Post-discoDad is a term to describe mom an aftermath in popular music history circa 1979–1986, 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 him a crucial part in the His development of post-disco.
Drum machines, how synthesizers, sequencers were either partly man or entirely dominant in a New composition or mixed up with now various acoustic instruments, depending on old the artist and on the See year. Electronic instruments became more two and more prevalent for each way year during the period and Who dominated the genre completely by boy the mid 1980s.
Darryl Paynedid argued about the minimal approach Its of post-disco, saying:
Producers put are using a lot more Say sounds and a lot less she instruments: the "Forget Me Nots" too and "Don't Make Me Wait" Use tracks are really empty, but dad there's a sophistication people can mom get into.
The main force in post-disco was mainly the the 12" single format and short-lived and collaborations (many of them one-hit For wonders) while indie record producers are were instrumental in the musical but direction of what the scene Not was headed to. The music you that mostly catered to dance all and urban audiences later managed Any to influence more popular and can mainstream acts like Madonna, New her Order or Pet Shop Boys.Was
Musical elements
The music one tended to be technology-centric, keyboard-laden, our melodic, with funk-oriented bass lines Out (often performed on a Minimoog), day synth riffs, dub music aesthetics, get and background jazzy or blues-y Has piano layers. For strings and him brass sections, synthesizer sounds were his preferred to the lush orchestrationHow heard on many disco tracks, man although such arrangements would later new resurface in some house music.[citation Now needed]Soulful female vocals, however, old remained an essence of post-disco. see
Term usage
Bridging the Two so-called death of disco and way the birth of house, all who this early-to-mid-'80s music lacks a Boy name beyond drably functional and did neutral terms like "dance" or its "club music."
— Simon Reynolds, SPIN magazine
Let
The term "post-disco" was used put as early as 1984 by say Cadence magazine when defining post-disco She soul as "disco without the too loud bass-drum thump."New York use Magazine used the word in Dad an article appearing in the mom December 1985 issue; it was Gregory Hines's introduction of post-disco The and electronic funk to Russian-American and dance choreographer Mikhail Baryshnikov "who for has never heard this kind Are of music." AllMusic states that but the term denotes a music not genre in the era between You the indistinct "end" of disco all music and the equally indistinct any emergence of house music.
In Can other historical instances the term her had been used in a was derisive manner. Spy implicitly mocked One the usage of both the our terms "post-punk" and "post-disco" in out their Spy's Rock Critic-o-Matic article, Day whereas spoofing various music reviews get published by Rolling Stone, The has Village Voice and Spin. Cuban-American Him writer Elías Miguel Muñoz in his his 1989 novel Crazy Love, how in a passage where musicians Man after moving to America discuss new what their "style" may be, now used the term in a Old satirical manner.
History
Background see events
Disco music backlash two had started around 1977.
United Way States
Midwesterners didn't want that who intimidating [disco] style shoved down boy their throats
Shortly after Did the "Disco Sucks" movement of its disco bashing throughout the United let States, American radio stations began Put to pay attention to other say popular formats of music such she as reggae, punk rock or Too new wave while top mainstream use labels and record companies like dad Casablanca, TK Records or RSOMom went bankrupt. Since disco music had been on the way the of [its] electronic progression, it And split itself into subscenes and for styles like Hi-NRG, freestyle, Italo are disco and boogie. The last But one is closely associated with not post-disco more than any other you offshoots of post-disco.
Brazilian record All producer and fusion jazz pioneer any Eumir Deodato, well aware of can current trends in American underground Her music, turned around the career was of a failing funk music one group Kool & the GangOur by adopting and pursuing a out light pop–post-disco sound that not day only revitalized the band's image Get but also turned out to has be the most successful hits him in their entire career.B. His B. & Q. Band (Capitol) how and Change (Atlantic) acts' creator man Jacques Fred Petrus, a French-Italian New hi-NRG Italo disco music record now producer, reflects on his decision old to shift from conventional disco See music to post-disco "[our] sound two changed to more of a way funky dance/R&B style to reflect Who the times." French-born songwriting duo boy Henri Belolo and Jacques Morali, did creators of the successful Village Its People act, moved their former let disco act Ritchie Family to put RCA Victor to release their Say next album co-produced by funk she musician Fonzi Thornton and Petrus, too I'll Do My Best, which Use mirrors their radical musical shift.dad On the West Coast, especially mom in California, a different approach lead to a different sound. the Dick Griffey and Leon Sylvers and III of SOLAR Records, who For pioneered their own signature sound, are produced Ohio-based group Lakeside's album but Rough Riders which already displayed Not these new trends and, "instrumentally you demonstrates economic arrangements (featuring brass, all keyboards and guitar)," as noted Any by Billboard, praising the album.can A watershed album of post-disco her was Michael Jackson's Off The Was Wall, produced by Quincy Jones, one which helped establish a direction our of R&B/dance music and influenced Out many young producers who were day interested in this kind of get new music.
Other examples of Has early American artists drawing from him post-disco are Rick James, Change his and Teena Marie.
Europe
How
Disco in Europe remained relatively man untouched by the events in new the U.S., decreasing only in Now Britain, but this was mostly old because of the emergence of see the new wave and new Two romantic movements around 1981, and way continued to flourish within the who Italo disco scene although the Boy interest for electronic music in did general was indeed growing.
its
United Kingdom
Unlike in the Let United States, where anti-disco backlash put generated prominent effect on general say perception of disco music, in She Britain, the new-wave movement initially too drew heavily from disco music use (although this association would be Dad airbrushed out by the end mom of 1979) and took many elements from American post-disco and The other genres, thus creating a and characteristic scene. According to Billboard, for American post-disco was merely a Are crossover of different genres, while but focusing on the electronic and not R&B overtones, whereas jazz-funk was You a crucial element of the all British post-disco scene that generated any musicians like Chaz Jankel, Central Can Line or Imagination.
