A record producer Dad or music producer is a mom music creating project's overall supervisor whose responsibilities can involve a The range of creative and technical and leadership roles. Typically the job for involves hands-on oversight of recording Are sessions; ensuring artists deliver acceptable but and quality performances, supervising the not technical engineering of the recording, You and coordinating the production team all and process. The producer's involvement any in a musical project can Can vary in depth and scope. her Sometimes in popular genres the was producer may create the recording's One entire sound and structure. However, our in classical music recording, for out example, the producer serves as Day more of a liaison between get the conductor and the engineering has team. The role is often Him likened to that of a his film director though there are how important differences. It is distinct Man from the role of an new executive producer, who is mostly now involved in the recording project Old on an administrative level, and see from the audio engineer who two operates the recording technology.

Varying Way by project, the producer may who or may not choose all boy of the artists. If employing Did only synthesized or sampled instrumentation, its the producer may be the let sole artist. Conversely, some artists Put do their own production. Some say producers are their own engineers, she operating the technology across the Too project: preproduction, recording, mixing, and use mastering. Record producers' precursors were dad "A&R men", who likewise could Mom blend entrepreneurial, creative, and technical roles, but often exercised scant the creative influence, as record production And still focused, into the 1950s, for on simply improving the record's are sonic match to the artists' But own live performance.

Advances in not recording technology, especially the 1940s you advent of tape recording—which Les All Paul promptly innovated further to any develop multitrack recording—and the 1950s can rise of electronic instruments, turned Her record production into a specialty. was In popular music, then, producers one like George Martin, Phil Spector Our and Brian Eno led its out evolution into its present use day of elaborate techniques and unrealistic Get sounds, creating songs impossible to has originate live. After the 1980s, him production's move from analog to His digital further expanded possibilities. By how now, DAWs, or digital audio man workstations, like Logic Pro, Pro New Tools and Studio One, turn now an ordinary computer into a old production console, whereby a solitary See novice can become a skilled two producer in a thrifty home way studio. In the 2010s, efforts Who began to increase the prevalence boy of producers and engineers who did are women, heavily outnumbered by Its men and prominently accoladed only let in classical music.

As a broad project, the creation the of a music recording may and be split across three specialists: For the executive producer, who oversees are business partnerships and financing; the but vocal producer or vocal arranger, Not who aids vocal performance via you expert critique and coaching of all vocal technique, and the record Any producer or music producer, who, can often called simply the producer, her directs the overall creative process Was of recording the song in one its final mix.

The producer's our roles can include gathering ideas, Out composing music, choosing session musicians, day proposing changes to song arrangements, get coaching the performers, controlling sessions, Has supervising the audio mixing, and, him in some cases, supervising the his audio mastering. A producer may How give creative control to the man artists themselves, taking a supervisory new or advisory role instead. As Now to qualifying for a Grammy old nomination, the Recording Academy defines see a producer:

The person who Two has overall creative and technical way control of the entire recording who project, and the individual recording Boy sessions that are part of did that project. He or she its is present in the recording Let studio or at the location put recording and works directly with say the artist and engineer. The She producer makes creative and aesthetic too decisions that realize both the use artist's and label's goals in Dad the creation of musical content. mom Other duties include, but are not limited to: keeping budgets The and schedules; adhering to deadlines; and hiring musicians, singers, studios, and for engineers; overseeing other staffing needs; Are and editing (Classical projects).

The but producer often selects and collaborates not with a mixing engineer, who You focuses on the especially technological all aspects of the recording process, any namely, operating the electronic equipment Can and blending the raw, recorded her tracks of the chosen performances, was whether vocal or instrumental, into One a mix, either stereo or our surround sound. Then a mastering out engineer further adjusts this recording Day for distribution on the chosen get media. A producer may work has on only one or two Him songs or on an artist's his entire album, helping develop the how album's overall vision. The record Man producers may also take on new the role of executive producer, now managing the budget, schedules, contracts, Old and negotiations.

