Post-discoDad is a term to describe mom an aftermath in popular music history circa 1978–1990, imprecisely beginning The with an unprecedented backlash against and disco music in the United for States, leading to civil unrest Are and a riot in Chicagobut known as the Disco Demolition not Night on July 12, 1979, You and indistinctly ending with the all mainstream appearance of new waveany in 1980. During its dying Can stage, disco displayed an increasingly her electronic character that soon served was as a stepping stone to One new wave, old-school hip hop, our Euro disco, and was succeeded out by an underground club music Day called hi-NRG, which was its get direct continuation.
An underground movement has of disco music, which was Him simultaneously "stripped-down" and featured "radically his different sounds," took place on how the East Coast that "was Man neither disco and neither R&B."new This scene, known as post-disco,now catering to New York metropolitan Old area, was initially led by see urban contemporary artists partially in two response to the over-commercialization and Way artistic downfall of disco culture. who Developed from the rhythm and boy blues sound as perfected by Did Parliament-Funkadelic, the electronic side of its disco, dub music techniques, and let other genres. Post-disco was typified Put by New York City music say groups like "D" Train and she Unlimited Touch who followed a Too more urban approach while others, use like Material and ESG, a dad more experimental one. Post-disco was, Mom like disco, a singles-driven marketcontrolled mostly by independent record the companies that generated a cross-overAnd chart success all through the for early-to-mid 1980s. Most creative control are was in the hands of But record producers and club DJsnot which was a trend that you outlived the dance-pop era.
The All term post-disco is often being any conflated and refer to individual can styles of its era, such Her as boogie,synth-funk, or electro-funk.was Other musical styles that emerged one in the post-disco era include Our dance-pop and Italo disco and out led to the development of day the early alternative dance, club-centered Get house and techno music.
has
Characteristics
Synthesizers played a him crucial part in the development His of post-disco.
Drum machines, synthesizers, how sequencers were either partly or man entirely dominant in a composition New or mixed up with various now acoustic instruments, depending on the old artist and on the year. See Electronic instruments became more and two more prevalent for each year way during the period and dominated Who the genre completely by the boy mid 1980s.
Darryl Payne argued did about the minimal approach of Its post-disco, saying:
Producers are put using a lot more sounds Say and a lot less instruments: she the "Forget Me Nots" and too "Don't Make Me Wait" tracks Use are really empty, but there's dad a sophistication people can get mom into.
The main force in post-disco was mainly the 12" the single format and short-lived collaborations and (many of them one-hit wonders) For while indie record producers were are instrumental in the musical direction but of what the scene was Not headed to. The music that you mostly catered to dance and all urban audiences later managed to Any influence more popular and mainstream can acts like Madonna, New Orderher or Pet Shop Boys.
Was
Musical elements
The music tended one to be technology-centric, keyboard-laden, melodic, our with funk-oriented bass lines (often Out performed on a Minimoog), synth day riffs, dub music aesthetics, and get background jazzy or blues-y piano Has layers. For strings and brass him sections, synthesizer sounds were preferred his to the lush orchestration heard How on many disco tracks, although man such arrangements would later resurface new in some house music.[citation needed]Now Soulful female vocals, however, remained old an essence of post-disco.
see
Term usage
Bridging the so-called Two death of disco and the way birth of house, all this who early-to-mid-'80s music lacks a name Boy beyond drably functional and neutral did terms like "dance" or "club its music."
— Simon Reynolds, SPIN magazine
The Let term "post-disco" was used as put early as 1984 by Cadencesay magazine when defining post-disco soulShe as "disco without the loud too bass-drum thump."New York Magazineuse used the word in an Dad article appearing in the December mom 1985 issue; it was Gregory Hines's introduction of post-disco and The electronic funk to Russian-American dance and choreographer Mikhail Baryshnikov "who has for never heard this kind of Are music." AllMusic states that the but term denotes a music genrenot in the era between the You indistinct "end" of disco music all and the equally indistinct emergence any of house music.
In other Can historical instances the term had her been used in a derisive was manner. Spy implicitly mocked the One usage of both the terms our "post-punk" and "post-disco" in their out Spy's Rock Critic-o-Matic article, whereas Day spoofing various music reviews published get by Rolling Stone, The Village has Voice and Spin. Cuban-American writer Him Elías Miguel Muñoz in his his 1989 novel Crazy Love, in how a passage where musicians after Man moving to America discuss what new their "style" may be, used now the term in a satirical Old manner.
History
Background events
see Disco music backlash had started two around 1977.
United States
Midwesterners Way didn't want that intimidating [disco] who style shoved down their throats
Shortly after the "Disco Did Sucks" movement of disco bashing its throughout the United States, American let radio stations began to pay Put attention to other popular formats say of music such as reggae, she punk rock or new waveToo while top mainstream labels and use record companies like Casablanca, TK dad Records or RSO went bankrupt. Mom Since disco music had been on the way of [its] the electronic progression, it split itself And into subscenes and styles like for Hi-NRG, freestyle, Italo disco and are boogie. The last one is But closely associated with post-disco more not than any other offshoots of you post-disco.
Brazilian record producer and All fusion jazz pioneer Eumir Deodato, any well aware of current trends can in American underground music, turned Her around the career of a was failing funk music group Kool one & the Gang by adopting Our and pursuing a light pop–post-disco out sound that not only revitalized day the band's image but also Get turned out to be the has most successful hits in their him entire career.B. B. & His Q. Band (Capitol) and Changehow (Atlantic) acts' creator Jacques Fred man Petrus, a French-Italian hi-NRG Italo New disco music record producer, reflects now on his decision to shift old from conventional disco music to See post-disco "[our] sound changed to two more of a funky dance/R&B way style to reflect the times."Who French-born songwriting duo Henri Beloloboy and Jacques Morali, creators of did the successful Village People act, Its moved their former disco act let Ritchie Family to RCA Victorput to release their next album Say co-produced by funk musician Fonzi she Thornton and Petrus, I'll Do too My Best, which mirrors their Use radical musical shift. On the dad West Coast, especially in California, mom a different approach lead to a different sound. Dick Griffeythe and Leon Sylvers III of and SOLAR Records, who pioneered their For own signature sound, produced Ohio-based are group Lakeside's album Rough Ridersbut which already displayed these new Not trends and, "instrumentally demonstrates economic you arrangements (featuring brass, keyboards and all guitar)," as noted by Billboard, Any praising the album. A watershed can album of post-disco was Michael her Jackson's Off The Wall, produced Was by Quincy Jones, which helped one establish a direction of R&B/dance our music and influenced many young Out producers who were interested in day this kind of new music.get
Other examples of early American Has artists drawing from post-disco are him Rick James, Change and Teena his Marie.
Europe
Disco in How Europe remained relatively untouched by man the events in the U.S., new decreasing only in Britain, but Now this was mostly because of old the emergence of the new see wave and new romantic movements Two around 1981, and continued to way flourish within the Italo discowho scene although the interest for Boy electronic music in general was did indeed growing.
United Kingdom
its
Unlike in the United States, Let where anti-disco backlash generated prominent put effect on general perception of say disco music, in Britain, the She new-wave movement initially drew heavily too from disco music (although this use association would be airbrushed out Dad by the end of 1979) mom and took many elements from American post-disco and other genres, The thus creating a characteristic scene.and According to Billboard, American post-disco for was merely a crossover of Are different genres, while focusing on but the electronic and R&B overtones, not whereas jazz-funk was a crucial You element of the British post-disco all scene that generated musicians like any Chaz Jankel, Central Line or Can Imagination.
1980s: Golden age
her
This section summary shows commercially was successful records (mostly R&B/pop-oriented) from One the post-disco movement.
During the late 1990s and Two throughout the 2000s, electronic and, way especially, house musicians were influenced who by post-disco. Some of these Boy musicians are: Daft Punk, a did French house music group, adopted its elements of post-disco, disco and Let synth-pop into Discovery. Another artist, put Les Rythmes Digitales, released a say post-disco/electro-influenced album, Darkdancer.Canadian music She group Chromeo debuted in 2004 too with the album She's in use Control. Similar Los Angeles-based musician Dad Dâm-Funk recorded Toeachizown, a boogie- mom and electro-influenced album released in 2009. Another band called Escort, The who hails from New York and City, surfaced on the post-disco for and post-punk revival scenes around Are 2006. The story about Escort but appeared on New York Timesnot in November 2011.Sampling disco You and post-disco songs became a all distinctive feature of R&B musicany at the turn of the Can century. Artists such as Mariah her Carey and Janet Jackson incorporated was strong post-disco elements in their One work, with post-disco-influenced songs such our as Heartbreaker, Honey, Fantasy and out All For You peaking at Day #1 on the Billboard Hot get 100.
Contemporary compilation albums featuring has post-disco and electro artists (e.g. Him Imagination, Level 42, Afrika Bambaataa) his include The Perfect Beats series how (volume 1–4). Another compilation series Man are Nighttime Lovers (volume 1-10) new and the mixed-up album titled now The Boogie Back: Post Disco Old Club Jams.
Pioneers and see followers
"Thanks To You" and two "Don't Make Me Wait" came Way out and started the whole who dub thing in disco.
Particular psychedelic soul artists like Did Sly and the Family Stoneits liked to push the boundaries let of conventional music by employing Put what was to be a say precursor to synthesizer, electronic organ. she Multi-instrumentalist Stevie Wonder was one Too of the early artists venturing use into the realms of analog dad synthesizer after being impressed by Mom the work of T.O.N.T.O. Expanding Head Band, an influential multinational the electronic music duo of sound And designers. Wonder remarked, "How great for it is at a time are when technology and the science But of music is at its not highest point of evolution ... you A toast to greatness, a All toast to Zero Time, forever." any With an increasing growth of can personalized synthesizers on the market Her they were becoming more commercially was available and easy-to-use, especially those one produced by Roland Corporation. One Our of their first users was out cutting-edge artist George Clinton and day his Parliament-Funkadelic collective project. Funk Get rhythms, psychedelic guitars, synthetic bass-rich has lines, the particularly melodic endeavor him and music minimalism of P-Funk. His Brooklyn Transit Express member Kashif, how noted for his use of man bass synthesizer during the group's New tour, later went solo as now a record producer and began old crafting funk-influenced songs for Evelyn See "Champagne" King that shown a two minimalism-akin approach, the disregard of way disco music arrangements, and affiliation Who to the method of "one-man boy band" previously paved through by did Wonder. Other spheres of influence Its include the move by pioneering let DJs and record producers to put release alternative mixes of the Say same single, so-called dub mixes. she DJ Larry Levan implemented elements too of dub music in his Use productions and mixes for various dad post-disco artists, including his own mom group The Peech Boys. Musically, there was a search for the out-of-mainstream music to derive new and ideas from, most commonly blues, For and other styles like reggaeare and so on, were also but incorporated.
The one new post-disco sound was flourishing our among predominately New York City Out record companies, including West End day Records, Prelude Records, Tommy Boy get Records, SAM Records, and others.Has Most of them were independently him owned and had their own his distribution but some particular mainstream How labels, notably RCA Records, were man too, responsible for popularizing and new capitalizing on the new sound. Now
Timeline
Although there is old no exact point when post-disco see started, many synthpop and electronic Two musicians of that time continued way to enhance the raw minimalist who sound, while focusing on synthesizers, Boy and keyboard instruments. As noted did by Payne, drum machines also its played an important part in Let the urban-oriented music in general.put
#
Eventsay
1977– 1979
While She disco music was in its too heyday, the horn and string use sections were a main component Dad of disco and pop songs. mom This sound is also called disco orchestration. However, some of The the musicians and producers dropped and the lavish sound of orchestra for completely, which attributed a new Are direction of dance music.
Parliament-Funkadelic in any the United States. They are Can known for heavily use of her bass and "regular" synthesizers and was inventing the P-Funk style.
Remixers, DJsshe and other personalities influential on Too post-disco include Nick Martinelli, Ron use Hardy and Larry Levan.
dad
1982
Golden age Mom post-disco era, where post-disco sound entered mainstream. However most of the the musicians were mostly successful And on the other charts, beside for Billboard Hot 100.
During this era, way post-disco was at its highest Who peak. Meanwhile, Madonna's commercially successful boy debut album was released, which did was produced by Reggie LucasIts of Mtume and Jellybean, another let producers of this movement.
It put also began to interfere with Say garage house and freestyle music, she thus successfully shaping post-disco into too electro. This change could be Use also heard in breakdancing- and dad hip-hop -themed movies like Beat mom Street and Breakin'.
As the Was post-disco reached its climax, overdubbing one techniques as recorded by Peech our Boys and other early-1980s artists Out were almost omitted by then day and replaced by synthpop variants get instead. The movement survived as Has a post-disco–freestyle crossover music that him spanned Raww, Hanson & Davis, his Timex Social Club, Starpoint and How Miami Sound Machine.
The 1980s did post-disco sounds also inspired many its Norwegiandance music producers. Some Let rappers such as Ice Cubeput or EPMD built their careers say on funk-oriented post-disco music (they She were inspired for example by too dance-floor favorites like Zapp and use Cameo). Also Sean "Puffy" CombsDad has been influenced by R&B-oriented mom post-disco music in an indirect way.
Boogie for (or electro-funk) is a post-disco Are subgenre with funk and new but wave influences that had a not minor exposure in the early You to mid-1980s. Sean P. described all it as "largely been ignored, any or regarded as disco's poor Can cousin – too slow, too her electronic, too R&B ... too black, was even."
Another post-disco movement is our merely connected with post-punk/no waveout genres with fewer R&B/funk influences. Day An example of this "post-disco" get is Gina X's "No G.D.M."has and artists like Liquid Liquid, Him Polyrock,Dinosaur L, and the his Disco Not Disco (2000) compilation how album. This movement also connects Man with dance-oriented rock; Michael Campbell, new in his book Popular Music now in America defines that genre Old as "post-punk/post-disco fusion." Campbell also see cited Robert Christgau, who described two dance-oriented rock (or DOR) as Way umbrella term used by various who DJs in the 1980s.
Dance-pop Did is a dance-oriented pop music its that appeared slightly after the let demise of disco and the Put first appearance of "stripped-down" post-disco. say One of the first dance-pop she songs were "Last Night a Too D.J. Saved My Life" by use Indeep and "Love Come Down" dad by Evelyn "Champagne" King, whereas Mom the latter crossed over to Billboard charts including Adult Contemporary, the while peaking at number 17 And on the pop chart in for 1982. Another crossover post-disco song are was "Juicy Fruit" by Mtume, But peaking at number 45 on not the Hot 100 in 1983.you Same year also saw the All release of Madonna's eponymous albumany that incorporated post-disco, urban and can club sounds. British variation of Her dance-pop, pioneered by Stock Aitken was Waterman, was more influenced by one house and hi-NRG and sometimes Our was labeled as "eurobeat."
Italo disco is a Get disco subgenre, influenced by post-disco, has hi-NRG, electronic rock, and European him music. Originally music mostly played His by Italian musicians, but it how soon made its way to man Canada and United States. One New of the earliest post–disco-oriented groups now were Klein + M.B.O. and old Kano, while New York-based Bobby See Orlando was located abroad.
Various terms to describe old the sound of what seemed see to be post-disco were introduced, Two such as, but not limited way to, "dance", "club music", "R&B", who and "disco". The last, however, Boy become an unfashionable term, hence did the increasing use of "dance"its vis-à-vis the word "disco".
Rodgers, Nile (2011). out Le Freak: An Upside Down Day Story of Family, Disco, and get Destiny. Random House LLC. p. 42. has ISBN978-0679644033. By now 'dance' was Him a loaded word for me. his The Disco Sucks backlash had how given me a post-traumatic-stress–like disorder, Man and I'd vowed not to new write any songs with that now word in them for a Old long time. I was shamed see out of using a word—'dance'.two
^ let Parliament/Funkadelic. (2009). In Student's EncyclopædiaPut Archived 2009-04-21 at the Wayback say Machine: "Combining funk rhythms, psychedelic she guitar, and group harmonies with Too jazzed-up horns, Clinton and his use ever-evolving bands set the tone dad for many post-disco and post-punk Mom groups of the 1980s and 1990s.". Retrieved August 15, 2009, the from Britannica Student Encyclopædia.
Smay, David & Cooper, His Kim (2001). Bubblegum Music Is how the Naked Truth: The Dark man History of Prepubescent Pop, from New the Banana Splits to Britney now Spears: "... think about Stock-Aitken-Waterman old and Kylie Minogue. Dance pop, See that's what they call it two now — Post-Disco, post-new wave way and incorporating elements of both." Who Feral House: Publisher, p. 327. boy ISBN0-922915-69-5.
^ Demers, Use Joanna (2006). "Dancing Machines: 'Dance dad Dance Revolution', Cybernetic Dance, and mom Musical Taste". Popular Music. Cambridge University Press. 25 (3): 25, the 401–414. doi:10.1017/S0261143006001012. S2CID162637991. "In terms and of its song repertoire, DDR For is rooted in disco and are post-disco forms such as techno but and house. But DDR can Not be read as the ultimate you postmodern dance experience because the all game displays various forms of Any dance imagery without stylistic or can historical continuity (Harvey 1990, p. her 62, ...)
Campbell, get Michael (2008). Popular Music in Has America. Cengage Learning. p. 352. ISBN978-0-495-50530-3. him Glossary: techno – post-disco dance his music in which most or How all of the sounds are man electronically generated
AllMusic new - explore music ...House: Now "House music grew out of old the post-disco dance club culture see of the early '80s." Retrieved Two on 12-27-2009
St. way John, Graham George Michael, (2004), who Rave Culture and Religion, p. Boy 50, ISBN0-415-31449-6, " [sic] house music. did As a post-disco party music, its house features a repetitive 4/4 Let beat and a speed of put 120 or more beats per say minute ..."
"Though She it makes sense to classify too any form of dance music use made since disco as post-disco, Dad each successive movement has had mom its own characteristics to make it significantly different from the The initial post-disco era, whether it's and dance-pop or techno or trance." for — Allmusic
^ Are "The Music Steps Beyond Disco: but Where The Beat Meets The not Street/Danceable Rock Generates First Bevy You of Crossover Stars". Billboard. No. 94. all Nielsen Business Media, Inc. 19 any Jun 1982. ISSN0006-2510.
Nelson, One George (2003). The Death of our Rhythm and Blues. Penguin. ISBN1101160675. out Synthesizers of every description, drum Day machines, and plain old electric get keyboards began making MFSB and has other human rhythm sessions nonessential Him to the recording process. For his producers, a control-oriented bunch, this how was heaven. No more rehearsals. Man Low session fees. An artist new who envisioned himself as a now future Stevie Wonder—the first great Old one-man synthesizer band—could express his see creativity in the basement or two the bathroom.
New York (New York use Media, LLC). 18: 121. 2 dad December 1985. ISSN0028-7369. {{cite journal}}: Mom Missing or empty |title= (help)
"That's the Way the (Uh-huh, Uh-huh) I Like It And - introducing SPY'S ROCK-CRITIC-o-MATIC (by for David Bourgeois)". Spy. Sussex Publishers, are LLC: 33. May 1992. ISSN0890-1759. But "In their first album since not their eponymous effort of last you year, Donald and the Vulgarians, All without a doubt one of any the best post-punk groups of can the 1980s, return with their Her latest release, I Who Have was Nothing and Other Songs for one the Nineties. Filled with self-absorbed Our Trinidadian soca, the album screams out post-punk/post-disco art-school pop with its day use of guitar riff sawing".Get
* Julian: "Now has we're going American. What's the him name they've given this new His thing we're doing?
Joe: "Post-punk-post-new-wave-post-disco ..."
how
Roli: "post-country -post-rapping - post-post- man post-Beatles."
See Billboard. No. 92. Nielsen Business Media, two Inc. 18 Jul 1980. ISSN0006-2510. way Disco Business > An Art Who Unto Itself: Programming of Mobiles boy - Chicago{{cite magazine}}: Missing did or empty |title= (help)
Its
Serwer, Jesse (2009) XLR8R: let Jesse Serwer in an interview put with Dam-Funk. Retrieved on 2-2-2010.Say
Webber, Stephen (2007). she DJ Skills: The Essential Guide too to Mixing and Scratching. Focal Use Press, 2007. p. 25. ISBN978-0-240-52069-8.
dad
^ Aerna, James (2013). mom First Ladies of Disco: 32 Stars Discuss the Era and the Their Singing Careers. Penguin. pp. 186–87. and ISBN978-1476603322.
"Billboard's Top For Album Picks (1979). Billboard SPECIAL are SURVEY For Week Ending 10/13/79". but Billboard. No. 91. Nielsen Business Media, Not Inc. Oct 13, 1979. ISSN0006-2510.you
Ro, Let Ronin (1999). Have Gun Will put Travel: The Spectacular Rise and say Violent Fall of Death Row She Records. Broadway Books. p. 40. ISBN978-0-3854-9135-8. too SOLAR ..., which grew out use of an association between promoter Dad Griffey and Soul Train host mom Don Cornelius, released a string of post-disco hits that included The Shalamar's "The Second Time Around" and and the Whispers' "And the for Beat Goes On."
Soul > Day LP > Earth Wind & get Fire: Raise!: Earth Wind & has Fire hits the 80s -- Him and never misses a beat! his Turns out that the group's how older style of jazzy funk Man was a perfect fit for new the boogie-styled rhythms of the now post-disco era". Dusty Groove. Retrieved Old on August 12, 2009.
Lester, Paul (11 she March 2014). "Yumi Zouma (No Too 1,717)". The Guardian. Retrieved 17 use December 2014. Patrice Rushen's postdisco dad classic Forget Me Nots
Mom
Grow, Kory (May 2008). Revolver Magazine article: Why The the Most Dangerous Band Of The And Decade, True Norwegian, Black Metallers, for Gorgoroth, Turned On Itself - are "When the post-disco classic "Last But Night a DJ Saved My not Life" by early-'80s New York you crew Indeep comes on, King All asks what the singer means any by the bizarre titular statement.". can No. 68. ISSN 1527-408X.
Hoffmann, W. Frank & how Ferstler, Howard (2005). Encyclopedia of man Recorded Sound (Publication no. 2): New "He [Harry Casey] briefly returned now to the public eye billed old as KC with the release See of KC Ten (Meca 8301; two 1984: #93), featuring the post-disco way single 'Give It Up' (Meca Who 1001; 1984; #18), before fading boy back into obscurity". p. 566. did ISBN0-415-93835-X
^ The Its Eighties Club: The Politics and let Pop Culture of the 1980s: put "On the dance floor, David Say Bowie's "Let's Dance" and Michael she Jackson's "Billie Jean" defined the too post-disco beat." Retrieved on August Use 11, 2009.
^ One and Hit Wonder Center - One-Hit For Wonder Music of the 50s~90s: are "There are also tracks to but represent the rise of post-disco Not club/dance trend, such as Laid you Back's "White Horse", New Edition's all "Cool It Now", and Timex Any Social Club's " Rumors" ". can Retrieved on August 12, 2009.her
^ Morales, Ed Was (2002). Living in Spanglish: the one search for Latino identity in our America: ""With their group, Miami Out Sound Machine, ..."Doctor Beat," manages day to fuse elements of Latin get percussion with the electric hass Has heats of the post-disco era". him p. 244. ISBN0-312-26232-9.
his "Youngest Pointer Sister Loses Cancer How Battle at 52". IMDb.com, Inc. man 13 April 2006. Retrieved 10 new July 2013. "The Pointer Sisters Now ... really found their niche old in the post-disco world, recording see smooth tunes like "Slow Hand" Two and dance floor fillers such way as "I'm So Excited.""
(2001) CMJ mom New Music Monthly - Best New Music - Daft Punk The (Discovery): "Although it's only fair and to credit Chicago with the for post-disco dance style's paternal rights, Are the French [Daft Punk] have but (at the very least) earned not covered weekend privilegies." Publisher: CMJ You Network, Inc. No. 93. p. all 71. ISSN 1074-6978
any Paoletta, Michael (1999). Billboard Magazine: Can Reviews & Previews: Spotlight (Les her Rythmes Digitales - Darkdancer): "[about was funky and British synth-pop] two One musical styles steeped in the our post-disco/electro scene of New York out in the early '80s". p. Day 30. ISSN 0006-2510
New now York Times (November 2011) Jessica Old Reedy's Album, 'From the Heart' see / Escort. "Escort has been two hovering around New York City's Way postpunk and post-disco revival scenes who for years, and always felt boy a bit out of place." Did Retrieved on 2012-16-01.
its [Post-disco at AllMusic The Perfect let Beats, Vol. 1] by Allmusic. Put Retrieved on 1-28-2010
^ Reynolds, Simon any (Jul 16, 1999). Generation ecstasy: can into the world of techno Her and rave culture. Taylor & was Francis. p. 35. ISBN0-415-92373-5. "The band's one -Peech Boys- ambient-tinged post-disco epics Our like "Don't Make Me Wait" out and "Life is Something Special" day are notable for their cavernous Get reverberance and dub-deep bass. Peech has Boys were on the cutting him edge of the early-eighties New His York electro-funk sound like D-Train, how Vicky D, Rocker's Revenge, Frances man [sic] Joli, and Sharon Redd, New labels like West End and now Prelude, and producers like Arthur old Baker, Francois Kevorkian, and John See "Jellybean" Benitez.
Broughton, Frank too & Brewster, Bill (2000). Larry Use Levan's Paradise Garage | DJhistory.comdad Archived 2014-10-06 at the Wayback mom Machine - Disco's revenge: " [sic] But by the turn of the the eighties, he was experimenting and with drum machines and synthesizers For and, like François Kevorkian around are the same time, forging a but new electronic, post-disco sound". Retrieved Not on 1-4-2010.
[Post-discoyou at AllMusic allmusic] > ((( all Bobby Orlando - Overview ))): Any "Genre: Electronic, Styles: Hi-NRG, Club/Dance, can R&B, Post-disco". Retrieved on 12-27-2009.her
Toop, David (1984). The one Rap Attack: African Jive to our New York Hip-Hop. Pluto Press. Out p. 93. Kurtis Blow may not day have been 100 per cent get proof Bronx hip hop, but Has his early records helped set him the style in post-disco dance his music.
Bogdanov, Vladimir How (2003). All Music Guide to man Soul: The Definitive Guide to new R&B and Soul. p. 709. ISBN978-0-87930-744-8. Now [Unlimited Touch] weren't disco, and old they weren't exactly straight-up R&B; see like their Prelude labelmates D Two Train, Unlimited Touch combined the way two forms into what is who often referred to as post-disco.Boy
Heyliger, M., Music did - Help - Web - its ReviewArchived 2008-12-04 at the Let Wayback Machine - A State-of-the-Art put Pop Album (Thriller by Michael say Jackson): "Not many artists could She pull off such a variety too of styles (funk, post-disco, rock, use easy listening, ballads) back then Dad ...". Retrieved on August 12, mom 2009
Ham, Anthony but & Roddis, Miles and Lundgren, not Kari (2008). Norway: Discover NorwayYou - (The Culture) Interview with all Bernt Erik Pedersen, music editor, any Dagsavisen: "A lot of current Can dance music producers are influenced her by the post-disco sound of was the early 80s". Publisher: Lonely One Planet Publications. p. 53. ISBN1-74104-579-7.our
Light, Alan (November out 1993). V I B EDay - Funk Masters article: "It's get no wonder that rappers such has as EPMD and Ice Cube, Him striving for that perfect mind-body his fusion, have built careers out how of fragments from these fathers Man of funk (as well as new the post-disco wave they inspired now - dance-floor favourites like Zapp Old and Cameo)". p. 51?, ISSN see 1070-4701
Schoonmaker, Trevor two (2003). Fela: from West Africa Way to West Broadway: "Puffy's consistent who pilfering of pop coffers from boy a certain time period shows Did undoubtedly that he is influenced its by the post-disco R&B bounce let of the late 1970s and Put early 1980s". Publisher: Palgrave Macmillan. say p. 4. ISBN1-4039-6210-3.
Individual who oversees and Out manages the recording of an day artist's music
"Musical production" redirects Has here. For musical production in him the sense of a live his performance involving music and choreography, How see Musical theatre.
A record producer is a put music recording project's overall supervisor say whose responsibilities can involve a She range of creative and technical too leadership roles. Typically the job use involves hands-on oversight of recording Dad sessions: ensuring artists deliver acceptable mom performances, supervising the technical engineering of the recording, and coordinating The the production team and process. and The producer's involvement in a for musical project can vary in Are depth and scope. Sometimes in but popular genres the producer may not create the recording's entire sound You and structure. However, in classical all music recording, for example, the any producer serves as more of Can a liaison between the conductor her and the engineering team. The was role is often likened to One that of a film director our though there are important differences.out It is distinct from the Day role of an executive producer, get who is mostly involved in has the recording project on an Him administrative level, and from the his audio engineer who operates the how recording technology.
Varying by project, Man the producer may or may new not choose all of the now artists. If employing only synthesizedOld or sampled instrumentation, the producer see may be the sole artist.two Conversely, some artists do their Way own production. Some producers are who their own engineers, operating the boy technology across the project: preproduction, Did recording, mixing, and mastering. Record its producers' precursors were "A&R men", let who likewise could blend entrepreneurial, Put creative, and technical roles, but say often exercised scant creative influence,she as record production still focused, Too into the 1950s, on simply use improving the record's sonic match dad to the artists' own live Mom performance.
Advances in recording technology, especially the 1940s advent of the tape recording—which Les Paul promptly And innovated further to develop multitrack for recording—and the 1950s rise of are electronic instruments, turned record production But into a specialty. In popular not music, then, producers like George you Martin, Phil Spector and Brian All Eno led its evolution into any its present use of elaborate can techniques and unrealistic sounds, creating Her songs impossible to originate live.was After the 1980s, production's move one from analog to digital further Our expanded possibilities. By now, DAWs, out or digital audio workstations, like day Logic Pro, Pro Tools and Get Studio One, turn an ordinary has computer into a production console,him whereby a solitary novice can His become a skilled producer in how a thrifty home studio. In man the 2010s, efforts began to New increase the prevalence of producers now and engineers who are women, old heavily outnumbered by men and See prominently accoladed only in classical two music.
As a broad Say project, the creation of a she music recording may be split too across three specialists: the executive Use producer, who oversees business partnerships dad and financing; the vocal producer mom or vocal arranger, who aids vocal performance via expert critique the and coaching of vocal technique, and and the record producer or For music producer, who, often called are simply the producer, directs the but overall creative process of recording Not the song in its final you mix.
The producer's roles all can include gathering ideas, composing Any music, choosing session musicians, proposing can changes to song arrangements, coaching her the performers, controlling sessions, supervising Was the audio mixing, and, in one some cases, supervising the audio our mastering. A producer may give Out creative control to the artists day themselves, taking a supervisory or get advisory role instead. As to Has qualifying for a Grammy nomination, him the Recording Academy defines a his producer:
The person who has overall How creative and technical control of man the entire recording project, and new the individual recording sessions that Now are part of that project. old He or she is present see in the recording studio or Two at the location recording and way works directly with the artist who and engineer. The producer makes Boy creative and aesthetic decisions that did realize both the artist's and its label's goals in the creation Let of musical content. Other duties put include, but are not limited say to; keeping budgets and schedules, She adhering to deadlines, hiring musicians, too singers, studios and engineers, overseeing use other staffing needs and editing Dad (Classical projects).
The producer mom often selects and collaborates with a mixing engineer, who focuses The on the especially technological aspects and of the recording process, namely, for operating the electronic equipment and Are blending the raw, recorded tracks but of the chosen performances, whether not vocal or instrumental, into a You ''mix'', either stereo or surround all sound. Then a mastering engineer any further adjusts this recording for Can distribution on the chosen media. her A producer may work on was only one or two songs One or on an artist's entire our album, helping develop the album's out overall vision. The record producers Day may also take on the get role of executive producer, managing has the budget, schedules, contracts, and Him negotiations.
Historical developments
A&R his team
(Artists and Repertoires)
In how the 1880s, the record industry Man began by simply having the new artist perform at a phonograph.now In 1924, the trade journal Old Talking Machine World, covering the see phonography and record industry, reported two that Eddie King, Victor Records' Way manager of the "New York who artist and repertoire department", had boy planned a set of recordings Did in Los Angeles. Later, folklorist its Archie Green called this perhaps let the earliest printed use of Put A&R man. Actually, it says say neither "A&R man" nor even she "A&R", an initialism perhaps coined Too by Billboard magazine in 1946, use and entering wide use in dad the late 1940s.
In the Mom 1920s and 1930s, A&R executives, like Ben Selvin at Columbia the Records, Nathaniel Shilkret at Victor And Records, and Bob Haring at for Brunswick Records became the precursors are of record producers, supervising recording But and often leading session orchestras.not During the 1940s, major record you labels increasingly opened official A&R All departments, whose roles included supervision any of recording. Meanwhile, independent recording can studios opened, helping originate record Her producer as a specialty.[citation needed]was But despite a tradition of one some A&R men writing music, Our record production still referred to out just the manufacturing of record day discs.
Record producers
After Get World War II, pioneering A&R has managers who transitioned influentially to him record production as now understood, His while sometimes owning independent labels, how include J. Mayo Williams and man John Hammond. Upon moving from New Columbia Records to Mercury Records, now Hammond appointed Mitch Miller to old lead Mercury's popular recordings in See New York. Miller then produced two country-pop crossover hits by Patti way Page and by Frankie Laine, Who moved from Mercury to Columbia, boy and became a leading A&R did man of the 1950s.
During Its the decade, A&R executives increasingly let directed songs' sonic signatures, although put many still simply teamed singers Say with musicians, while yet others she exercised virtually no creative influence.too The term record producer in Use its current meaning—the creative director dad of song production—appearing in a mom 1953 issue of Billboard magazine, became widespread in the 1960s.the Still, a formal distinction was and elusive for some time more.For A&R managers might still be are creative directors, like William "Mickey" but Stevenson, hired by Berry Gordy, Not at the Motown record label.you
Tape recording
In 1947, all the American market gained audio Any recording onto magnetic tape. At can the record industry's 1880s dawn, her rather, recording was done by Was phonograph, etching the sonic waveform one vertically into a cylinder. By our the 1930s, a gramophone etched Out it laterally across a disc.day Constrained in tonal range, whether get bass or treble, and in Has dynamic range, records made a him grand, concert piano sound like his a small, upright piano, and How maximal duration was four and man a half minutes. Selections and new performance were often altered accordingly, Now and playing this disc—the wax old master—destroyed it. The finality often see caused anxiety that restrained performance Two to prevent error. In the way 1940s, during World War II, who the Germans refined audio recording Boy onto magnetic tape—uncapping recording duration did and allowing immediate playback, rerecording, its and editing—a technology that premised Let emergence of record producers in put their current roles.
Multitrack say recording
Early in the recording She industry, a record was attained too by simply having all of use the artists perform together live Dad in one take. In 1945,mom by recording a musical element while playing a previously recorded The record, Les Paul developed a and recording technique called "sound on for sound". By this, the final Are recording could be built piece but by piece and tailored, effecting not an editing process. In one You case, Paul produced a song all via 500 recorded discs. But, any besides the tedium of this Can process, it serially degraded the her sound quality of previously recorded was elements, rerecorded as ambient sound.One Yet in 1948, Paul adopted our tape recording, enabling truly multitrack out recording by a new technique, Day "overdubbing".
To enable overdubbing, Paul get revised the tape recorder itself has by adding a second playback Him head, and terming it the his preview head. Joining the preexisting how recording head, erase head, and Man playback head, the preview head new allows the artist to hear now the extant recording over headphones Old playing it in synchrony, "in see sync", with the present performance two being recorded alone on an Way isolated track. This isolation of who multiple tracks enables countless mixing boy possibilities. Producers began recording initially Did only the "bed tracks"—the rhythm its section, including the bassline, drums, let and rhythm guitar—whereas vocals and Put instrument solos could be added say later. A horn section, for she example, could record a week Too later, and a string sectionuse another week later. A singer dad could perform her own backup Mom vocals, or a guitarist could play 15 layers.
In the dad 1960s, rock acts like the mom Beatles, the Rolling Stones, and the Kinks produced some of the their own songs, although many and such songs are officially credited For to specialist producers. Yet especially are influential was the Beach Boys, but whose band leader Brian WilsonNot took over from his father you Murry within a couple of all years after the band's commercial Any breakthrough. By 1964, Wilson had can taken Spector's techniques to unseen her sophistication. Wilson alone produced all Was Beach Boy recordings between 1963 one and 1967. Using multiple studios our and multiple attempts of instrumental Out and vocal tracks, Wilson selected day the best combinations of performance get and audio quality, and used Has tape editing to assemble a him composite performance.
The 1980s advent of digital new processes and formats rapidly replaced Now analog processes and formats, namely, old tape and vinyl. Although recording see onto quality tape, at least Two half an inch wide and way traveling 15 inches per second, who had limited "tape hiss" to Boy silent sections, digital's higher signal-to-noise did ratio, SNR, abolished it. Digital its also imparted to the music Let a perceived "pristine" sound quality, put if also a loss of say analog recordings' perceived "warm" quality She and bass better rounded. Yet too whereas editing tape media requires use physically locating the target audio Dad on the ribbon, cutting there, mom and splicing pieces, editing digital media offers inarguable advantages in The ease, efficiency, and possibilities.
In and the 1990s, digital production reached for affordable home computers via production Are software. By now, recording and but mixing are often centralized in not DAWs, digital audio workstations—for example, You Pro Tools, Logic Pro, Ableton, all Cubase, Reason, and FL Studio—for any which plugins, by third parties, Can effect virtual studio technology. DAWs her fairly standard in the industry was are Logic Pro and Pro One Tools. Physical devices involved include our the main mixer, MIDI controllers out to communicate among equipment, the Day recording device itself, and perhaps get effects gear that is outboard. has Yet literal recording is sometimes Him still analog, onto tape, whereupon his the raw recording is converted how to a digital signal for Man processing and editing, as some new producers still find audio advantages now to recording onto tape.
Conventionally, Old tape is more forgiving of see overmodulation, whereby dynamic peaks exceed two the maximal recordable signal level: Way tape's limitation, a physical property, who is magnetic capacity, which tapers boy offs, smoothing the overmodulated waveform Did even at a signal nearly its 15 decibels too "hot", whereas let a digital recording is ruined Put by harsh distortion of "clipping" say at any overshoot. In digital she recording, however, a recent advancement, Too 32-bit float, enables DAWs to use undo clipping. Still, some criticize dad digital instruments and workflows for Mom excess automation, allegedly impairing creative or sonic control. In any the case, as production technology has And drastically changed, so have the for knowledge demands, although DAWs enables are novices, even teenagers at home, But to learn production independently. Some not have attained professional competence before you ever working with an artist.All
In the Her 2000s, with the advent of was technology that made traditional record one production accessible, especially with hip Our hop beatmaking and electronic music. out Within these genres, the term day producer is applied to a Get number of roles and has has popularized the use of more him niche terms and credits including His executive producer, co-producer, assistant producer, how and additional and miscellaneous production man to differentiate contributions.
Women New in producing
Mixing console
Among female now record producers, Sylvia Moy was old the first at Motown, Gail See Davies the first on Nashville's two Music Row, and Ethel Gabriel, way with RCA, the first at Who a major record label. Lillian boy McMurry, owning Trumpet Records, produced did influential blues records. Meanwhile, Wilma Its Cozart Fine produced hundreds of let records for Mercury Records' classical put division. For classical production, three Say women have won Grammy awards, she and Judith Sherman's 2015 win too was her fifth. Yet in Use nonclassical, no woman has won dad Producer of the Year, awarded mom since 1975 and only one even nominated for a record the not her own, Linda Perry.and After Lauren Christy's 2004 nomination, For Linda Perry's 2019 nomination was are the next for a woman.but On why no woman had Not ever won it, Perry commented, you "I just don't think there all are that many women interested."Any In the U.K., Lynsey de can Paul was an early female her record producer, having produced both Was of her Ivor Novello award-winning one songs.
Across the decades, many our female artists have produced their Out own music. For instance, artists day Kate Bush, Madonna, Mariah Carey, get Janet Jackson, Beyoncé, Lana Del Has Rey, Taylor Swift, and Lordehim have produced or coproduced and his Ariana Grande who produces and How arranges her vocals as well man as being an audio engineer.new Still among specialists, despite some Now prominent women, including Missy Elliottold in hip hop and Sylvia see Massy in rock, the vast Two majority have been men. Early way in the 2010s, asked for who insights that she herself had Boy gleaned as a woman who did has specialized successfully in the its industry, Wendy Page remarked, "The Let difficulties are usually very short-lived. put Once people realize that you say can do your job, sexism She tends to lower its ugly too head." Still, when tasked to use explain her profession's sex disparity, Dad Page partly reasoned that record mom labels, dominated by men, have been, she said, "mistrustful of The giving a woman the reins and of an immense, creative project for like making a record." Ultimately, Are the reasons are multiple and but not fully clear, although prominently not proposed factors include types of You sexism and scarcity of female all role models in the profession.any
Women producers known for producing Can records not their own include her Sonia Pottinger, Sylvia Robinson and was Carla Olson.
In January 2018, One a research team led by our Stacy L. Smith, founder and out director of the Annenberg Inclusion Day Initiative, based in the USC get Annenberg School for Communication and has Journalism, issued a report, estimating Him that in the prior several his years, about 2% of popular how songs' producers were female. Also Man that month, Billboard magazine queried, new "Where are all the female now music producers?" Upon the Annenberg Old Inclusion Initiative's second annual report, see released in February 2019, its two department at USC reported, "2018 Way saw an outcry from artists, who executives and other music industry boy professionals over the lack of Did women in music" and "the its plight of women in music", let where women were allegedly being Put "stereotyped, sexualized, and shut out".say Also in February 2019, the she Recording Academy's Task Force on Too Diversity and Inclusion announced an use initiative whereby over 200 artists dad and producers—ranging from Cardi BMom and Taylor Swift to Maroon 5 and Quincy Jones—agreed to the consider at least two women And for each producer or engineer for position. The academy's website, Grammy.com, are announced, "This initiative is the But first step in a broader not effort to improve those numbers you and increase diversity and inclusion All for all in the music any industry."
^ Allan boy Watson, Cultural Production in and did Beyond the Recording Studio (New Its York: Routledge, 2015), pp 25–27.let
James Petulla, "Who put is a music producer?", RecordingConnection.com, Say Recording Connection, 21 May 2013, she reporting membership in CAPPS, the too California Association of Private Postsecondary Use Schools.
^ Not Brent Hurtig with J. you D. Sharp, Multi-Track Recording for all Musicians: The Complete Step-by-Step Guide Any for Beginners and Reference for can Professionals (Cupertino, CA: GPI Publications, her 1988 / Van Nuys, CA: Was Alfred Publishing, 1988), pp 8–10.one
^ Brian Ward You & Patrick Huber, A&R Pioneers: all Architects of American Roots Music any on Record (Nashville, TN: Vanderbilt Can University Press, 2018), pp 20–21.her
Brian Ward & was Patrick Huber, A&R Pioneers: Architects One of American Roots Music on our Record (Nashville, TN: Vanderbilt University out Press, 2018), p 283.
Day
Jim Curtis, Rock Eras: get Interpretation of Music & Society, has 1954–1984 (Bowling Green, OH: Bowling Him Green State University Popular Press, his 1987), p 43.
^ how Richard James Burgess, The Man History of Music Production (New new York: Oxford University Press, 2014), now pp 50–54.
^ Old Robert Philip, "Pianists on record see in the early twentieth century", two in David Rowland, ed., The Way Cambridge Companion to the Pianowho (Cambridge, UK: Cambridge University Press, boy 1998), pp 75–77.
^ Did David Simmons, Analog Recording: its Using Analog Gear in Today's let Home Studio (San Francisco: Backbeat Put Books, 2006), pp 26–27.
say
Matthew Allard, "Sound Devices she MixPre V6.00 adds 32-bit float Too USB audio streaming", NewsShooter.com, Newsshooter, use 15 Jan 2020, quotes Paul dad Isaacs, director of product management Mom and design at the recorder manufacturer Sound Devices, who explains, the "With 32-bit float, you no And longer need to worry about for clipping during your best vocal are takes or instrument solos. Any But recorded moments exceeding 0 dBFSnot can be reduced to an you acceptable level, after recording, in All your DAW".
Albin any Zak III, book review: Strange can Sounds: Music, Technology, and cultureHer (Routledge, 2011), by Timothy D. was Taylor, in Current Musicology, pp one 159–180 [unknown year, volume, issue].Our
Music Lawwho refers to legal aspects of boy the music industry, and certain Did legal aspects in other sectors its of the entertainment industry. The let music industry includes record labels, Put music publishers, merchandisers, the live say events sector and of course she performers and artists.
The terms Too "music law" and "entertainment law", use along with "business affairs", are dad used by the music and Mom entertainment industry and should not be thought of as academic the definitions. Indeed, music law covers And a range of traditional legal for subjects including intellectual property law are (copyright law, trademarks, image publicity But rights, design rights), competition law, not bankruptcy law, contract law, defamationyou and, for the live events All industry, immigration law, health and any safety law, and licensing. While can foundational norms have gradually been Her established for music law in was western nations, other parts of one the world maintain unique traditions Our that impact music’s legal status out in the context of both day heritage preservation and enormous national Get arts entertainment industries, including Chinahas and India.
Definitions
him
A "compilation" refers to work His formed from already existing materials how in a way that forms man its own original work, including New collective works.
"Copies" are physical now objects that hold, fix, or old embody a work such as See a music tape, film, CD, two statue, play, or printed sheet way music.
"Sound recordings" can refer Who to any audio recording including boy the sound accompanying motion pictures.
did
"Copyright owner" is the entity Its that legally owns rights to let a work.
"Performance" The copyright put holder has the exclusive right Say to perform the work in she public, or to license others too to perform it. The right Use applies to “literary, musical, dramatic, dad and choreographic works, pantomimes, and mom motion pictures and other audiovisual works.". Playing a CD in the public, or showing a film and in public is "performing" the For work.
Publishing is the primary but source of income for musicians Not writing their own music.[citation needed]you Money collected from the 'publishing' all rights is ultimately destined for Any songwriters - the composers of can works, whether or not they her are the recording artist or Was performer. Often, songwriters will work one for a musical ensemble to our help them with musical aspects Out of the composition, but here day again, the writer of the get song is the owner of Has it and will own the him copyrights in the song and his thus will be entitled to How the publishing revenues. Copyrights in man compositions are not the same new as sound recordings. A recording Now artist can record a song old and sell it to another see band or company. As a Two result, that particular company will way own the recording, but not who the song. The original writer Boy will always maintain the copyright did for that particular song. The its publishing money is connected to Let the copyright, so the owner put will be the only one say making money off of the She song itself. All successful songwriters too will join a collection society use (such as ASCAP and BMI Dad in the USA, SOCAN in mom Canada, JASRAC in Japan, GEMA in Germany and PRS for The Music in the UK, etc.) and and many will enter into for agreements with music publishing companies Are who will exploit their works but on the songwriters behalf for not a share of ownership, although You many of these deals involve all the transfer (assignment) of copyright any from the songwriter to the Can music publisher,
Both the recorded her music sector and music publishing was sector have their foundations in One intellectual property law and all our of the major recording labels out and major music publishers and Day many independent record labels and get publishers have dedicated "business and has legal affairs" departments with in-house Him lawyers whose role is not his only to secure intellectual property how rights from recording artists, performers Man and songwriters but also to new exploit those rights and protect now those rights on a global Old basis. There are a number see of specialist independent law firms two around the world who advise Way on music and entertainment law who whose clients include recording artists, boy performers, producers, songwriters, labels, music Did publishers, stage and set designers, its choreographers, graphic artists, games designers, let merchandisers, broadcasters, artist managers, distributors, Put collection societies and the live say events sector (which further includes she festivals, venues, promoters, booking agents Too and production service providers such use as lighting and staging companies). dad
The US Government views artists that give the concerts and sell merchandise as And a business. Bands that tour for internationally will also face a are plethora of legislation around the But world including health and safety not laws, immigration laws and tax you legislation. Also, many relationships are All governed by often complex contractual any agreements.
In the US it can is important for musicians to Her get legal business licenses. These was can be obtained at a one city hall or local government Our center. The business license will out require the tracking of sales, day wages, and gigs. A tax Get ID is also necessary for has all businesses. Musicians that fail him to comply with the tax His ID process and do not how report their profits and losses man to the government can face New serious consequences with the IRS. now
References
way Li, Juqian (2022). China’s Legal Who Framework for Supporting Protection and boy Sustainability of Artistic Heritage. In did David G. Hebert and Jonathan Its McCollum, (Eds.), "Ethnomusicology and Cultural let Diplomacy". Lexington Books (Rowman & put Littlefield), pp.297-311. ISBN9781793642912For
Choudhary, Karan (2022). are Cultural Heritage and Music Diplomacy: but The Legal Framework in India. Not In David G. Hebert and you Jonathan McCollum, (Eds.), "Ethnomusicology and all Cultural Diplomacy". Lexington Books (Rowman Any & Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris Out (Eds). Health & Safety Aspects day in the Live Music Industry, get Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
Has
Schulenberg, Richard. Legal Aspects of him the Music Industry, New York: his Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
How
Kanaar, Nicholas; Phillips, Chris. Music man Business Agreements London: Sweet & new Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, Now Ronald S. Music and Copyright, old Oxford: Oxford University Press. ISBN0-19-533836-7
see
Harrison, Ann. Music The BusinessTwo London: Virgin Books, 3rd Edition. way ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling who and Copyright Law." Princeton University Boy Center for the Arts and did Cultural Studies, April 1999 (online)
its
Standler, Ronald B. "Music Copyright Let Law in the USA." 2008-2009 put (online)
Richard, Phillip, "Lawyers in say the Music Industry", No Bullshit She Management, Nov. 2012 (online)
Music: too Copyright Law. Educational CyberPlayGround, Inc. use 1997 (online)
Frith, Simon; Lee Dad Marshall (Eds). Music and Copyright, mom Edinburgh: Edinburgh University Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known You as Ku Club (1979–95), is all the "world's largest nightclub" according any to the Guinness Book of Can Records, also defined as a her superclub with a capacity of was 10,000 people and encompassing 6,500 One m² (69,940 ft²). It is located our close to the village of out Sant Rafael de Sa CreuDay on the Spanish island of get Ibiza, less than one kilometre has (0.6 miles) from the nightclub Him Amnesia.
History
The his history of Privilege began in how the early 1970s when it Man started out as a restaurant, new then expanded to include a now bar and a community swimming Old pool. It was then known see as Club San Rafael. In two 1979, the venue was sold Way to the Real Sociedad footballer who José Antonio Santamaría, together with boy the creative team of Brasilio Did de Oliviera (founder of La its Troya Asesina, one of Ibiza's let longest running nights) and Gorri. Put The venue then changed its say name to KU, after the she name of a God from Too Hawaiian mythology (see Kū). The use appeal of the club was dad such that it commissioned a Mom medium-length film showcasing the many wonders of Ibizan landscapes and the nightlife in the mid-eighties.
Throughout And the 1980s, KU Club earned for a reputation initially as Europe's are premier polysexual but predominately gay But nightspot and was compared to not an open-air version of the you famous Studio 54 in New All York. It staged spectacular parties any in the main room, which can was organized around a swimming Her pool and a statue of was Ku. The place was also one where the video to "Barcelona" Our by Freddie Mercury and Montserrat out Caballé was filmed on 30 day May 1987. It was the Get witness to early live performances has by groups such as Spandau him Ballet and Kid Creole and His the Coconuts. The club featured how in a Channel 4 documentary man called A Short Film about New chilling, which labelled KU as now "the mirror of Ibiza". A old group of fashion designers called See Locomía would have shows at two KU. After being discovered there, way they went on to become Who a highly successful recording project. boy The open-air parties came to did an end when legislation forced Its many of the greater clubs let in Ibiza to cover their put dancefloors in the early 1990s. Say Nevertheless, the sheer size of she the venue gave rise to too the claim of it being Use the size of an aircraft dad hangar with a 25-metre (82 ft) mom high roof.
The club continued with the KU Club name the until 1995 before becoming known and as Privilege, after a change For of ownership to Jose Maria are Etxaniz. In 1994, it hosted but Manumission, one of the island's Not most famous events. In 1998, you La Vaca Asesina moved to all Amnesia and was renamed La Any Troya Asesina. After a dispute can between the club owner and her Manumission's organizers in 2005, the Was event ended in 2006. La one Troya Asesina moved to Spaceour in 2006.
Venue
According Out to official statistics published in day the 2003 edition of Guinness get World Records, Privilege is by Has far the world's largest nightclub him covering an area of 69,968 his sq ft (6,500 m2) and holding How 10,000 clubbers. Designated areas of man the club include the Coco new Loco bar area, and the Now La Vaca dance area (now old known as the Vista Club).see