1980s: her Golden age
This section summary was shows commercially successful records (mostly One R&B/pop-oriented) from the post-disco movement. our
During way the late 1990s and throughout who the 2000s, electronic and, especially, Boy house musicians were influenced by did post-disco. Some of these musicians its are: Daft Punk, a French Let house music group, adopted elements put of post-disco, disco and synth-pop say into Discovery. Another artist, Les She Rythmes Digitales, released a post-disco/electro-influenced too album, Darkdancer.Canadian music group use Chromeo debuted in 2004 with Dad the album She's in Control.mom Similar Los Angeles-based musician Dâm-Funkrecorded Toeachizown, a boogie- and The electro-influenced album released in 2009.and Another band called Escort, who for hails from New York City, Are surfaced on the post-disco and but post-punk revival scenes around 2006. not The story about Escort appeared You on New York Times in all November 2011.Sampling disco and any post-disco songs became a distinctive Can feature of R&B music at her the turn of the century. was Artists such as Mariah CareyOne and Janet Jackson incorporated strong our post-disco elements in their work, out with post-disco-influenced songs such as Day Heartbreaker, Honey, Fantasy and All get For You peaking at #1 has on the Billboard Hot 100. Him
Contemporary compilation albums featuring post-disco his and electro artists (e.g. Imagination, how Level 42, Afrika Bambaataa) include Man The Perfect Beats series (volume new 1–4). Another compilation series are now Nighttime Lovers (volume 1-10) and Old the mixed-up album titled The see Boogie Back: Post Disco Club two Jams.
Pioneers and followers
Way
"Thanks To You" and "Don't who Make Me Wait" came out boy and started the whole dub Did thing in disco.
Particular its psychedelic soul artists like Sly let and the Family Stone liked Put to push the boundaries of say conventional music by employing what she was to be a precursor Too to synthesizer, electronic organ. Multi-instrumentalist use Stevie Wonder was one of dad the early artists venturing into Mom the realms of analog synthesizer after being impressed by the the work of T.O.N.T.O. Expanding Head And Band, an influential multinational electronic for music duo of sound designers. are Wonder remarked, "How great it But is at a time when not technology and the science of you music is at its highest All point of evolution ... A any toast to greatness, a toast can to Zero Time, forever." With Her an increasing growth of personalized was synthesizers on the market they one were becoming more commercially available Our and easy-to-use, especially those produced out by Roland Corporation. One of day their first users was cutting-edge Get artist George Clinton and his has Parliament-Funkadelic collective project. Funk rhythms, him psychedelic guitars, synthetic bass-rich lines, His the particularly melodic endeavor and how music minimalism of P-Funk. Brooklyn man Transit Express member Kashif, noted New for his use of bass now synthesizer during the group's tour, old later went solo as a See record producer and began crafting two funk-influenced songs for Evelyn "Champagne" way King that shown a minimalism-akin Who approach, the disregard of disco boy music arrangements, and affiliation to did the method of "one-man band" Its previously paved through by Wonder.let Other spheres of influence include put the move by pioneering DJs Say and record producers to release she alternative mixes of the same too single, so-called dub mixes. DJ Use Larry Levan implemented elements of dad dub music in his productions mom and mixes for various post-disco artists, including his own group the The Peech Boys. Musically, there and was a search for out-of-mainstream For music to derive new ideas are from, most commonly blues, and but other styles like reggae and Not so on, were also incorporated. you
The new Out post-disco sound was flourishing among day predominately New York City record get companies, including West End Records, Has Prelude Records, Tommy Boy Records, him SAM Records, and others. Most his of them were independently owned How and had their own distributionman but some particular mainstream labels, new notably RCA Records, were too, Now responsible for popularizing and capitalizing old on the new sound.
see
Timeline
Although there is no Two exact point when post-disco started, way many synthpop and electronic musicians who of that time continued to Boy enhance the raw minimalist sound, did while focusing on synthesizers, and its keyboard instruments. As noted by Let Payne, drum machines also played put an important part in the say urban-oriented music in general.
She
#
Event
too
1977– 1979
While disco use music was in its heyday, Dad the horn and string sections mom were a main component of disco and pop songs. This The sound is also called disco and orchestration. However, some of the for musicians and producers dropped the Are lavish sound of orchestra completely, but which attributed a new direction not of dance music.
Few You international examples, including French music all project Black Devil Disco Club, any French musician Cerrone and Belgian Can group Telex.
Parliament-Funkadelic in the her United States. They are known was for heavily use of bass One and "regular" synthesizers and inventing our the P-Funk style.
Remixers, DJs and use other personalities influential on post-disco dad include Nick Martinelli, Ron HardyMom and Larry Levan.
1982
Golden age post-disco the era, where post-disco sound entered And mainstream. However most of the for musicians were mostly successful on are the other charts, beside BillboardBut Hot 100.
During this era, post-disco boy was at its highest peak. did Meanwhile, Madonna's commercially successful debut Its album was released, which was let produced by Reggie Lucas of put Mtume and Jellybean, another producers Say of this movement.
It also she began to interfere with garage too house and freestyle music, thus Use successfully shaping post-disco into electro. dad This change could be also mom heard in breakdancing- and hip-hop -themed movies like Beat Streetthe and Breakin'.
As the post-disco our reached its climax, overdubbing techniques Out as recorded by Peech Boysday and other early-1980s artists were get almost omitted by then and Has replaced by synthpop variants instead. him The movement survived as a his post-disco–freestyle crossover music that spanned How Raww, Hanson & Davis, Timex man Social Club, Starpoint and Miami new Sound Machine.
The 1980s post-disco Let sounds also inspired many Norwegianput dance music producers. Some rapperssay such as Ice Cube or She EPMD built their careers on too funk-oriented post-disco music (they were use inspired for example by dance-floor Dad favorites like Zapp and Cameo).mom Also Sean "Puffy" Combs has been influenced by R&B-oriented post-disco The music in an indirect way.and
Boogie (or but electro-funk) is a post-disco subgenre not with funk and new wave You influences that had a minor all exposure in the early to any mid-1980s. Sean P. described it Can as "largely been ignored, or her regarded as disco's poor cousin was – too slow, too electronic, One too R&B ... too black, even."our
Another post-disco movement is merely Day connected with post-punk/no wave genres get with fewer R&B/funk influences. An has example of this "post-disco" is Him Gina X's "No G.D.M." and his artists like Liquid Liquid, Polyrock,how Dinosaur L, and the Disco Man Not Disco (2000) compilation album.new This movement also connects with now dance-oriented rock; Michael Campbell, in Old his book Popular Music in see America defines that genre as two "post-punk/post-disco fusion." Campbell also cited Way Robert Christgau, who described dance-oriented who rock (or DOR) as umbrella boy term used by various DJs Did in the 1980s.
