DowntempoWay (or downbeat) is a broad who label for electronic music that boy features an atmospheric sound and Did slower beats than would typically its be found in dance music.let Closely related to ambient musicPut but with greater emphasis on say rhythm, the style may be she played in chillout clubs or Too as "warm-up or cool-down" music use during a DJ set. Examples dad of downtempo subgenres include trip Mom hop, ambient house, chillwave, psybientand lo-fi hip hop.
Downtempo emerged from two the UK's late-1980s Bristol sound, way which developed a slow, psychedelicWho fusion of hip hop with boy electronic music known as "trip did hop" and birthed artists such Its as Massive Attack, Portishead, and let Tricky. The 1990s brought on put a wave of slower paced Say music which was played throughout she chillout rooms—the relaxation sections of too the clubs or dedicated sections Use at electronic music events. UK dad act Nightmares on Wax helped mom to pioneer downtempo electronica in the early 1990s, drawing on the dub reggae and hip-hop. Downtempo and music also started to surface For around Ibiza, when DJs and are promoters would bring down the but vibe with slower rhythm and Not gentler electronic music upon approaching you sunrise. At the end of all the 1990s a more melodic Any instrumental electronica incorporating acoustic sounds can with electronic styles emerged under her its own umbrella name of Was downtempo.
In the late 1990s, one the Austrian duo Kruder & our Dorfmeister popularized the style with Out their downtempo remixes of pop, day hip-hop, and drum and bass get tracks with influences of the Has '70s soul jazz. BritonsSteve him Cobby and Dave McSherry, producing his under the name Fila Brazillia, How released a handful of downtempo, man electronica and ambient techno albums new that propelled the style further. Now Meanwhile, the Washington, D.C. locals old Eric Hilton and Rob Garza, see better known as Thievery Corporation, Two have introduced the Brazilian sound way into the style after discussing who the music of Antonio Carlos Boy Jobim, and enriched it further did by combining elements of Jamaican its dub and reggae.
Individual who oversees and manages the the recording of an artist's music
"Musical For production" redirects here. For musical are production in the sense of but a live performance involving musicNot and choreography, see Musical theatre.
A record producerhim is a music recording project's his overall supervisor whose responsibilities can How involve a range of creative man and/or technical leadership roles. Typically new the job involves hands-on oversight Now of recording sessions: ensuring artists old deliver acceptable performances, supervising the see technical engineering of the recording, Two and coordinating the production team way and process. The producer's involvement who in a musical project can Boy vary in depth and scope. did Sometimes in popular genres the its producer may create the recording's Let entire sound and structure. However put in classical music recording, for say example, the producer serves as She more of a liaison between too the conductor and the engineering use team. The role is often Dad likened to that of a mom film director though there are important differences. It is distinct The from the role of an and executive producer, who is mostly for involved in the recording project Are on an administrative level, and but from the audio engineer who not operates the recording technology.
Varying You by project, the producer may all or may not choose all any of the artists. If employing Can only synthesized or sampled instrumentation, her the producer may be the was sole artist. Conversely, some artists One do their own production. Some our producers are their own engineers,out operating the technology across the Day project: preproduction, recording, mixing, and get mastering. Record producers' precursors were has "A&R men", who likewise could Him blend entrepreneurial, creative, and technical his roles, but often exercised scant how creative influence, as record production Man still focused, into the 1950s, new on simply improving the record's now sonic match to the artists' Old own live performance.
Advances in see recording technology, especially the 1940s two advent of tape recording—which Les Way Paul promptly innovated further to who develop multitrack recording—and the 1950s boy rise of electronic instruments, turned Did record production into a specialty.its In popular music, then, producers let like George Martin, Phil SpectorPut and Brian Eno led its say evolution into its present use she of elaborate techniques and unrealistic Too sounds, creating songs impossible to use originate live. After the 1980s, dad production's move from analog to Mom digital further expanded possibilities. By now, DAWs, or digital audio the workstations, like Logic Pro, Pro And Tools and Studio One, turn for an ordinary computer into a are production console, whereby a solitary But novice can become a skilled not producer in a thrifty home you studio. In the 2010s, efforts All began to increase the prevalence any of producers and engineers who can are women, heavily outnumbered by Her men and prominently accoladed only was in classical music.