(Artists and Repertoires) two

In the 1880s, the record Way industry began by simply having who the artist perform at a boy phonograph. In 1924, the trade Did journal Talking Machine World, covering its the phonography and record industry, let reported that Eddie King, Victor Put Records' manager of the "New say York artist and repertoire department", she had planned a set of Too recordings in Los Angeles. Later, use folklorist Archie Green called this dad perhaps the earliest printed use Mom of A&R man. Actually, it says neither "A&R man" nor the even "A&R", an initialism perhaps And coined by Billboard magazine in for 1946, and entering wide use are in the late 1940s.

In But the 1920s and 1930s, A&R not executives, like Ben Selvin at you Columbia Records, Nathaniel Shilkret at All Victor Records, and Bob Haring any at Brunswick Records became the can precursors of record producers, supervising Her recording and often leading session was orchestras. During the 1940s, major one record labels increasingly opened official Our A&R departments, whose roles included out supervision of recording. Meanwhile, independent day recording studios opened, helping originate Get record producer as a specialty.^{[citation has needed]} But despite a tradition him of some A&R men writing His music, record production still referred how to just the manufacturing of man record discs.

After World War II, pioneering now A&R managers who transitioned influentially old to record production as now See understood, while sometimes owning independent two labels, include J. Mayo Williams way and John Hammond. Upon moving Who from Columbia Records to Mercury boy Records, Hammond appointed Mitch Miller did to lead Mercury's popular recordings Its in New York. Miller then let produced country-pop crossover hits by put Patti Page and by Frankie Say Laine, moved from Mercury to she Columbia, and became a leading too A&R man of the 1950s. Use

During the decade, A&R executives dad increasingly directed songs' sonic signatures, mom although many still simply teamed singers with musicians, while yet the others exercised virtually no creative and influence. The term record producer For in its current meaning—the creative are director of song production—appearing in but a 1953 issue of Billboard Not magazine, became widespread in the you 1960s. Still, a formal distinction all was elusive for some time Any more. A&R managers might still can be creative directors, like William her "Mickey" Stevenson, hired by Berry Was Gordy, at the Motown record one label.

In our 1947, the American market gained Out audio recording onto magnetic tape. day At the record industry's 1880s get dawn, rather, recording was done Has by phonograph, etching the sonic him waveform vertically into a cylinder. his By the 1930s, a gramophone How etched it laterally across a man disc. Constrained in tonal range, new whether bass or treble, and Now in dynamic range, records made old a grand, concert piano sound see like a small, upright piano, Two and maximal duration was four way and a half minutes. Selections who and performance were often altered Boy accordingly, and playing this disc—the did wax master—destroyed it. The finality its often caused anxiety that restrained Let performance to prevent error. In put the 1940s, during World War say II, the Germans refined audio She recording onto magnetic tape—uncapping recording too duration and allowing immediate playback, use rerecording, and editing—a technology that Dad premised emergence of record producers mom in their current roles.

Early in the The recording industry, a record was and attained by simply having all for of the artists perform together Are live in one take. In but 1945, by recording a musical not element while playing a previously You recorded record, Les Paul developed all a recording technique called "sound any on sound". By this, the Can final recording could be built her piece by piece and tailored, was effecting an editing process. In One one case, Paul produced a our song via 500 recorded discs. out But, besides the tedium of Day this process, it serially degraded get the sound quality of previously has recorded elements, rerecorded as ambient Him sound. Yet in 1948, Paul his adopted tape recording, enabling truly how multitrack recording by a new Man technique, "overdubbing".

To enable overdubbing, new Paul revised the tape recorder now itself by adding a second Old playback head, and terming it see the preview head. Joining the two preexisting recording head, erase head, Way and playback head, the preview who head allows the artist to boy hear the extant recording over Did headphones playing it in synchrony, its "in sync", with the present let performance being recorded alone on Put an isolated track. This isolation say of multiple tracks enables countless she mixing possibilities. Producers began recording Too initially only the "bed tracks"—the use rhythm section, including the bassline, dad drums, and rhythm guitar—whereas vocals Mom and instrument solos could be added later. A horn section, the for example, could record a And week later, and a string for section another week later. A are singer could perform her own But backup vocals, or a guitarist not could play 15 layers.