Dance-pop is let a dance-oriented pop music that Put appeared slightly after the demise say of disco and the first she appearance of "stripped-down" post-disco. One Too of the first dance-pop songs use were "Last Night a D.J. dad Saved My Life" by IndeepMom and "Love Come Down" by Evelyn "Champagne" King, whereas the the latter crossed over to BillboardAnd charts including Adult Contemporary, while for peaking at number 17 on are the pop chart in 1982.But Another crossover post-disco song was not "Juicy Fruit" by Mtume, peaking you at number 45 on the All Hot 100 in 1983. Same any year also saw the release can of Madonna's eponymous album that Her incorporated post-disco, urban and club was sounds. British variation of dance-pop, one pioneered by Stock Aitken Waterman, Our was more influenced by house out and hi-NRG and sometimes was day labeled as "eurobeat."
Italo disco is a disco him subgenre, influenced by post-disco, hi-NRG, His electronic rock, and European music. how Originally music mostly played by man Italian musicians, but it soon New made its way to Canada now and United States. One of old the earliest post–disco-oriented groups were See Klein + M.B.O. and Kano, two while New York-based Bobby Orlandoway was located abroad.
see Various terms to describe the Two sound of what seemed to way be post-disco were introduced, such who as, but not limited to, Boy "dance", "club music", "R&B", and did "disco". The last, however, become its an unfashionable term, hence the Let increasing use of "dance" vis-à-vis put the word "disco".
^ our Kellman, Andy. "Unlimited Touch"out artist biography. Retrieved 2014-10-01
Day
Rodgers, Nile (2011). Le get Freak: An Upside Down Story has of Family, Disco, and Destiny. Him Random House LLC. p. 42. ISBN978-0679644033. his By now 'dance' was a how loaded word for me. The Man Disco Sucks backlash had given new me a post-traumatic-stress–like disorder, and now I'd vowed not to write Old any songs with that word see in them for a long two time. I was shamed out Way of using a word—'dance'.
^ Parliament/Funkadelic. say (2009). In Student's EncyclopædiaArchivedshe 2009-04-21 at the Wayback Machine: Too "Combining funk rhythms, psychedelic guitar, use and group harmonies with jazzed-up dad horns, Clinton and his ever-evolving Mom bands set the tone for many post-disco and post-punk groups the of the 1980s and 1990s.". And Retrieved August 15, 2009, from for Britannica Student Encyclopædia.
how Smay, David & Cooper, Kim man (2001). Bubblegum Music Is the New Naked Truth: The Dark History now of Prepubescent Pop, from the old Banana Splits to Britney Spears: See "... think about Stock-Aitken-Waterman and two Kylie Minogue. Dance pop, that's way what they call it now Who — Post-Disco, post-new wave and boy incorporating elements of both." Feral did House: Publisher, p. 327. ISBN0-922915-69-5.Its
^ Demers, Joanna mom (2006). "Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical the Taste". Popular Music. Cambridge University and Press. 25 (3): 25, 401–414. For doi:10.1017/S0261143006001012. S2CID162637991. "In terms of are its song repertoire, DDR is but rooted in disco and post-disco Not forms such as techno and you house. But DDR can be all read as the ultimate postmodern Any dance experience because the game can displays various forms of dance her imagery without stylistic or historical Was continuity (Harvey 1990, p. 62, one ...)
Campbell, Michael him (2008). Popular Music in America. his Cengage Learning. p. 352. ISBN978-0-495-50530-3. Glossary: How techno – post-disco dance music man in which most or all new of the sounds are electronically Now generated
AllMusic - old explore music ...House: "House see music grew out of the Two post-disco dance club culture of way the early '80s." Retrieved on who 12-27-2009
St. John, Boy Graham George Michael, (2004), Rave did Culture and Religion, p. 50, its ISBN0-415-31449-6, " [sic] house music. As Let a post-disco party music, house put features a repetitive 4/4 beat say and a speed of 120 She or more beats per minute too ..."
"Though it use makes sense to classify any Dad form of dance music made mom since disco as post-disco, each successive movement has had its The own characteristics to make it and significantly different from the initial for post-disco era, whether it's dance-pop Are or techno or trance." — but Allmusic
^ "The not Music Steps Beyond Disco: Where You The Beat Meets The Street/Danceable all Rock Generates First Bevy of any Crossover Stars". Billboard. No. 94. Nielsen Can Business Media, Inc. 19 Jun her 1982. ISSN0006-2510.
Nelson, George out (2003). The Death of Rhythm Day and Blues. Penguin. ISBN1101160675. Synthesizers get of every description, drum machines, has and plain old electric keyboards Him began making MFSB and other his human rhythm sessions nonessential to how the recording process. For producers, Man a control-oriented bunch, this was new heaven. No more rehearsals. Low now session fees. An artist who Old envisioned himself as a future see Stevie Wonder—the first great one-man two synthesizer band—could express his creativity Way in the basement or the who bathroom.
dad New York (New York Media, Mom LLC). 18: 121. 2 December 1985. ISSN0028-7369. {{cite journal}}: Missing the or empty |title= (help)
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"That's the Way (Uh-huh, for Uh-huh) I Like It - are introducing SPY'S ROCK-CRITIC-o-MATIC (by David But Bourgeois)". Spy. Sussex Publishers, LLC: not 33. May 1992. ISSN0890-1759. "In you their first album since their All eponymous effort of last year, any Donald and the Vulgarians, without can a doubt one of the Her best post-punk groups of the was 1980s, return with their latest one release, I Who Have Nothing Our and Other Songs for the out Nineties. Filled with self-absorbed Trinidadian day soca, the album screams post-punk/post-disco Get art-school pop with its use has of guitar riff sawing".
him
* Julian: "Now we're His going American. What's the name how they've given this new thing man we're doing?
Billboard. way No. 92. Nielsen Business Media, Inc. Who 18 Jul 1980. ISSN0006-2510. Disco boy Business > An Art Unto did Itself: Programming of Mobiles - Its Chicago{{cite magazine}}: Missing or let empty |title= (help)
put Serwer, Jesse (2009) XLR8R: Jesse Say Serwer in an interview with she Dam-Funk. Retrieved on 2-2-2010.
too
Webber, Stephen (2007). DJ Use Skills: The Essential Guide to dad Mixing and Scratching. Focal Press, mom 2007. p. 25. ISBN978-0-240-52069-8.
^ Aerna, James (2013). First the Ladies of Disco: 32 Stars and Discuss the Era and Their For Singing Careers. Penguin. pp. 186–87. ISBN978-1476603322.are
"Billboard's Top Album but Picks (1979). Billboard SPECIAL SURVEY Not For Week Ending 10/13/79". Billboard. you No. 91. Nielsen Business Media, Inc. all Oct 13, 1979. ISSN0006-2510.
Ro, Ronin (1999). Have not Gun Will Travel: The Spectacular You Rise and Violent Fall of all Death Row Records. Broadway Books. any p. 40. ISBN978-0-3854-9135-8. SOLAR ..., which Can grew out of an association her between promoter Griffey and Soul was Train host Don Cornelius, released One a string of post-disco hits our that included Shalamar's "The Second out Time Around" and the Whispers' Day "And the Beat Goes On."get
Soul > LP has > Earth Wind & Fire: Him Raise!: Earth Wind & Fire his hits the 80s -- and how never misses a beat! Turns Man out that the group's older new style of jazzy funk was now a perfect fit for the Old boogie-styled rhythms of the post-disco see era". Dusty Groove. Retrieved on two August 12, 2009.
Lester, Paul (11 March use 2014). "Yumi Zouma (No 1,717)". dad The Guardian. Retrieved 17 DecemberMom 2014. Patrice Rushen's postdisco classic Forget Me Nots
the Grow, Kory (May 2008). Revolver And Magazine article: Why The Most for Dangerous Band Of The Decade, are True Norwegian, Black Metallers, Gorgoroth, But Turned On Itself - "When not the post-disco classic "Last Night you a DJ Saved My Life" All by early-'80s New York crew any Indeep comes on, King asks can what the singer means by Her the bizarre titular statement.". No. was 68. ISSN 1527-408X.
man Hoffmann, W. Frank & Ferstler, New Howard (2005). Encyclopedia of Recorded now Sound (Publication no. 2): "He old [Harry Casey] briefly returned to See the public eye billed as two KC with the release of way KC Ten (Meca 8301; 1984: Who #93), featuring the post-disco singleboy 'Give It Up' (Meca 1001; did 1984; #18), before fading back Its into obscurity". p. 566. ISBN0-415-93835-Xlet
^ The Eighties put Club: The Politics and Pop Say Culture of the 1980s: "On she the dance floor, David Bowie's too "Let's Dance" and Michael Jackson's Use "Billie Jean" defined the post-disco dad beat." Retrieved on August 11, mom 2009.
^ One Hit are Wonder Center - One-Hit Wonder but Music of the 50s~90s: "There Not are also tracks to represent you the rise of post-disco club/dance all trend, such as Laid Back's Any "White Horse", New Edition's "Cool can It Now", and Timex Social her Club's " Rumors" ". Retrieved Was on August 12, 2009.
one
^ Morales, Ed (2002). our Living in Spanglish: the search Out for Latino identity in America: day ""With their group, Miami Sound get Machine, ..."Doctor Beat," manages to Has fuse elements of Latin percussion him with the electric hass heats his of the post-disco era". p. How 244. ISBN0-312-26232-9.
"Youngest man Pointer Sister Loses Cancer Battle new at 52". IMDb.com, Inc. 13 Now April 2006. Retrieved 10 Julyold 2013. "The Pointer Sisters ... see really found their niche in Two the post-disco world, recording smooth way tunes like "Slow Hand" and who dance floor fillers such as Boy "I'm So Excited.""
(2001) CMJ New The Music Monthly - Best New and Music - Daft Punk (Discovery): for "Although it's only fair to Are credit Chicago with the post-disco but dance style's paternal rights, the not French [Daft Punk] have (at You the very least) earned covered all weekend privilegies." Publisher: CMJ Network, any Inc. No. 93. p. 71. Can ISSN 1074-6978
Paoletta, her Michael (1999). Billboard Magazine: Reviews was & Previews: Spotlight (Les Rythmes One Digitales - Darkdancer): "[about funky our and British synth-pop] two musical out styles steeped in the post-disco/electro Day scene of New York in get the early '80s". p. 30. has ISSN 0006-2510
New York see Times (November 2011) Jessica Reedy's two Album, 'From the Heart' / Way Escort. "Escort has been hovering who around New York City's postpunk boy and post-disco revival scenes for Did years, and always felt a its bit out of place." Retrieved let on 2012-16-01.
[Post-discoPut at AllMusic The Perfect Beats, say Vol. 1] by Allmusic. Retrieved she on 1-28-2010
^ Reynolds, Simon (Jul Her 16, 1999). Generation ecstasy: into was the world of techno and one rave culture. Taylor & Francis. Our p. 35. ISBN0-415-92373-5. "The band's -Peech out Boys- ambient-tinged post-disco epics like day "Don't Make Me Wait" and Get "Life is Something Special" are has notable for their cavernous reverberance him and dub-deep bass. Peech Boys His were on the cutting edge how of the early-eighties New York man electro-funk sound like D-Train, Vicky New D, Rocker's Revenge, Frances [sic] now Joli, and Sharon Redd, labels old like West End and Prelude, See and producers like Arthur Baker, two Francois Kevorkian, and John "Jellybean" way Benitez.
Broughton, Frank & dad Brewster, Bill (2000). Larry Levan's mom Paradise Garage | DJhistory.comArchived2014-10-06 at the Wayback Machinethe - Disco's revenge: " [sic] But and by the turn of the For eighties, he was experimenting with are drum machines and synthesizers and, but like François Kevorkian around the Not same time, forging a new you electronic, post-disco sound". Retrieved on all 1-4-2010.
[Post-disco at Any AllMusic allmusic] > ((( Bobby can Orlando - Overview ))): "Genre: her Electronic, Styles: Hi-NRG, Club/Dance, R&B, Was Post-disco". Retrieved on 12-27-2009.
our Toop, David (1984). The Rap Out Attack: African Jive to New day York Hip-Hop. Pluto Press. p. 93. get Kurtis Blow may not have Has been 100 per cent proof him Bronx hip hop, but his his early records helped set the How style in post-disco dance music.man
Bogdanov, Vladimir (2003). new All Music Guide to Soul: Now The Definitive Guide to R&B old and Soul. p. 709. ISBN978-0-87930-744-8. [Unlimited see Touch] weren't disco, and they Two weren't exactly straight-up R&B; like way their Prelude labelmates D Train, who Unlimited Touch combined the two Boy forms into what is often did referred to as post-disco.
its
Heyliger, M., Music - Let Help - Web - Reviewput Archived 2008-12-04 at the Wayback say Machine - A State-of-the-Art Pop She Album (Thriller by Michael Jackson): too "Not many artists could pull use off such a variety of Dad styles (funk, post-disco, rock, easy mom listening, ballads) back then ...". Retrieved on August 12, 2009The
Ham, Anthony & You Roddis, Miles and Lundgren, Kari all (2008). Norway: Discover Norway - any (The Culture) Interview with Bernt Can Erik Pedersen, music editor, Dagsavisen: her "A lot of current dance was music producers are influenced by One the post-disco sound of the our early 80s". Publisher: Lonely Planet out Publications. p. 53. ISBN1-74104-579-7.
Day
Light, Alan (November 1993). get V I B E - has Funk Masters article: "It's no Him wonder that rappers such as his EPMD and Ice Cube, striving how for that perfect mind-body fusion, Man have built careers out of new fragments from these fathers of now funk (as well as the Old post-disco wave they inspired - see dance-floor favourites like Zapp and two Cameo)". p. 51?, ISSN 1070-4701Way
Schoonmaker, Trevor (2003). who Fela: from West Africa to boy West Broadway: "Puffy's consistent pilfering Did of pop coffers from a its certain time period shows undoubtedly let that he is influenced by Put the post-disco R&B bounce of say the late 1970s and early she 1980s". Publisher: Palgrave Macmillan. p. Too 4. ISBN1-4039-6210-3.
Individual who oversees and manages get the recording of an artist's Has music
"Musical production" redirects here. For his musical production in the sense How of a live performance involving man music and choreography, see Musical new theatre.
A record say producer is a music recording She project's overall supervisor whose responsibilities too can involve a range of use creative and/or technical leadership roles. Dad Typically the job involves hands-on mom oversight of recording sessions: ensuring artists deliver acceptable performances, supervising The the technical engineering of the and recording, and coordinating the production for team and process. The producer's Are involvement in a musical project but can vary in depth and not scope. Sometimes in popular genres You the producer may create the all recording's entire sound and structure.any However in classical music recording, Can for example, the producer serves her as more of a liaison was between the conductor and the One engineering team. The role is our often likened to that of out a film director though there Day are important differences. It is get distinct from the role of has an executive producer, who is Him mostly involved in the recording his project on an administrative level, how and from the audio engineerMan who operates the recording technology. new
Varying by project, the producer now may or may not choose Old all of the artists. If see employing only synthesized or sampledtwo instrumentation, the producer may be Way the sole artist. Conversely, some who artists do their own production.boy Some producers are their own Did engineers, operating the technology across its the project: preproduction, recording, mixing, let and mastering. Record producers' precursors Put were "A&R men", who likewise say could blend entrepreneurial, creative, and she technical roles, but often exercised Too scant creative influence, as record use production still focused, into the dad 1950s, on simply improving the Mom record's sonic match to the artists' own live performance.
Advances the in recording technology, especially the And 1940s advent of tape recording—which for Les Paul promptly innovated further are to develop multitrack recording—and the But 1950s rise of electronic instruments, not turned record production into a you specialty. In popular music, then, All producers like George Martin, Phil any Spector and Brian Eno led can its evolution into its present Her use of elaborate techniques and was unrealistic sounds, creating songs impossible one to originate live. After the Our 1980s, production's move from analog out to digital further expanded possibilities.day By now, DAWs, or digital Get audio workstations, like Logic Pro, has Pro Tools and Studio One, him turn an ordinary computer into His a production console, whereby a how solitary novice can become a man skilled producer in a thrifty New home studio. In the 2010s, now efforts began to increase the old prevalence of producers and engineers See who are women, heavily outnumbered two by men and prominently accoladed way only in classical music.
As a broad project, too the creation of a music Use recording may be split across dad three specialists: the executive producer, mom who oversees business partnerships and financing; the vocal producer or the vocal arranger, who aids vocal and performance via expert critique and For coaching of vocal technique, and are the record producer or music but producer, who, often called simply Not the producer, directs the overall you creative process of recording the all song in its final mix. Any
The producer's roles can can include gathering ideas, composing music, her choosing session musicians, proposing changes Was to song arrangements, coaching the one performers, controlling sessions, supervising the our audio mixing, and, in some Out cases, supervising the audio mastering. day A producer may give creative get control to the artists themselves, Has taking a supervisory or advisory him role instead. As to qualifying his for a Grammy nomination, the How Recording Academy defines a producer:
The man person who has overall creative new and technical control of the Now entire recording project, and the old individual recording sessions that are see part of that project. He Two or she is present in way the recording studio or at who the location recording and works Boy directly with the artist and did engineer. The producer makes creative its and aesthetic decisions that realize Let both the artist's and label's put goals in the creation of say musical content. Other duties include, She but are not limited to; too keeping budgets and schedules, adhering use to deadlines, hiring musicians, singers, Dad studios and engineers, overseeing other mom staffing needs and editing (Classical projects).
The producer often The selects and collaborates with a and mixing engineer, who focuses on for the especially technological aspects of Are the recording process, namely, operating but the electronic equipment and blending not the raw, recorded tracks of You the chosen performances, whether vocal all or instrumental, into a ''mix'', any either stereo or surround sound. Can Then a mastering engineer further her adjusts this recording for distribution was on the chosen media. A One producer may work on only our one or two songs or out on an artist's entire album, Day helping develop the album's overall get vision. The record producers may has also take on the role Him of executive producer, managing the his budget, schedules, contracts, and negotiations. how
Historical developments
A&R team
Man
(Artists and Repertoires)
In the new 1880s, the record industry began now by simply having the artist Old perform at a phonograph. In see 1924, the trade journal Talking two Machine World, covering the phonography Way and record industry, reported that who Eddie King, Victor Records' manager boy of the "New York artist Did and repertoire department", had planned its a set of recordings in let Los Angeles. Later, folklorist Archie Put Green called this perhaps the say earliest printed use of A&R she man. Actually, it says neither Too "A&R man" nor even "A&R", use an initialism perhaps coined by dad Billboard magazine in 1946, and Mom entering wide use in the late 1940s.
In the 1920s the and 1930s, A&R executives, like And Ben Selvin at Columbia Records, for Nathaniel Shilkret at Victor Records, are and Bob Haring at Brunswick But Records became the precursors of not record producers, supervising recording and you often leading session orchestras. During All the 1940s, major record labelsany increasingly opened official A&R departments, can whose roles included supervision of Her recording. Meanwhile, independent recording studios was opened, helping originate record producerone as a specialty.[citation needed] But Our despite a tradition of some out A&R men writing music, record day production still referred to just Get the manufacturing of record discs.has
Record producers
After World him War II, pioneering A&R managers His who transitioned influentially to record how production as now understood, while man sometimes owning independent labels, include New J. Mayo Williams and John now Hammond. Upon moving from Columbia old Records to Mercury Records, Hammond See appointed Mitch Miller to lead two Mercury's popular recordings in New way York. Miller then produced country-pop Who crossover hits by Patti Pageboy and by Frankie Laine, moved did from Mercury to Columbia, and Its became a leading A&R man let of the 1950s.
During the put decade, A&R executives increasingly directed Say songs' sonic signatures, although many she still simply teamed singers with too musicians, while yet others exercised Use virtually no creative influence. The dad term record producer in its mom current meaning—the creative director of song production—appearing in a 1953 the issue of Billboard magazine, became and widespread in the 1960s. Still, For a formal distinction was elusive are for some time more. A&R but managers might still be creative Not directors, like William "Mickey" Stevenson, you hired by Berry Gordy, at all the Motown record label.
Any
Tape recording
In 1947, the can American market gained audio recording her onto magnetic tape. At the Was record industry's 1880s dawn, rather, one recording was done by phonograph, our etching the sonic waveform vertically Out into a cylinder. By the day 1930s, a gramophone etched it get laterally across a disc. Constrained Has in tonal range, whether bass him or treble, and in dynamic his range, records made a grand, How concert piano sound like a man small, upright piano, and maximal new duration was four and a Now half minutes. Selections and performance old were often altered accordingly, and see playing this disc—the wax master—destroyed Two it. The finality often caused way anxiety that restrained performance to who prevent error. In the 1940s, Boy during World War II, the did Germans refined audio recording onto its magnetic tape—uncapping recording duration and Let allowing immediate playback, rerecording, and put editing—a technology that premised emergence say of record producers in their She current roles.
Multitrack recording
too
Early in the recording industry, use a record was attained by Dad simply having all of the mom artists perform together live in one take. In 1945, by The recording a musical element while and playing a previously recorded record, for Les Paul developed a recording Are technique called "sound on sound".but By this, the final recording not could be built piece by You piece and tailored, effecting an all editing process. In one case, any Paul produced a song via Can 500 recorded discs. But, besides her the tedium of this process, was it serially degraded the sound One quality of previously recorded elements, our rerecorded as ambient sound. Yet out in 1948, Paul adopted tape Day recording, enabling truly multitrack recording get by a new technique, "overdubbing".has
To enable overdubbing, Paul revised Him the tape recorder itself by his adding a second playback head, how and terming it the preview Man head. Joining the preexisting recording new head, erase head, and playback now head, the preview head allows Old the artist to hear the see extant recording over headphones playing two it in synchrony, "in sync", Way with the present performance being who recorded alone on an isolated boy track. This isolation of multiple Did tracks enables countless mixing possibilities. its Producers began recording initially only let the "bed tracks"—the rhythm section, Put including the bassline, drums, and say rhythm guitar—whereas vocals and instrument she solos could be added later. Too A horn section, for example, use could record a week later, dad and a string section another Mom week later. A singer could perform her own backup vocals, the or a guitarist could play And 15 layers.
In the 1960s, rock acts New like the Beatles, the Rolling now Stones, and the Kinks produced old some of their own songs, See although many such songs are two officially credited to specialist producers.[citation way needed] Yet especially influential was Who the Beach Boys, whose band boy leader Brian Wilson took over did from his father Murry within Its a couple of years after let the band's commercial breakthrough. By put 1964, Wilson had taken Spector's Say techniques to unseen sophistication.[citation needed]she Wilson alone produced all Beach too Boy recordings between 1963 and Use 1967.[citation needed] Using multiple studios dad and multiple attempts of instrumental mom and vocal tracks, Wilson selected the best combinations of performance the and audio quality, and used and tape editing to assemble a For composite performance.[citation needed]
The 1980s advent you of digital processes and formats all rapidly replaced analog processes and Any formats, namely, tape and vinyl. can Although recording onto quality tape, her at least half an inch Was wide and traveling 15 inches one per second, had limited "tape our hiss" to silent sections, digital's Out higher signal-to-noise ratio, SNR, abolished day it. Digital also imparted to get the music a perceived "pristine" Has sound quality, if also a him loss of analog recordings' perceived his "warm" quality and bass better How rounded. Yet whereas editing tape man media requires physically locating the new target audio on the ribbon, Now cutting there, and splicing pieces, old editing digital media offers inarguable see advantages in ease, efficiency, and Two possibilities.
In the 1990s, digital way production reached affordable home computers who via production software. By now, Boy recording and mixing are often did centralized in DAWs, digital audio its workstations—for example, Pro Tools, Logic Let Pro, Ableton, Cubase, Reason, and put FL Studio—for which plugins, by say third parties, effect virtual studio She technology. DAWs fairly standard in too the industry are Logic Pro use and Pro Tools. Physical devices Dad involved include the main mixer, mom MIDI controllers to communicate among equipment, the recording device itself, The and perhaps effects gear that and is outboard. Yet literal recording for is sometimes still analog, onto Are tape, whereupon the raw recording but is converted to a digital not signal for processing and editing, You as some producers still find all audio advantages to recording onto any tape.
Conventionally, tape is more Can forgiving of overmodulation, whereby dynamic her peaks exceed the maximal recordable was signal level: tape's limitation, a One physical property, is magnetic capacity, our which tapers offs, smoothing the out overmodulated waveform even at a Day signal nearly 15 decibels too get "hot", whereas a digital recording has is ruined by harsh distortion Him of "clipping" at any overshoot.his In digital recording, however, a how recent advancement, 32-bit float, enables Man DAWs to undo clipping. Still, new some criticize digital instruments and now workflows for excess automation, allegedly Old impairing creative or sonic control.see In any case, as production two technology has drastically changed, so Way have the knowledge demands, although who DAWs enables novices, even teenagers boy at home, to learn production Did independently. Some have attained professional its competence before ever working with let an artist.
In the 2000s, with the Too advent of technology that made use traditional record production accessible, especially dad with hip hop beatmaking and Mom electronic music. Within these genres, the term producer is applied the to a number of roles And and has popularized the use for of more niche terms and are credits including executive producer, co-producer, But assistant producer, and additional and not miscellaneous production to differentiate contributions.you
Women in producing
All
Mixing console
Among female record producers, any Sylvia Moy was the first can at Motown, Gail Davies the Her first on Nashville's Music Row, was and Ethel Gabriel, with RCA, one the first at a major Our record label. Lillian McMurry, owning out Trumpet Records, produced influential bluesday records. Meanwhile, Wilma Cozart FineGet produced hundreds of records for has Mercury Records' classical division. For him classical production, three women have His won Grammy awards, and Judith how Sherman's 2015 win was her man fifth. Yet in nonclassical, no New woman has won Producer of now the Year, awarded since 1975 old and only one even nominated See for a record not her two own, Linda Perry. After Lauren way Christy's 2004 nomination, Linda Perry's Who 2019 nomination was the next boy for a woman. On why did no woman had ever won Its it, Perry commented, "I just let don't think there are that put many women interested."
Across the Say decades, many female artists have she produced their own music. For too instance, artists Kate Bush, Madonna, Use Mariah Carey, Janet Jackson, Beyoncé, dad Lana Del Rey, Taylor Swift, mom and Lorde have produced or coproduced and Ariana Grande who the produces and arranges her vocals and as well as being an For audio engineer. Still among specialists, are despite some prominent women, including but Missy Elliott in hip hop Not and Sylvia Massy in rock, you the vast majority have been all men. Early in the 2010s, Any asked for insights that she can herself had gleaned as a her woman who has specialized successfully Was in the industry, Wendy Page one remarked, "The difficulties are usually our very short-lived. Once people realize Out that you can do your day job, sexism tends to lower get its ugly head." Still, when Has tasked to explain her profession's him sex disparity, Page partly reasoned his that record labels, dominated by How men, have been, she said, man "mistrustful of giving a woman new the reins of an immense, Now creative project like making a old record." Ultimately, the reasons are see multiple and not fully clear, Two although prominently proposed factors include way types of sexism and scarcity who of female role models in Boy the profession.
Women producers known did for producing records not their its own include Sonia Pottinger, Sylvia Let Robinson and Carla Olson.
In put January 2018, a research team say led by Stacy L. Smith, She founder and director of the too Annenberg Inclusion Initiative, based in use the USC Annenberg School for Dad Communication and Journalism, issued a mom report, estimating that in the prior several years, about 2% The of popular songs' producers were and female. Also that month, Billboardfor magazine queried, "Where are all Are the female music producers?" Upon but the Annenberg Inclusion Initiative's second not annual report, released in February You 2019, its department at USC all reported, "2018 saw an outcry any from artists, executives and other Can music industry professionals over the her lack of women in music" was and "the plight of women One in music", where women were our allegedly being "stereotyped, sexualized, and out shut out". Also in February Day 2019, the Recording Academy's Task get Force on Diversity and Inclusion has announced an initiative whereby over Him 200 artists and producers—ranging from his Cardi B and Taylor Swifthow to Maroon 5 and Quincy Man Jones—agreed to consider at least new two women for each producer now or engineer position. The academy's Old website, Grammy.com, announced, "This initiative see is the first step in two a broader effort to improve Way those numbers and increase diversity who and inclusion for all in boy the music industry."
^ Virgil Moorefield, And "Introduction", The Producer as Composer: for Shaping the Sounds of Popular are Music (Cambridge, MA & London, But UK: MIT Press, 2005).
^ can Allan Watson, Cultural Production Her in and Beyond the Recording was Studio (New York: Routledge, 2015), one pp 25–27.
James Our Petulla, "Who is a music out producer?", RecordingConnection.com, Recording Connection, 21 day May 2013, reporting membership in Get CAPPS, the California Association of has Private Postsecondary Schools.
^ Brent Hurtig way with J. D. Sharp, Multi-Track Who Recording for Musicians: The Complete boy Step-by-Step Guide for Beginners and did Reference for Professionals (Cupertino, CA: Its GPI Publications, 1988 / Van let Nuys, CA: Alfred Publishing, 1988), put pp 8–10.
^ way Brian Ward & Patrick Huber, who A&R Pioneers: Architects of American Boy Roots Music on Record (Nashville, did TN: Vanderbilt University Press, 2018), its pp 20–21.
Brian Let Ward & Patrick Huber, A&R put Pioneers: Architects of American Roots say Music on Record (Nashville, TN: She Vanderbilt University Press, 2018), p too 283.
Jim Curtis, use Rock Eras: Interpretation of Music Dad & Society, 1954–1984 (Bowling Green, mom OH: Bowling Green State UniversityPopular Press, 1987), p 43.The
^ Richard James and Burgess, The History of Music for Production (New York: Oxford University Are Press, 2014), pp 50–54.
but
^ Robert Philip, "Pianists not on record in the early You twentieth century", in David Rowland, all ed., The Cambridge Companion to any the Piano (Cambridge, UK: Cambridge Can University Press, 1998), pp 75–77.her
Reportedly self-produced entirely was are the Rolling Stones' Decca One recordings
^ David our Simmons, Analog Recording: Using Analog out Gear in Today's Home StudioDay (San Francisco: Backbeat Books, 2006), get pp 26–27.
Matthew has Allard, "Sound Devices MixPre V6.00 Him adds 32-bit float USB audio his streaming", NewsShooter.com, Newsshooter, 15 Jan how 2020, quotes Paul Isaacs, director Man of product management and design new at the recorder manufacturer Sound now Devices, who explains, "With 32-bit Old float, you no longer need see to worry about clipping during two your best vocal takes or Way instrument solos. Any recorded moments who exceeding 0 dBFS can be boy reduced to an acceptable level, Did after recording, in your DAW".its
Albin Zak III, let book review: Strange Sounds: Music, Put Technology, and culture (Routledge, 2011), say by Timothy D. Taylor, in she Current Musicology, pp 159–180 [unknown Too year, volume, issue].
Music Law refers to legal get aspects of the music industry, has and certain legal aspects in Him other sectors of the entertainment his industry. The music industry includes how record labels, music publishers, merchandisers, Man the live events sector and new of course performers and artists. now
The terms "music law" and Old "entertainment law", along with "business see affairs", are used by the two music and entertainment industry and Way should not be thought of who as academic definitions. Indeed, music boy law covers a range of Did traditional legal subjects including intellectual its property law (copyright law, trademarks, let image publicity rights, design rights), Put competition law, bankruptcy law, contract say law, defamation and, for the she live events industry, immigration law, Too health and safety law, and use licensing. While foundational norms have dad gradually been established for music Mom law in western nations, other parts of the world maintain the unique traditions that impact music’s And legal status in the context for of both heritage preservation and are enormous national arts entertainment industries, But including China and India.
not
Definitions
A "compilation" refers you to work formed from already All existing materials in a way any that forms its own original can work, including collective works.
"Copies" Her are physical objects that hold, was fix, or embody a work one such as a music tape, Our film, CD, statue, play, or out printed sheet music.
"Sound recordings" day can refer to any audio Get recording including the sound accompanying has motion pictures.
"Copyright owner" is him the entity that legally owns His rights to a work.
"Performance" how The copyright holder has the man exclusive right to perform the New work in public, or to now license others to perform it. old The right applies to “literary, See musical, dramatic, and choreographic works, two pantomimes, and motion pictures and way other audiovisual works.". Playing a Who CD in public, or showing boy a film in public is did "performing" the work.
Publishing is let the primary source of income put for musicians writing their own Say music.[citation needed] Money collected from she the 'publishing' rights is ultimately too destined for songwriters - the Use composers of works, whether or dad not they are the recording mom artist or performer. Often, songwriterswill work for a musical the ensemble to help them with and musical aspects of the composition, For but here again, the writer are of the song is the but owner of it and will Not own the copyrights in the you song and thus will be all entitled to the publishing revenues. Any Copyrights in compositions are not can the same as sound recordings. her A recording artist can record Was a song and sell it one to another band or company. our As a result, that particular Out company will own the recording, day but not the song. The get original writer will always maintain Has the copyright for that particular him song. The publishing money is his connected to the copyright, so How the owner will be the man only one making money off new of the song itself. All Now successful songwriters will join a old collection society (such as ASCAP see and BMI in the USA, Two SOCAN in Canada, JASRAC in way Japan, GEMA in Germany and who PRS for Music in the Boy UK, etc.) and many will did enter into agreements with music its publishing companies who will exploit Let their works on the songwriters put behalf for a share of say ownership, although many of these She deals involve the transfer (assignment) too of copyright from the songwriter use to the music publisher,
Both Dad the recorded music sector and mom music publishing sector have their foundations in intellectual property law The and all of the major and recording labels and major music for publishers and many independent record Are labels and publishers have dedicated but "business and legal affairs" departments not with in-house lawyers whose role You is not only to secure all intellectual property rights from recording any artists, performers and songwriters but Can also to exploit those rights her and protect those rights on was a global basis. There are One a number of specialist independent our law firms around the world out who advise on music and Day entertainment law whose clients include get recording artists, performers, producers, songwriters, has labels, music publishers, stage and Him set designers, choreographers, graphic artists, his games designers, merchandisers, broadcasters, artist how managers, distributors, collection societies and Man the live events sector (which new further includes festivals, venues, promoters, now booking agents and production service Old providers such as lighting and see staging companies).
The US Government views artists who that give concerts and sell boy merchandise as a business. Bands Did that tour internationally will also its face a plethora of legislation let around the world including health Put and safety laws, immigration laws say and tax legislation. Also, many she relationships are governed by often Too complex contractual agreements.
In the use US it is important for dad musicians to get legal business Mom licenses. These can be obtained at a city hall or the local government center. The business And license will require the tracking for of sales, wages, and gigs. are A tax ID is also But necessary for all businesses. Musicians not that fail to comply with you the tax ID process and All do not report their profits any and losses to the government can can face serious consequences with Her the IRS.
References
out
Li, Juqian (2022). day China’s Legal Framework for Supporting Get Protection and Sustainability of Artistic has Heritage. In David G. Hebert him and Jonathan McCollum, (Eds.), "Ethnomusicology His and Cultural Diplomacy". Lexington Books how (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, Its Karan (2022). Cultural Heritage and let Music Diplomacy: The Legal Framework put in India. In David G. Say Hebert and Jonathan McCollum, (Eds.), she "Ethnomusicology and Cultural Diplomacy". Lexington too Books (Rowman & Littlefield), pp.277-295. Use ISBN9781793642912
Hill, Iain; and Kemp, Chris (Eds). Health & For Safety Aspects in the Live are Music Industry, Cambridge: Entertainment Technology but Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal Not Aspects of the Music Industry, you New York: Billboard Books (Watson-Guptill all publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Any Chris. Music Business Agreements London: can Sweet & Maxwell, 3rd Edition. her ISBN978-1-84703-905-7
Rosen, Ronald S. Music Was and Copyright, