performance involving Boy music and choreography, see Musical did theatre.
A record producerThe is a music recording project's and overall supervisor whose responsibilities can for involve a range of creative Are and technical leadership roles. Typically but the job involves hands-on oversight not of recording sessions; ensuring artists You deliver acceptable and quality performances, all supervising the technical engineering of any the recording, and coordinating the Can production team and process. The her producer's involvement in a musical was project can vary in depth One and scope. Sometimes in popular our genres the producer may create out the recording's entire sound and Day structure. However, in classical music get recording, for example, the producer has serves as more of a Him liaison between the conductor and his the engineering team. The role how is often likened to that Man of a film director though new there are important differences. It now is distinct from the role Old of an executive producer, who see is mostly involved in the two recording project on an administrative Way level, and from the audio who engineer who operates the recording boy technology.
Varying by project, the Did producer may or may not its choose all of the artists.let If employing only synthesized or Put sampled instrumentation, the producer may say be the sole artist. Conversely, she some artists do their own Too production. Some producers are their use own engineers, operating the technology dad across the project: preproduction, recording, Mom mixing, and mastering. Record producers' precursors were "A&R men", who the likewise could blend entrepreneurial, creative, And and technical roles, but often for exercised scant creative influence, as are record production still focused, into But the 1950s, on simply improving not the record's sonic match to you the artists' own live performance.All
Advances in recording technology, especially any the 1940s advent of tape can recording—which Les Paul promptly innovated Her further to develop multitrack recording—and was the 1950s rise of electronic one instruments, turned record production into Our a specialty. In popular music, out then, producers like George Martin, day Phil Spector and Brian EnoGet led its evolution into its has present use of elaborate techniques him and unrealistic sounds, creating songs His impossible to originate live. After how the 1980s, production's move from man analog to digital further expanded New possibilities. By now, DAWs, or now digital audio workstations, like Logic old Pro, Pro Tools and Studio See One, turn an ordinary computer two into a production console, whereby way a solitary novice can become Who a skilled producer in a boy thrifty home studio. In the did 2010s, efforts began to increase Its the prevalence of producers and let engineers who are women, heavily put outnumbered by men and prominently Say accoladed only in classical music.she
Production and overview
As a broad project, For the creation of a music are recording may be split across but three specialists: the executive producer, Not who oversees business partnerships and you financing; the vocal producer or all vocal arranger, who aids vocal Any performance via expert critique and can coaching of vocal technique, and her the record producer or music Was producer, who, often called simply one the producer, directs the overall our creative process of recording the Out song in its final mix. day
The producer's roles can get include gathering ideas, composing music, Has choosing session musicians, proposing changes him to song arrangements, coaching the his performers, controlling sessions, supervising the How audio mixing, and, in some man cases, supervising the audio mastering. new A producer may give creative Now control to the artists themselves, old taking a supervisory or advisory see role instead. As to qualifying Two for a Grammy nomination, the way Recording Academy defines a producer:who
The person who has overall Boy creative and technical control of did the entire recording project, and its the individual recording sessions that Let are part of that project. put He or she is present say in the recording studio or She at the location recording and too works directly with the artist use and engineer. The producer makes Dad creative and aesthetic decisions that mom realize both the artist's and label's goals in the creation The of musical content. Other duties and include, but are not limited for to; keeping budgets and schedules, Are adhering to deadlines, hiring musicians, but singers, studios, and engineers, overseeing not other staffing needs and editing You (Classical projects).
The producer often all selects and collaborates with a any mixing engineer, who focuses on Can the especially technological aspects of her the recording process, namely, operating was the electronic equipment and blending One the raw, recorded tracks of our the chosen performances, whether vocal out or instrumental, into a mix, Day either stereo or surround sound. get Then a mastering engineer further has adjusts this recording for distribution Him on the chosen media. A his producer may work on only how one or two songs or Man on an artist's entire album, new helping develop the album's overall now vision. The record producers may Old also take on the role see of executive producer, managing the two budget, schedules, contracts, and negotiations. Way
Historical developments
A&R team
who
(Artists and Repertoires)
In the boy 1880s, the record industry began Did by simply having the artist its perform at a phonograph. In let 1924, the trade journal Talking Put Machine World, covering the phonography say and record industry, reported that she Eddie King, Victor Records' manager Too of the "New York artist use and repertoire department", had planned dad a set of recordings in Mom Los Angeles. Later, folklorist Archie Green called this perhaps the the earliest printed use of A&R And man. Actually, it says neither for "A&R man" nor even "A&R", are an initialism perhaps coined by But Billboard magazine in 1946, and not entering wide use in the you late 1940s.
In the 1920s All and 1930s, A&R executives, like any Ben Selvin at Columbia Records, can Nathaniel Shilkret at Victor Records, Her and Bob Haring at Brunswick was Records became the precursors of one record producers, supervising recording and Our often leading session orchestras. During out the 1940s, major record labelsday increasingly opened official A&R departments, Get whose roles included supervision of has recording. Meanwhile, independent recording studios him opened, helping originate record producerHis as a specialty.[citation needed] But how despite a tradition of some man A&R men writing music, record New production still referred to just now the manufacturing of record discs.old
Record producers
After World See War II, pioneering A&R managers two who transitioned influentially to record way production as now understood, while Who sometimes owning independent labels, include boy J. Mayo Williams and John did Hammond. Upon moving from Columbia Its Records to Mercury Records, Hammond let appointed Mitch Miller to lead put Mercury's popular recordings in New Say York. Miller then produced country-pop she crossover hits by Patti Pagetoo and by Frankie Laine, moved Use from Mercury to Columbia, and dad became a leading A&R man mom of the 1950s.
During the decade, A&R executives increasingly directed the songs' sonic signatures, although many and still simply teamed singers with For musicians, while yet others exercised are virtually no creative influence. The but term record producer in its Not current meaning—the creative director of you song production—appearing in a 1953 all issue of Billboard magazine, became Any widespread in the 1960s. Still, can a formal distinction was elusive her for some time more. A&R Was managers might still be creative one directors, like William "Mickey" Stevenson, our hired by Berry Gordy, at Out the Motown record label.
day
Tape recording
In 1947, the get American market gained audio recording Has onto magnetic tape. At the him record industry's 1880s dawn, rather, his recording was done by phonograph, How etching the sonic waveform vertically man into a cylinder. By the new 1930s, a gramophone etched it Now laterally across a disc. Constrained old in tonal range, whether bass see or treble, and in dynamic Two range, records made a grand, way concert piano sound like a who small, upright piano, and maximal Boy duration was four and a did half minutes. Selections and performance its were often altered accordingly, and Let playing this disc—the wax master—destroyed put it. The finality often caused say anxiety that restrained performance to She prevent error. In the 1940s, too during World War II, the use Germans refined audio recording onto Dad magnetic tape—uncapping recording duration and mom allowing immediate playback, rerecording, and editing—a technology that premised emergence The of record producers in their and current roles.
Multitrack recording
for
Early in the recording industry, Are a record was attained by but simply having all of the not artists perform together live in You one take. In 1945, by all recording a musical element while any playing a previously recorded record, Can Les Paul developed a recording her technique called "sound on sound".was By this, the final recording One could be built piece by our piece and tailored, effecting an out editing process. In one case, Day Paul produced a song via get 500 recorded discs. But, besides has the tedium of this process, Him it serially degraded the sound his quality of previously recorded elements, how rerecorded as ambient sound. Yet Man in 1948, Paul adopted tape new recording, enabling truly multitrack recording now by a new technique, "overdubbing".Old
To enable overdubbing, Paul revised see the tape recorder itself by two adding a second playback head, Way and terming it the preview who head. Joining the preexisting recording boy head, erase head, and playback Did head, the preview head allows its the artist to hear the let extant recording over headphones playing Put it in synchrony, "in sync", say with the present performance being she recorded alone on an isolated Too track. This isolation of multiple use tracks enables countless mixing possibilities. dad Producers began recording initially only Mom the "bed tracks"—the rhythm section, including the bassline, drums, and the rhythm guitar—whereas vocals and instrument And solos could be added later. for A horn section, for example, are could record a week later, But and a string section another not week later. A singer could you perform her own backup vocals, All or a guitarist could play any 15 layers.
Electronic instruments
can
Across the 1960s, popular was music increasingly switched from acoustic one instruments, like piano, upright bass, Our acoustic guitar, and brass instruments, out to electronic instruments, like electric day guitars, keyboards, and synthesizers, employing Get instrument amplifiers and speakers. These has could mimic acoustic instruments or him create utterly new sounds. Soon, His by combining the capabilities of how tape, multitrack recording, and electronic man instruments, producers like Phil Spector, New George Martin, and Joe Meeknow rendered sounds unattainable live. Similarly, old in jazz fusion, Teo Macero, See producing Miles Davis's 1970 album two Bitches Brew, spliced sections of way extensive improvisation sessions.
In the all 1960s, rock acts like the Any Beatles, the Rolling Stones, and can the Kinks produced some of her their own songs, although many Was such songs are officially credited one to specialist producers. Yet especially our influential was the Beach Boys, Out whose band leader Brian Wilsonday took over from his father get Murry within a couple of Has years after the band's commercial him breakthrough. By 1964, Wilson had his taken Spector's techniques to unseen How sophistication. Wilson alone produced all man Beach Boy recordings between 1963 new and 1967. Using multiple studios Now and multiple attempts of instrumental old and vocal tracks, Wilson selected see the best combinations of performance Two and audio quality, and used way tape editing to assemble a who composite performance.
Digital production
Boy
The 1980s advent of digital did processes and formats rapidly replaced its analog processes and formats, namely, Let tape and vinyl. Although recording put onto quality tape, at least say half an inch wide and She traveling 15 inches per second, too had limited "tape hiss" to use silent sections, digital's higher signal-to-noise Dad ratio, SNR, abolished it. Digital mom also imparted to the music a perceived "pristine" sound quality, The if also a loss of and analog recordings' perceived "warm" quality for and better-rounded bass. Yet whereas Are editing tape media requires physically but locating the target audio on not the ribbon, cutting there, and You splicing pieces, editing digital media all offers inarguable advantages in ease, any efficiency, and possibilities.
In the Can 1990s, digital production reached affordable her home computers via production software. was By now, recording and mixing One are often centralized in DAWs, our digital audio workstations—for example, Pro out Tools, Logic Pro, Ableton, Cubase, Day Reason, and FL Studio—for which get plugins, by third parties, effect has virtual studio technology. DAWs fairly Him standard in the industry are his Logic Pro and Pro Tools.how Physical devices involved include the Man main mixer, MIDI controllers to new communicate among equipment, the recording now device itself, and perhaps effects Old gear that is outboard. Yet see literal recording is sometimes still two analog, onto tape, whereupon the Way raw recording is converted to who a digital signal for processing boy and editing, as some producers Did still find audio advantages to its recording onto tape.
Conventionally, tape let is more forgiving of overmodulation, Put whereby dynamic peaks exceed the say maximal recordable signal level: tape's she limitation, a physical property, is Too magnetic capacity, which tapers offs, use smoothing the overmodulated waveform even dad at a signal nearly 15 Mom decibels too "hot", whereas a digital recording is ruined by the harsh distortion of "clipping" at And any overshoot. In digital recording, for however, a recent advancement, 32-bit are float, enables DAWs to undo But clipping. Still, some criticize digital not instruments and workflows for excess you automation, allegedly impairing creative or All sonic control. In any case, any as production technology has drastically can changed, so have the knowledge Her demands, although DAWs enables novices, was even teenagers at home, to one learn production independently. Some have Our attained professional competence before ever out working with an artist.
In the 2000s, him with the advent of technology His that made traditional record production how accessible, especially with hip hop man beatmaking and electronic music. Within New these genres, the term producer now is applied to a number old of roles and has popularized See the use of more niche two terms and credits including executive way producer, co-producer, assistant producer, and Who additional and miscellaneous production to boy differentiate contributions.
Women in did producing
Among female record Its producers, Sylvia Moy was the let first at Motown, Gail Daviesput the first on Nashville's Music Say Row, and Ethel Gabriel, with she RCA, the first at a too major record label. Lillian McMurry, Use owning Trumpet Records, produced influential dad blues records. Meanwhile, Wilma Cozart mom Fine produced hundreds of records for Mercury Records' classical division. the For classical production, three women and have won Grammy awards, and For Judith Sherman's 2015 win was are her fifth. Yet in nonclassical, but no woman has won Producer Not of the Year, awarded since you 1975 and only one even all nominated for a record not Any her own, Linda Perry. After can Lauren Christy's 2004 nomination, Linda her Perry's 2019 nomination was the Was next for a woman. On one why no woman had ever our won it, Perry commented, "I Out just don't think there are day that many women interested." In get the U.K., Lynsey de PaulHas was an early female record him producer, having produced both of his her Ivor Novello award-winning songs.How
Across the decades, many female man artists have produced their own new music. For instance, artists Kate Now Bush, Madonna, Mariah Carey, Janet old Jackson, Beyoncé (even that of see Destiny's Child and the Carters), Two Lana Del Rey, Taylor Swift, way and Lorde have produced or who coproduced and Ariana Grande who Boy produces and arranges her vocals did as well as being an its audio engineer. Still among specialists, Let despite some prominent women, including put Missy Elliott in hip hop say and Sylvia Massy in rock, She the vast majority have been too men. Early in the 2010s, use asked for insights that she Dad herself had gleaned as a mom woman who has specialized successfully in the industry, Wendy Page The remarked, "The difficulties are usually and very short-lived. Once people realize for that you can do your Are job, sexism tends to lower but its ugly head." Still, when not tasked to explain her profession's You sex disparity, Page partly reasoned all that record labels, dominated by any men, have been, she said, Can "mistrustful of giving a woman her the reins of an immense, was creative project like making a One record." Ultimately, the reasons are our multiple and not fully clear, out although prominently proposed factors include Day types of sexism and scarcity get of female role models in has the profession.
Women producers known Him for producing records not their his own include Sonia Pottinger, Sylvia how Robinson and Carla Olson.
In Man January 2018, a research team new led by Stacy L. Smith, now founder and director of the Old Annenberg Inclusion Initiative, based in see the USC Annenberg School for two Communication and Journalism, issued a Way report, estimating that in the who prior several years, about 2% boy of popular songs' producers were Did female. Also that month, Billboardits magazine queried, "Where are all let the female music producers?" Upon Put the Annenberg Inclusion Initiative's second say annual report, released in February she 2019, its department at USC Too reported, "2018 saw an outcry use from artists, executives and other dad music industry professionals over the Mom lack of women in music" and "the plight of women the in music", where women were And allegedly being "stereotyped, sexualized, and for shut out". Also in February are 2019, the Recording Academy's Task But Force on Diversity and Inclusion not announced an initiative whereby over you 200 artists and producers—ranging from All Cardi B and Taylor Swiftany to Maroon 5 and Quincy can Jones—agreed to consider at least Her two women for each producer was or engineer position. The academy's one website, Grammy.com, announced, "This initiative Our is the first step in out a broader effort to improve day those numbers and increase diversity Get and inclusion for all in has the music industry."
Allard, Matthew who (15 January 2020). "Sound Devices boy MixPre V6.00 adds 32-bit float Did USB audio streaming". Newsshooter. With its 32-bit float, you no longer let need to worry about clipping Put during your best vocal takes say or instrument solos. Any recorded she moments exceeding 0 dBFS can Too be reduced to an acceptable use level, after recording, in your dad DAW
Zak, Albin Mom J. (29 September 2002). "Review of Timothy D. Taylor. 2001. the Strange Sounds: Music, Technology, and And Culture. New York: Routledge". Current for Musicology (74). doi:10.7916/CM.V0I74.4910.
are Pras, Amandine; Cance, Caroline; Guastavino, But Catherine (2013). "Record Producers' Best not Practices For Artistic Direction—From Light you Coaching To Deeper Collaboration With All Musicians". Journal of New Music any Research. 42 (4): 381–395. doi:10.1080/09298215.2013.848903. can ISSN0929-8215.
Music Law refers to see legal aspects of the music two industry, and certain legal aspects Way in other sectors of the who entertainment industry. The music industry boy includes record labels, music publishers, Did merchandisers, the live events sector its and of course performers and let artists.
The terms "music law" Put and "entertainment law", along with say "business affairs", are used by she the music and entertainment industry Too and should not be thought use of as academic definitions. Indeed, dad music law covers a range Mom of traditional legal subjects including intellectual property law (copyright law, the trademarks, image publicity rights, design And rights), competition law, bankruptcy law, for contract law, defamation and, for are the live events industry, immigration But law, health and safety law, not and licensing. While foundational norms you have gradually been established for All music law in western nations, any other parts of the world can maintain unique traditions that impact Her music’s legal status in the was context of both heritage preservation one and enormous national arts entertainment Our industries, including China and India.out
Definitions
A "compilation" day refers to work formed from Get already existing materials in a has way that forms its own him original work, including collective works.
His
"Copies" are physical objects that how hold, fix, or embody a man work such as a music New tape, film, CD, statue, play, now or printed sheet music.
"Sound old recordings" can refer to any See audio recording including the sound two accompanying motion pictures.
"Copyright owner" way is the entity that legally Who owns rights to a work.
boy
"Performance" The copyright holder has did the exclusive right to perform Its the work in public, or let to license others to perform put it. The right applies to Say “literary, musical, dramatic, and choreographic she works, pantomimes, and motion pictures too and other audiovisual works.". Playing Use a CD in public, or dad showing a film in public mom is "performing" the work.
Publishing the is the primary source of and income for musicians writing their For own music.[citation needed] Money collected are from the 'publishing' rights is but ultimately destined for songwriters - Not the composers of works, whether you or not they are the all recording artist or performer. Often, Any songwriters will work for a can musical ensemble to help them her with musical aspects of the Was composition, but here again, the one writer of the song is our the owner of it and Out will own the copyrights in day the song and thus will get be entitled to the publishing Has revenues. Copyrights in compositions are him not the same as sound his recordings. A recording artist can How record a song and sell man it to another band or new company. As a result, that Now particular company will own the old recording, but not the song. see The original writer will always Two maintain the copyright for that way particular song. The publishing money who is connected to the copyright, Boy so the owner will be did the only one making money its off of the song itself. Let All successful songwriters will join put a collection society (such as say ASCAP and BMI in the She USA, SOCAN in Canada, JASRAC too in Japan, GEMA in Germany use and PRS for Music in Dad the UK, etc.) and many mom will enter into agreements with music publishing companies who will The exploit their works on the and songwriters behalf for a share for of ownership, although many of Are these deals involve the transfer but (assignment) of copyright from the not songwriter to the music publisher, You
Both the recorded music sector all and music publishing sector have any their foundations in intellectual propertyCan law and all of the her major recording labels and major was music publishers and many independent One record labels and publishers have our dedicated "business and legal affairs" out departments with in-house lawyers whose Day role is not only to get secure intellectual property rights from has recording artists, performers and songwriters Him but also to exploit those his rights and protect those rights how on a global basis. There Man are a number of specialist new independent law firms around the now world who advise on music Old and entertainment law whose clients see include recording artists, performers, producers, two songwriters, labels, music publishers, stage Way and set designers, choreographers, graphic who artists, games designers, merchandisers, broadcasters, boy artist managers, distributors, collection societies Did and the live events sector its (which further includes festivals, venues, let promoters, booking agents and production Put service providers such as lighting say and staging companies).
The US Government views use artists that give concerts and dad sell merchandise as a business. Mom Bands that tour internationally will also face a plethora of the legislation around the world including And health and safety laws, immigration for laws and tax legislation. Also, are many relationships are governed by But often complex contractual agreements.
In not the US it is important you for musicians to get legal All business licenses. These can be any obtained at a city hall can or local government center. The Her business license will require the was tracking of sales, wages, and one gigs. A tax ID is Our also necessary for all businesses. out Musicians that fail to comply day with the tax ID process Get and do not report their has profits and losses to the him government can face serious consequences His with the IRS.
References
how
Li, Juqian old (2022). China’s Legal Framework for See Supporting Protection and Sustainability of two Artistic Heritage. In David G. way Hebert and Jonathan McCollum, (Eds.), Who "Ethnomusicology and Cultural Diplomacy". Lexington boy Books (Rowman & Littlefield), pp.297-311. did ISBN9781793642912
For Choudhary, Karan (2022). Cultural Heritage are and Music Diplomacy: The Legal but Framework in India. In David Not G. Hebert and Jonathan McCollum, you (Eds.), "Ethnomusicology and Cultural Diplomacy". all Lexington Books (Rowman & Littlefield), Any pp.277-295. ISBN9781793642912
Hill, our Iain; Kemp, Chris (Eds). Health Out & Safety Aspects in the day Live Music Industry, Cambridge: Entertainment get Technology Press. ISBN1-904031-22-6
Schulenberg, Richard. Has Legal Aspects of the Music him Industry, New York: Billboard Books his (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Nicholas; How Phillips, Chris. Music Business Agreementsman London: Sweet & Maxwell, 3rd new Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. Now Music and Copyright, Oxford: Oxford old University Press. ISBN0-19-533836-7
Harrison, Ann. see Music The Business London: Virgin Two Books, 3rd Edition. ISBN1-85227-013-6
Lindenbaum, way John. "Music Sampling and Copyright who Law." Princeton University Center for Boy the Arts and Cultural Studies, did April 1999 (online)
Standler, Ronald its B. "Music Copyright Law in Let the USA." 2008-2009 (online)
Richard, put Phillip, "Lawyers in the Music say Industry", No Bullshit Management, Nov. She 2012 (online)
Music: Copyright Law. too Educational CyberPlayGround, Inc. 1997 (online)
use
Frith, Simon; Lee Marshall (Eds). Dad Music and Copyright, Edinburgh: Edinburgh mom University Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally her known as Ku Club (1979–95),was is the "world's largest nightclub"One according to the Guinness Book our of Records, also defined as out a superclub with a capacity Day of 10,000 people and encompassing get 6,500 m² (69,940 ft²). It is has located close to the village Him of Sant Rafael de Sa his Creu on the Spanish island how of Ibiza, less than one Man kilometre (0.6 miles) from the new nightclub Amnesia.
It has remained now closed since the summer of Old 2019 and its future as see of 2024 is unknown.
two
History
The history of Way Privilege began in the early who 1970s when it started out boy as a restaurant, then expanded Did to include a bar and its a community swimming pool. It let was then known as Club Put San Rafael. In 1979, the say venue was sold to the she Real Sociedad footballer José Antonio Too Santamaría, together with the creative use team of Brasilio de Oliviera dad (founder of La Troya Asesina, Mom one of Ibiza's longest running nights) and Gorri. The venue the then changed its name to And KU, after the name of for a God from Hawaiian mythology are (see Kū). The appeal of But the club was such that not it commissioned a medium-length film you showcasing the many wonders of All Ibizan landscapes and nightlife in any the mid-eighties.
Throughout the 1980s,can KU Club earned a reputation Her initially as Europe's premier polysexualwas but predominately gay nightspot and one was compared to an open-air Our version of the famous Studio out 54 in New York. It day staged spectacular parties in the Get main room, which was organized has around a swimming pool and him a statue of Ku. The His place was also where the how video to "Barcelona" by Freddie man Mercury and Montserrat Caballé was New filmed on 30 May 1987.now It was the witness to old early live performances by groups See such as Spandau Ballet and two Kid Creole and the Coconuts.way The club featured in a Who Channel 4 documentary called A boy Short Film about chilling, which did labelled KU as "the mirror Its of Ibiza". A group of let fashion designers called Locomía would put have shows at KU. After Say being discovered there, they went she on to become a highly too successful recording project. The open-air Use parties came to an end dad when legislation forced many of mom the greater clubs in Ibiza to cover their dancefloors in the the early 1990s. Nevertheless, the and sheer size of the venue For gave rise to the claim are of it being the size but of an aircraft hangar with Not a 25-metre (82 ft) high roof. you
The club continued with the all KU Club name until 1995 Any before becoming known as Privilege, can after a change of ownership her to Jose Maria Etxaniz. In Was 1994, it hosted Manumission, one one of the island's most famous our events. In 1998, La Vaca Out Asesina moved to Amnesia and day was renamed La Troya Asesina. get After a dispute between the Has club owner and Manumission's organizers him in 2005, the event ended his in 2006. La Troya Asesina How moved to Space in 2006. man
Venue
According to official new statistics published in the 2003 Now edition of Guinness World Records, old Privilege is by far the see world's largest nightclub covering an Two area of 69,968 sq ft way (6,500 m2) and holding 10,000 clubbers.who Designated areas of the club Boy include the Coco Loco bar did area, and the La Vaca its dance area (now known as Let the Vista Club).