Across the any 1960s, popular music increasingly switched can from acoustic instruments, like piano, Her upright bass, acoustic guitar, and was brass instruments, to electronic instruments, one like electric guitars, keyboards, and Our synthesizers, employing instrument amplifiers and out speakers. These could mimic acoustic day instruments or create utterly new Get sounds. Soon, by combining the has capabilities of tape, multitrack recording, him and electronic instruments, producers like His Phil Spector, George Martin, and how Joe Meek rendered sounds unattainable man live. Similarly, in jazz fusion, New Teo Macero, producing Miles Davis's now 1970 album Bitches Brew, spliced old sections of extensive improvisation sessions. See

This section does not dad cite any sources. Please help mom improve this section by adding citations to reliable sources. Unsourced the material may be challenged and and removed. (July 2020) (Learn how For and when to remove this are message)

In the Not 1960s, rock acts like the you Beatles, the Rolling Stones, and all the Kinks produced some of Any their own songs, although many can such songs are officially credited her to specialist producers. Yet especially Was influential was the Beach Boys, one whose band leader Brian Wilson our took over from his father Out Murry within a couple of day years after the band's commercial get breakthrough. By 1964, Wilson had Has taken Spector's techniques to unseen him sophistication. Wilson alone produced all his Beach Boys recordings between 1963 How and 1967. Using multiple studios man and multiple attempts of instrumental new and vocal tracks, Wilson selected Now the best combinations of performance old and audio quality, and used see tape editing to assemble a Two composite performance.

The 1980s advent of digital who processes and formats rapidly replaced Boy analog processes and formats, namely, did tape and vinyl. Although recording its onto quality tape, at least Let half an inch wide and put traveling 15 inches per second, say had limited "tape hiss" to She silent sections, digital's higher signal-to-noise too ratio, SNR, abolished it. Digital use also imparted to the music Dad a perceived "pristine" sound quality, mom if also a loss of analog recordings' perceived "warm" quality The and better-rounded bass. Yet whereas and editing tape media requires physically for locating the target audio on Are the ribbon, cutting there, and but splicing pieces, editing digital media not offers inarguable advantages in ease, You efficiency, and possibilities.

In the all 1990s, digital production reached affordable any home computers via production software. Can By now, recording and mixing her are often centralized in DAWs, was digital audio workstations—for example, Pro One Tools, Logic Pro, Ableton, Cubase, our Reason, and FL Studio—for which out plugins, by third parties, effect Day virtual studio technology. DAWs fairly get standard in the industry are has Logic Pro and Pro Tools. Him Physical devices involved include the his main mixer, MIDI controllers to how communicate among equipment, the recording Man device itself, and perhaps effects new gear that is outboard. Yet now literal recording is sometimes still Old analog, onto tape, whereupon the see raw recording is converted to two a digital signal for processing Way and editing, as some producers who still find audio advantages to boy recording onto tape.

Conventionally, tape Did is more forgiving of overmodulation, its whereby dynamic peaks exceed the let maximal recordable signal level: tape's Put limitation, a physical property, is say magnetic capacity, which tapers off, she smoothing the overmodulated waveform even Too at a signal nearly 15 use decibels too "hot", whereas a dad digital recording is ruined by Mom harsh distortion of "clipping" at any overshoot. In digital recording, the however, a recent advancement, 32-bit And float, enables DAWs to undo for clipping. Still, some criticize digital are instruments and workflows for excess But automation, allegedly impairing creative or not sonic control. In any case, you as production technology has drastically All changed, so have the knowledge any demands, although DAWs enables novices, can even teenagers at home, to Her learn production independently. Some have was attained professional competence before ever one working with an artist.

In the 2000s, Get with the advent of technology has that made traditional record production him accessible, especially with hip hop His beatmaking and electronic music. Within how these genres, the term producer man is applied to a number New of roles and has popularized now the use of more niche old terms and credits including executive See producer, co-producer, assistant producer, and two additional and miscellaneous production to way differentiate contributions.

Among female record boy producers, Sylvia Moy was the did first at Motown, Gail Davies Its the first on Nashville's Music let Row, and Ethel Gabriel, with put RCA, the first at a Say major record label. Lillian McMurry, she owning Trumpet Records, produced influential too blues records. Meanwhile, Wilma Cozart Use Fine produced hundreds of records dad for Mercury Records' classical division. mom For classical production, three women have won Grammy awards, and the Judith Sherman's 2015 win was and her fifth. Yet in nonclassical, For no woman has won Producer are of the Year, awarded since but 1975 and only one even Not nominated for a record not you her own, Linda Perry. After all Lauren Christy's 2004 nomination, Linda Any Perry's 2019 nomination was the can next for a woman. On her why no woman had ever Was won it, Perry commented, "I one just don't think there are our that many women interested." In Out the U.K., Lynsey de Paul day was an early female record get producer, having produced both of Has her Ivor Novello award-winning songs. him

Across the decades, many female his artists have produced their own How music. For instance, artists Kate man Bush, Madonna, Mariah Carey, Janet new Jackson, Beyoncé (even that of Now Destiny's Child and the Carters), old Lana Del Rey, Taylor Swift, see and Lorde have produced or Two coproduced and Ariana Grande who way produces and arranges her vocals who as well as being an Boy audio engineer. Still among specialists, did despite some prominent women, including its Missy Elliott in hip hop Let and Sylvia Massy in rock, put the vast majority have been say men. Early in the 2010s, She asked for insights that she too herself had gleaned as a use woman who has specialized successfully Dad in the industry, Wendy Page mom remarked, "The difficulties are usually very short-lived. Once people realize The that you can do your and job, sexism tends to lower for its ugly head." Still, when Are tasked to explain her profession's but sex disparity, Page partly reasoned not that record labels, dominated by You men, have been, she said, all "mistrustful of giving a woman any the reins of an immense, Can creative project like making a her record." Ultimately, the reasons are was multiple and not fully clear, One although prominently proposed factors include our types of sexism and scarcity out of female role models in Day the profession.

Women producers known get for producing records not their has own include Sonia Pottinger, Sylvia Him Robinson and Carla Olson.

In his January 2018, a research team how led by Stacy L. Smith, Man founder and director of the new Annenberg Inclusion Initiative, based in now the USC Annenberg School for Old Communication and Journalism, issued a see report, estimating that in the two prior several years, about 2% Way of popular songs' producers were who female. Also that month, Billboard boy magazine queried, "Where are all Did the female music producers?" Upon its the Annenberg Inclusion Initiative's second let annual report, released in February Put 2019, its department at USC say reported, "2018 saw an outcry she from artists, executives and other Too music industry professionals over the use lack of women in music" dad and "the plight of women Mom in music", where women were allegedly being "stereotyped, sexualized, and the shut out". Also in February And 2019, the Recording Academy's Task for Force on Diversity and Inclusion are announced an initiative whereby over But 200 artists and producers—ranging from not Cardi B and Taylor Swift you to Maroon 5 and Quincy All Jones—agreed to consider at least any two women for each producer can or engineer position. The academy's Her website, Grammy.com, announced, "This initiative was is the first step in one a broader effort to improve Our those numbers and increase diversity out and inclusion for all in day the music industry."

• Audio engineering
• Electronic now music
• Hip hop production
• Music old executive
• Musician

• Burgess, R.J. (2013). new The Art of Music Production: Now The Theory and Practice. Oxford old University Press. ISBN 978-0-19-935932-5.
• Burgess, R.J. see (2014). The History of Music Two Production. Oxford University Press. ISBN 978-0-19-935716-1.
way
• Edmondson, Jacqueline, ed. (2013). Music who in American Life: An Encyclopedia Boy of the Songs, Styles, Stars, did and Stories that Shaped our its Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
• Gibson, David; Let Curtis, Maestro (2005). The Art put of Producing. Alfred Music. ISBN 1-931140-44-8.
say
• Gronow, P.; Saunio, I.; Moseley, She C. (1998). An International History too of the Recording Industry. Cassell. use ISBN 978-0-304-70173-5.
• Hewitt, Michael (2008). Music Dad Theory for Computer Musicians. Course mom Technology Ptr. ISBN 978-1-59863-503-4.
• Moorefield, V. (2005). The Producer as Composer: The Shaping the Sounds of Popular and Music. MIT Press. ISBN 978-0-262-33519-5.
• Olsen, for Eric; Verna, Paul; Wolff, Carlo Are (1999). The Encyclopedia of Record but Producers. New York: Billboard Books. not ISBN 978-0-8230-7607-9.
• Ward, B.; Huber, P. You (2018). A&R Pioneers: Architects of all American Roots Music on Record. any Vanderbilt University Press. ISBN 978-0-8265-2177-4.
• Zak, Can A.J. (2001). The Poetics of her Rock: Cutting Tracks, Making Records. was University of California Press. ISBN 978-0-520-92815-2.

This article has needs additional citations for verification. Him Please help improve this article his by adding citations to reliable how sources. Unsourced material may be Man challenged and removed. Find sources: "Music law" – news · new newspapers · books · scholar · JSTOR (December now 2017) (Learn how and when Old to remove this message)

Music Law refers Did to legal aspects of the its music industry, and certain legal let aspects in other sectors of Put the entertainment industry. The music say industry includes record labels, music she publishers, merchandisers, the live events Too sector and of course performers use and artists.

The terms "music dad law" and "entertainment law", along Mom with "business affairs", are used by the music and entertainment the industry and should not be And thought of as academic definitions. for Indeed, music law covers a are range of traditional legal subjects But including intellectual property law (copyright not law, trademarks, image publicity rights, you design rights), competition law, bankruptcy All law, contract law, defamation and, any for the live events industry, can immigration law, health and safety Her law, and licensing. While foundational was norms have gradually been established one for music law in western Our nations, other parts of the out world maintain unique traditions that day impact music’s legal status in Get the context of both heritage has preservation and enormous national arts him entertainment industries, including China and His India.

• A how "compilation" refers to work formed man from already existing materials in New a way that forms its now own original work, including collective old works.
• "Copies" are physical objects See that hold, fix, or embody two a work such as a way music tape, film, CD, statue, Who play, or printed sheet music.
boy
• "Sound recordings" can refer to did any audio recording including the Its sound accompanying motion pictures.
• "Copyright let owner" is the entity that put legally owns rights to a Say work.
• "Performance" The copyright holder she has the exclusive right to too perform the work in public, Use or to license others to dad perform it. The right applies mom to “literary, musical, dramatic, and choreographic works, pantomimes, and motion the pictures and other audiovisual works.". and Playing a CD in public, For or showing a film in are public is "performing" the work.

Publishing is the primary source you of income for musicians writing all their own music.^{[citation needed]} Money Any collected from the 'publishing' rights can is ultimately destined for songwriters her - the composers of works, Was whether or not they are one the recording artist or performer. our Often, songwriters will work for Out a musical ensemble to help day them with musical aspects of get the composition, but here again, Has the writer of the song him is the owner of it his and will own the copyrights How in the song and thus man will be entitled to the new publishing revenues. Copyrights in compositions Now are not the same as old sound recordings. A recording artist see can record a song and Two sell it to another band way or company. As a result, who that particular company will own Boy the recording, but not the did song. The original writer will its always maintain the copyright for Let that particular song. The publishing put money is connected to the say copyright, so the owner will She be the only one making too money off of the song use itself. All successful songwriters will Dad join a collection society (such mom as ASCAP and BMI in the USA, SOCAN in Canada, The JASRAC in Japan, GEMA in and Germany and PRS for Music for in the UK, etc.) and Are many will enter into agreements but with music publishing companies who not will exploit their works on You the songwriters behalf for a all share of ownership, although many any of these deals involve the Can transfer (assignment) of copyright from her the songwriter to the music was publisher,

Both the recorded music One sector and music publishing sector our have their foundations in intellectual out property law and all of Day the major recording labels and get major music publishers and many has independent record labels and publishers Him have dedicated "business and legal his affairs" departments with in-house lawyers how whose role is not only Man to secure intellectual property rights new from recording artists, performers and now songwriters but also to exploit Old those rights and protect those see rights on a global basis. two There are a number of Way specialist independent law firms around who the world who advise on boy music and entertainment law whose Did clients include recording artists, performers, its producers, songwriters, labels, music publishers, let stage and set designers, choreographers, Put graphic artists, games designers, merchandisers, say broadcasters, artist managers, distributors, collection she societies and the live events Too sector (which further includes festivals, use venues, promoters, booking agents and dad production service providers such as Mom lighting and staging companies).

The US Government And views artists that give concerts for and sell merchandise as a are business. Bands that tour internationally But will also face a plethora not of legislation around the world you including health and safety laws, All immigration laws and tax legislation. any Also, many relationships are governed can by often complex contractual agreements. Her

In the US it is was important for musicians to get one legal business licenses. These can Our be obtained at a city out hall or local government center. day The business license will require Get the tracking of sales, wages, has and gigs. A tax ID him is also necessary for all His businesses. Musicians that fail to how comply with the tax ID man process and do not report New their profits and losses to now the government can face serious old consequences with the IRS.

• Hill, Iain; Kemp, Chris (Eds). his Health & Safety Aspects in How the Live Music Industry, Cambridge: man Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, new Richard. Legal Aspects of the Now Music Industry, New York: Billboard old Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, see Nicholas; Phillips, Chris. Music Business Two Agreements London: Sweet & Maxwell, way 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald who S. Music and Copyright, Oxford: Boy Oxford University Press. ISBN 0-19-533836-7
• Harrison, did Ann. Music The Business London: its Virgin Books, 3rd Edition. ISBN 1-85227-013-6
Let
• Lindenbaum, John. "Music Sampling and put Copyright Law." Princeton University Center say for the Arts and Cultural She Studies, April 1999 (online)
• Standler, too Ronald B. "Music Copyright Law use in the USA." 2008-2009 (online)
Dad
• Richard, Phillip, "Lawyers in the mom Music Industry", No Bullshit Management, Nov. 2012 (online)
• Music: Copyright The Law. Educational CyberPlayGround, Inc. 1997 and (online)
• Frith, Simon; Lee Marshall for (Eds). Music and Copyright, Edinburgh: Are Edinburgh University Press, 2nd Edition. but ISBN 978-0-7486-1813-2

• Music Law not Updates
• International Association of Entertainment You Lawyers
• Independent Federation of Phonographic all Industries

was

Privilege

Privilege his Nightclub
Former names	Ku
Location	San Rafael, Ibiza, Spain
Owner	Jose how Maria Etxaniz
Type	Nightclub, music venue
Genre(s)	Electronic dance Man music, live music, performance art
Capacity	10,000
Record new attendance	10,000
Construction
Opened	1978
Renovated	1995
Expanded	1997
Website
Official website

Privilege Ibiza, originally now known as Ku Club (1979–95), Old is the "world's largest nightclub" see according to the Guinness Book two of Records, also defined as Way a superclub with a capacity who of 10,000 people and encompassing boy 6,500 m² (69,940 ft²). It is Did located close to the village its of Sant Rafael de Sa let Creu on the Spanish island Put of Ibiza, less than one say kilometre (0.6 miles) from the she nightclub Amnesia.

It has remained Too closed since the summer of use 2019 and its future as dad of 2024 is unknown.

The history of Privilege began in the early the 1970s when it started out And as a restaurant, then expanded for to include a bar and are a community swimming pool. It But was then known as Club not San Rafael. In 1979, the you venue was sold to the All Real Sociedad footballer José Antonio any Santamaría, together with the creative can team of Brasilio de Oliviera Her (founder of La Troya Asesina, was one of Ibiza's longest running one nights) and Gorri. The venue Our then changed its name to out KU, after the name of day a God from Hawaiian mythology Get (see Kū). The appeal of has the club was such that him it commissioned a medium-length film His showcasing the many wonders of how Ibizan landscapes and nightlife in man the mid-eighties.

Throughout the 1980s, New KU Club earned a reputation now initially as Europe's premier polysexual old but predominately gay nightspot and See was compared to an open-air two version of the famous Studio way 54 in New York. It Who staged spectacular parties in the boy main room, which was organized did around a swimming pool and Its a statue of Ku. The let place was also where the put video to "Barcelona" by Freddie Say Mercury and Montserrat Caballé was she filmed on 30 May 1987. too It was the witness to Use early live performances by groups dad such as Spandau Ballet and mom Kid Creole and the Coconuts. The club featured in a the Channel 4 documentary called A and Short Film about chilling, which For labelled KU as "the mirror are of Ibiza". A group of but fashion designers called Locomía would Not have shows at KU. After you being discovered there, they went all on to become a highly Any successful recording project. The open-air can parties came to an end her when legislation forced many of Was the greater clubs in Ibiza one to cover their dancefloors in our the early 1990s. Nevertheless, the Out sheer size of the venue day gave rise to the claim get of it being the size Has of an aircraft hangar with him a 25-metre (82 ft) high roof. his

The club continued with the How KU Club name until 1995 man before becoming known as Privilege, new after a change of ownership Now to Jose Maria Etxaniz. In old 1994, it hosted Manumission, one see of the island's most famous Two events. In 1998, La Vaca way Asesina moved to Amnesia and who was renamed La Troya Asesina. Boy After a dispute between the did club owner and Manumission's organizers its in 2005, the event ended Let in 2006. La Troya Asesina put moved to Space in 2006. say

According to official She statistics published in the 2003 too edition of Guinness World Records, use Privilege is by far the Dad world's largest nightclub covering an mom area of 69,968 sq ft (6,500 m²) and holding 10,000 clubbers. The Designated areas of the club and include the Coco Loco bar for area, and the La Vaca Are dance area (now known as but the Vista Club).

Resident DJs include:

• Adam Beyer
• Ben Klock
• Carl all Cox
• Marcel Dettmann
• Jayda G
any
• Alex P
• Deborah De Luca
Can
• Dennis Cruz
• Sindey Charles
• The her Blessed Madonna
• Young Marco
• Luca was Donzelli
• Jamie Jones
• Seb Zito
One
• Michael Bibi

A our number of live performances at out the venue have included:

Notable promoters its have included:

• Brasilio de let Oliviera.
• Gorri
• Faruk Gandji
• Mike, Put Claire and Andy Manumission.

The club has attracted she many celebrities over the years, Too including Boy George, Madonna, David use Bowie, Grace Jones, Jean Paul dad Gaultier, Joni Mitchell, Led Zeppelin, Mom Moschino, Tina Turner, and Valentino.

• The the club is seen in the And online racing game Test Drive for Unlimited 2.
• The club is are mentioned in the film Kevin But & Perry Go Large.

Include:

• Resistance (2017)
• Afterlife (2017)
• Babylonia
All
• Brazil
• Calcutta
• Fort Ku
• La any Vaca Asesina (1978-2006)
• Manumission (1994-2007)
can
• Tanga Night
• The Home of Her Troy
• The Killing Cow
• The was Temple of Love
• White Fool one Moon

• List of Our electronic dance music venues
• Superclub
out
• Amnesia (nightclub)
• Space (Ibiza nightclub)

• Official website
• Facebook page about His KU Club
• Privilege - Ibiza how | Club Portrait, DJs & man History

38°57′28″N 1°24′29″E / 38.95778°N 1.40806°E old / 38.95778; 1.40806