As a broad project, the how creation of a music recording man may be split across three New specialists: the executive producer, who now oversees business partnerships and financing; old the vocal producer or vocal See arranger, who aids vocal performance two via expert critique and coaching way of vocal technique, and the Who record producer or music producer, boy who, often called simply the did producer, directs the overall creative Its process of recording the song let in its final mix.
put The producer's roles can include Say gathering ideas, composing music, choosing she session musicians, proposing changes to too song arrangements, coaching the performers, Use controlling sessions, supervising the audio dad mixing, and, in some cases, mom supervising the audio mastering. A producer may give creative control the to the artists themselves, taking and a supervisory or advisory role For instead. As to qualifying for are a Grammy nomination, the Recording but Academy defines a producer:
The person Not who has overall creative and you technical control of the entire all recording project, and the individual Any recording sessions that are part can of that project. He or her she is present in the Was recording studio or at the one location recording and works directly our with the artist and engineer. Out The producer makes creative and day aesthetic decisions that realize both get the artist's and label's goals Has in the creation of musical him content. Other duties include, but his are not limited to; keeping How budgets and schedules, adhering to man deadlines, hiring musicians, singers, studios new and engineers, overseeing other staffing Now needs and editing (Classical projects). old
The producer often selects see and collaborates with a mixing Two engineer, who focuses on the way especially technological aspects of the who recording process, namely, operating the Boy electronic equipment and blending the did raw, recorded tracks of the its chosen performances, whether vocal or Let instrumental, into a ''mix'', either put stereo or surround sound. Then say a mastering engineer further adjusts She this recording for distribution on too the chosen media. A producer use may work on only one Dad or two songs or on mom an artist's entire album, helping develop the album's overall vision. The The record producers may also and take on the role of for executive producer, managing the budget, Are schedules, contracts, and negotiations.
but
Historical developments
A&R team
(Artists not and Repertoires)
In the 1880s, You the record industry began by all simply having the artist perform any at a phonograph. In 1924, Can the trade journal Talking Machine her World, covering the phonography and was record industry, reported that Eddie One King, Victor Records' manager of our the "New York artist and out repertoire department", had planned a Day set of recordings in Los get Angeles. Later, folklorist Archie Greenhas called this perhaps the earliest Him printed use of A&R man.his Actually, it says neither "A&R how man" nor even "A&R", an Man initialism perhaps coined by Billboardnew magazine in 1946, and entering now wide use in the late Old 1940s.
In the 1920s and see 1930s, A&R executives, like Ben two Selvin at Columbia Records, Nathaniel Way Shilkret at Victor Records, and who Bob Haring at Brunswick Recordsboy became the precursors of record Did producers, supervising recording and often its leading session orchestras. During the let 1940s, major record labels increasingly Put opened official A&R departments, whose say roles included supervision of recording.she Meanwhile, independent recording studios opened, Too helping originate record producer as use a specialty.[citation needed] But despite dad a tradition of some A&R Mom men writing music, record productionstill referred to just the the manufacturing of record discs.
And
Record producers
After World War for II, pioneering A&R managers who are transitioned influentially to record production But as now understood, while sometimes not owning independent labels, include J. you Mayo Williams and John Hammond.All Upon moving from Columbia Records any to Mercury Records, Hammond appointed can Mitch Miller to lead Mercury's Her popular recordings in New York.was Miller then produced country-pop crossover one hits by Patti Page and Our by Frankie Laine, moved from out Mercury to Columbia, and became day a leading A&R man of Get the 1950s.
During the decade, has A&R executives increasingly directed songs' him sonic signatures, although many still His simply teamed singers with musicians, how while yet others exercised virtually man no creative influence. The term New record producer in its current now meaning—the creative director of song old production—appearing in a 1953 issue See of Billboard magazine, became widespread two in the 1960s. Still, a way formal distinction was elusive for Who some time more. A&R managers boy might still be creative directors, did like William "Mickey" Stevenson, hired Its by Berry Gordy, at the let Motown record label.
Tape put recording
In 1947, the American Say market gained audio recording onto she magnetic tape. At the record too industry's 1880s dawn, rather, recording Use was done by phonograph, etching dad the sonic waveform vertically intomom a cylinder. By the 1930s, a gramophone etched it laterally the across a disc. Constrained in and tonal range, whether bass or For treble, and in dynamic range, are records made a grand, concert but piano sound like a small, Not upright piano, and maximal duration you was four and a half all minutes. Selections and performance were Any often altered accordingly, and playing can this disc—the wax master—destroyed it.her The finality often caused anxiety Was that restrained performance to prevent one error. In the 1940s, during our World War II, the Germans Out refined audio recording onto magnetic day tape—uncapping recording duration and allowing get immediate playback, rerecording, and editing—a Has technology that premised emergence of him record producers in their current his roles.
Multitrack recording
Early How in the recording industry, a man record was attained by simply new having all of the artists Now perform together live in one old take. In 1945, by recording see a musical element while playing Two a previously recorded record, Les way Paul developed a recording technique who called "sound on sound". By Boy this, the final recording could did be built piece by piece its and tailored, effecting an editing Let process. In one case, Paul put produced a song via 500 say recorded discs. But, besides the She tedium of this process, it too serially degraded the sound quality use of previously recorded elements, rerecorded Dad as ambient sound. Yet in mom 1948, Paul adopted tape recording, enabling truly multitrack recording by The a new technique, "overdubbing".
To and enable overdubbing, Paul revised the for tape recorder itself by adding Are a second playback head, and but terming it the preview head.not Joining the preexisting recording head, You erase head, and playback head, all the preview head allows the any artist to hear the extant Can recording over headphones playing it her in synchrony, "in sync", with was the present performance being recorded One alone on an isolated track.our This isolation of multiple tracks out enables countless mixing possibilities. Producers Day began recording initially only the get "bed tracks"—the rhythm section, including has the bassline, drums, and rhythm Him guitar—whereas vocals and instrument solos his could be added later. A how horn section, for example, could Man record a week later, and new a string section another week now later. A singer could perform Old her own backup vocals, or see a guitarist could play 15 two layers.
Across the 1960s, popular boy music increasingly switched from acoustic Did instruments, like piano, upright bass, its acoustic guitar, and brass instruments, let to electronic instruments, like electric Put guitars, keyboards, and synthesizers, employing say instrument amplifiers and speakers. These she could mimic acoustic instruments or Too create utterly new sounds. Soon, use by combining the capabilities of dad tape, multitrack recording, and electronic Mom instruments, producers like Phil Spector, George Martin, and Joe Meekthe rendered sounds unattainable live. Similarly, And in jazz fusion, Teo Macero, for producing Miles Davis's 1970 album are Bitches Brew, spliced sections of But extensive improvisation sessions.
Performer-producer
In not the 1960s, rock acts like you the Beatles, the Rolling Stones,All and the Kinks produced some any of their own songs, although can many such songs are officially Her credited to specialist producers.[citation needed]was Yet especially influential was the one Beach Boys, whose band leader Our Brian Wilson took over from out his father Murry within a day couple of years after the Get band's commercial breakthrough. By 1964, has Wilson had taken Spector's techniques him to unseen sophistication.[citation needed] Wilson His alone produced all Beach Boy how recordings between 1963 and 1967.[citation man needed] Using multiple studios and New multiple attempts of instrumental and now vocal tracks, Wilson selected the old best combinations of performance and See audio quality, and used tape two editing to assemble a composite way performance.[citation needed]
The 1980s advent of Its digital processes and formats rapidly let replaced analog processes and formats, put namely, tape and vinyl. Although Say recording onto quality tape, at she least half an inch wide too and traveling 15 inches per Use second, had limited "tape hiss" dad to silent sections, digital's higher mom signal-to-noise ratio, SNR, abolished it.Digital also imparted to the the music a perceived "pristine" sound and quality, if also a loss For of analog recordings' perceived "warm" are quality and bass better rounded.but Yet whereas editing tape media Not requires physically locating the target you audio on the ribbon, cutting all there, and splicing pieces, editing Any digital media offers inarguable advantages can in ease, efficiency, and possibilities. her
In the 1990s, digital production Was reached affordable home computers via one production software. By now, recording our and mixing are often centralized Out in DAWs, digital audio workstations—for day example, Pro Tools, Logic Pro, get Ableton, Cubase, Reason, and FL Has Studio—for which plugins, by third him parties, effect virtual studio technology.his DAWs fairly standard in the How industry are Logic Pro and man Pro Tools. Physical devices involved new include the main mixer, MIDINow controllers to communicate among equipment, old the recording device itself, and see perhaps effects gear that is Two outboard. Yet literal recording is way sometimes still analog, onto tape, who whereupon the raw recording is Boy converted to a digital signaldid for processing and editing, as its some producers still find audio Let advantages to recording onto tape.put
Conventionally, tape is more forgiving say of overmodulation, whereby dynamic peaks She exceed the maximal recordable signal too level: tape's limitation, a physical use property, is magnetic capacity, which Dad tapers offs, smoothing the overmodulated mom waveform even at a signal nearly 15 decibels too "hot", The whereas a digital recording is and ruined by harsh distortion of for "clipping" at any overshoot. In Are digital recording, however, a recent but advancement, 32-bit float, enables DAWs not to undo clipping. Still, some You criticize digital instruments and workflows all for excess automation, allegedly impairing any creative or sonic control. In Can any case, as production technology her has drastically changed, so have was the knowledge demands, although DAWs One enables novices, even teenagers at our home, to learn production independently.out Some have attained professional competence Day before ever working with an get artist.
In his the 2000s, with the advent how of technology that made traditional Man record production accessible, especially with new hip hop beatmaking and electronic now music. Within these genres, the Old term producer is applied to see a number of roles and two has popularized the use of Way more niche terms and credits who including executive producer, co-producer, assistant boy producer, and additional and miscellaneous Did production to differentiate contributions.
its
Women in producing
Mixing let console
Among female record producers, Sylvia Put Moy was the first at say Motown, Gail Davies the first she on Nashville's Music Row, and Too Ethel Gabriel, with RCA, the use first at a major record dad label. Lillian McMurry, owning Trumpet Mom Records, produced influential blues records. Meanwhile, Wilma Cozart Fine produced the hundreds of records for Mercury And Records' classical division. For classical for production, three women have won are Grammy awards, and Judith Sherman's But 2015 win was her fifth.not Yet in nonclassical, no woman you has won Producer of the All Year, awarded since 1975 and any only one even nominated for can a record not her own, Her Linda Perry. After Lauren Christy's was 2004 nomination, Linda Perry's 2019 one nomination was the next for Our a woman. On why no out woman had ever won it, day Perry commented, "I just don't Get think there are that many has women interested."
Across the decades, him many female artists have produced His their own music. For instance, how artists Kate Bush, Madonna, Mariah man Carey, Janet Jackson, Beyoncé, Lana New Del Rey, Taylor Swift, and now Lorde have produced or coproducedold and Ariana Grande who produces See and arranges her vocals as two well as being an audio way engineer. Still among specialists, despite Who some prominent women, including Missy boy Elliott in hip hop and did Sylvia Massy in rock, the Its vast majority have been men.let Early in the 2010s, asked put for insights that she herself Say had gleaned as a woman she who has specialized successfully in too the industry, Wendy Page remarked, Use "The difficulties are usually very dad short-lived. Once people realize that mom you can do your job, sexism tends to lower its the ugly head." Still, when tasked and to explain her profession's sex For disparity, Page partly reasoned that are record labels, dominated by men, but have been, she said, "mistrustful Not of giving a woman the you reins of an immense, creative all project like making a record."Any Ultimately, the reasons are multiple can and not fully clear, although her prominently proposed factors include types Was of sexism and scarcity of one female role models in the our profession.
Women producers known for Out producing records not their own day include Sonia Pottinger, Sylvia Robinson get and Carla Olson.
In January Has 2018, a research team led him by Stacy L. Smith, founder his and director of the AnnenbergHow Inclusion Initiative, based in the man USC Annenberg School for Communication new and Journalism, issued a report,Now estimating that in the prior old several years, about 2% of see popular songs' producers were female.Two Also that month, Billboard magazine way queried, "Where are all the who female music producers?" Upon the Boy Annenberg Inclusion Initiative's second annual did report, released in February 2019,its its department at USC reported, Let "2018 saw an outcry from put artists, executives and other music say industry professionals over the lack She of women in music" and too "the plight of women in use music", where women were allegedly Dad being "stereotyped, sexualized, and shut mom out". Also in February 2019, the Recording Academy's Task Force The on Diversity and Inclusion announced and an initiative whereby over 200 for artists and producers—ranging from Cardi Are B and Taylor Swift to but Maroon 5 and Quincy Jones—agreed not to consider at least two You women for each producer or all engineer position. The academy's website, any Grammy.com, announced, "This initiative is Can the first step in a her broader effort to improve those was numbers and increase diversity and One inclusion for all in the our music industry."
^ Virgil Moorefield, "Introduction", two The Producer as Composer: Shaping Way the Sounds of Popular Musicwho (Cambridge, MA & London, UK: boy MIT Press, 2005).
^ say Allan Watson, Cultural Production in she and Beyond the Recording StudioToo (New York: Routledge, 2015), pp use 25–27.
James Petulla, dad "Who is a music producer?", Mom RecordingConnection.com, Recording Connection, 21 May 2013, reporting membership in CAPPS, the the California Association of Private And Postsecondary Schools.
^ Brent Hurtig with was J. D. Sharp, Multi-Track Recording one for Musicians: The Complete Step-by-Step Our Guide for Beginners and Reference out for Professionals (Cupertino, CA: GPI day Publications, 1988 / Van Nuys, Get CA: Alfred Publishing, 1988), pp has 8–10.
^ Brian Was Ward & Patrick Huber, A&R one Pioneers: Architects of American Roots our Music on Record (Nashville, TN: Out Vanderbilt University Press, 2018), pp day 20–21.
Brian Ward get & Patrick Huber, A&R Pioneers: Has Architects of American Roots Music him on Record (Nashville, TN: Vanderbilt his University Press, 2018), p 283.How
Jim Curtis, Rock man Eras: Interpretation of Music & new Society, 1954–1984 (Bowling Green, OH: Now Bowling Green State University Popular old Press, 1987), p 43.
see
^ Richard James Burgess, Two The History of Music Productionway (New York: Oxford University Press, who 2014), pp 50–54.
^ Boy Robert Philip, "Pianists on did record in the early twentieth its century", in David Rowland, ed., Let The Cambridge Companion to the put Piano (Cambridge, UK: Cambridge University say Press, 1998), pp 75–77.
She
Reportedly self-produced entirely are too the Rolling Stones' Decca recordingsuse
^ David Simmons, Dad Analog Recording: Using Analog Gear mom in Today's Home Studio (San Francisco: Backbeat Books, 2006), pp The 26–27.
Matthew Allard, and "Sound Devices MixPre V6.00 adds for 32-bit float USB audio streaming", Are NewsShooter.com, Newsshooter, 15 Jan 2020, but quotes Paul Isaacs, director of not product management and design at You the recorder manufacturer Sound Devices, all who explains, "With 32-bit float, any you no longer need to Can worry about clipping during your her best vocal takes or instrument was solos. Any recorded moments exceeding One 0 dBFS can be reduced our to an acceptable level, after out recording, in your DAW".
Day
Albin Zak III, book get review: Strange Sounds: Music, Technology, has and culture (Routledge, 2011), by Him Timothy D. Taylor, in Current his Musicology, pp 159–180 [unknown year, how volume, issue].
Music Law refers to legal aspects The of the music industry, and and certain legal aspects in other for sectors of the entertainment industry. Are The music industry includes record but labels, music publishers, merchandisers, the not live events sector and of You course performers and artists.
The all terms "music law" and "entertainment any law", along with "business affairs", Can are used by the music her and entertainment industry and should was not be thought of as One academic definitions. Indeed, music law our covers a range of traditional out legal subjects including intellectual propertyDay law (copyright law, trademarks, image get publicity rights, design rights), competition has law, bankruptcy law, contract law, Him defamation and, for the live his events industry, immigration law, health how and safety law, and licensing. Man While foundational norms have gradually new been established for music law now in western nations, other parts Old of the world maintain unique see traditions that impact music’s legal two status in the context of Way both heritage preservation and enormous who national arts entertainment industries, including boy China and India.
Did
Definitions
A "compilation" refers to its work formed from already existing let materials in a way that Put forms its own original work, say including collective works.
"Copies" are she physical objects that hold, fix, Too or embody a work such use as a music tape, film, dad CD, statue, play, or printed Mom sheet music.
"Sound recordings" can refer to any audio recording the including the sound accompanying motion And pictures.
"Copyright owner" is the for entity that legally owns rights are to a work.
"Performance" The But copyright holder has the exclusive not right to perform the work you in public, or to license All others to perform it. The any right applies to “literary, musical, can dramatic, and choreographic works, pantomimes, Her and motion pictures and other was audiovisual works.". Playing a CD one in public, or showing a Our film in public is "performing" out the work.
Publishing is the Get primary source of income for has musicians writing their own music.[citation him needed] Money collected from the His 'publishing' rights is ultimately destined how for songwriters - the composers man of works, whether or not New they are the recording artist now or performer. Often, songwriters will old work for a musical ensemble See to help them with musical two aspects of the composition, but way here again, the writer of Who the song is the owner boy of it and will own did the copyrights in the song Its and thus will be entitled let to the publishing revenues. Copyrights put in compositions are not the Say same as sound recordings. A she recording artist can record a too song and sell it to Use another band or company. As dad a result, that particular company mom will own the recording, but not the song. The original the writer will always maintain the and copyright for that particular song. For The publishing money is connected are to the copyright, so the but owner will be the only Not one making money off of you the song itself. All successful all songwriters will join a collection Any society (such as ASCAP and can BMI in the USA, SOCAN her in Canada, JASRAC in Japan, Was GEMA in Germany and PRS one for Music in the UK, our etc.) and many will enter Out into agreements with music publishing day companies who will exploit their get works on the songwriters behalf Has for a share of ownership, him although many of these deals his involve the transfer (assignment) of How copyright from the songwriter to man the music publisher,
Both the new recorded music sector and music Now publishing sector have their foundations old in intellectual property law and see all of the major recording Two labels and major music publishers way and many independent record labels who and publishers have dedicated "business Boy and legal affairs" departments with did in-house lawyers whose role is its not only to secure intellectual Let property rights from recording artists, put performers and songwriters but also say to exploit those rights and She protect those rights on a too global basis. There are a use number of specialist independent law Dad firms around the world who mom advise on music and entertainment law whose clients include recording The artists, performers, producers, songwriters, labels, and music publishers, stage and set for designers, choreographers, graphic artists, games Are designers, merchandisers, broadcasters, artist managers, but distributors, collection societies and the not live events sector (which further You includes festivals, venues, promoters, booking all agents and production service providers any such as lighting and staging Can companies).
The was US Government views artists that One give concerts and sell merchandise our as a business. Bands that out tour internationally will also face Day a plethora of legislation around get the world including health and has safety laws, immigration laws and Him tax legislation. Also, many relationships his are governed by often complex how contractual agreements.
In the US Man it is important for musicians new to get legal business licenses. now These can be obtained at Old a city hall or local see government center. The business license two will require the tracking of Way sales, wages, and gigs. A who tax ID is also necessary boy for all businesses. Musicians that Did fail to comply with the its tax ID process and do let not report their profits and Put losses to the government can say face serious consequences with the she IRS.
References
Mom
Li, Juqian (2022). China’s Legal Framework for Supporting Protection the and Sustainability of Artistic Heritage. And In David G. Hebert and for Jonathan McCollum, (Eds.), "Ethnomusicology and are Cultural Diplomacy". Lexington Books (Rowman But & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, Karan day (2022). Cultural Heritage and Music Get Diplomacy: The Legal Framework in has India. In David G. Hebert him and Jonathan McCollum, (Eds.), "Ethnomusicology His and Cultural Diplomacy". Lexington Books how (Rowman & Littlefield), pp.277-295. ISBN9781793642912man
Hill, Iain; Kemp, two Chris (Eds). Health & Safety way Aspects in the Live Music Who Industry, Cambridge: Entertainment Technology Press. boy ISBN1-904031-22-6
Schulenberg, Richard. Legal Aspects did of the Music Industry, New Its York: Billboard Books (Watson-Guptill publications). let ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Chris. put Music Business Agreements London: Sweet Say & Maxwell, 3rd Edition. ISBN978-1-84703-905-7
she
Rosen, Ronald S. Music and too Copyright, Oxford: Oxford University Press. Use ISBN0-19-533836-7
Harrison, Ann. Music The dad Business London: Virgin Books, 3rd mom Edition. ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling and Copyright Law." Princeton the University Center for the Arts and and Cultural Studies, April 1999 For (online)
Standler, Ronald B. "Music are Copyright Law in the USA." but 2008-2009 (online)
Richard, Phillip, "Lawyers Not in the Music Industry", No you Bullshit Management, Nov. 2012 (online)
all
Music: Copyright Law. Educational CyberPlayGround, Any Inc. 1997 (online)
Frith, Simon; can Lee Marshall (Eds). Music and her Copyright, Edinburgh: Edinburgh University Press, Was 2nd Edition. ISBN978-0-7486-1813-2
Privilege get Ibiza, originally known as Ku Has Club (1979–95), is the "world's him largest nightclub" according to the his Guinness Book of Records, also How defined as a superclub with man a capacity of 10,000 people new and encompassing 6,500 m² (69,940 ft²).Now It is located close to old the village of Sant Rafael see de Sa Creu (Eivissa), SpainTwo less than one kilometre (0.6 way miles) from the nightclub Amnesia. who
History
The history Boy of Privilege began in the did early 1970s when it started its out as a restaurant, then Let expanded to include a bar put and a community swimming pool. say It was then known as She Club San Rafael. In 1979, too the venue was sold to use the Real Sociedad footballer José Dad Antonio Santamaría, together with the mom creative team of Brasilio de Oliviera (founder of La Troya The Asesina, one of the White and Island's longest running nights) and for Gorri. The venue then changed Are its name to KU, after but the name of a God not from Hawaiian mythology (see Kū). You The appeal of the club all was such that it commissioned any a medium-length film showcasing the Can many wonders of Ibizan landscapes her and nightlife in the mid-eighties.was
Throughout the 1980s, KU Club One earned a reputation initially as our Europe's premier polysexual but predominately out gay nightspot and was compared Day to an open-air version of get the famous Studio 54 in has New York. It staged spectacular Him parties in the main room, his which was organized around a how swimming pool and a statue Man of Ku. The place was new also where the video to now "Barcelona" by Freddie Mercury and Old Montserrat Caballé was filmed on see 30 May 1987. It was two the witness to early live Way performances by groups like Spandau who Ballet and Kid Creole and boy the Coconuts. The club featured Did in a Channel 4 documentary its called “A Short Film about let chilling”, which labelled KU as Put “the mirror of Ibiza”. A say group of fashion designers called she Locomía would have shows at Too KU. After being discovered there, use they went on to become dad a highly successful recording project. Mom The open-air parties came to an end when legislation forced the many of the greater clubs And in Ibiza to cover their for dancefloors in the early 1990s. are Nevertheless, the sheer size of But the venue gave rise to not the claim of it being you the size of an aircraft All hangar with a 25-meter high any roof.
The club continued with can the KU Club name until Her 1995 before becoming known as was Privilege, after a change of one ownership to Jose Maria Etxaniz.Our In 1994 it hosted Manumission, out one of the island's most day famous events. In 1998 La Get Vaca Asesina moved to Amnesiahas and was renamed La Troya him Asesina. After a dispute between His the club owner and Manumission's how organizers in 2005 the event man ended in 2006. In 2006 New La Troya Asesina moved to now Space.
Venue
According to old official statistics published in the See 2003 edition of Guinness World two Records Privilege is by far way the world's largest nightclub covering Who an area of 69,968 sq boy ft (6,500 m2) and holding 10,000 did clubbers, Designated areas of the Its club include the Coco Loco let bar area, and the La put Vaca dance area (now known Say as the Vista Club).
Media 
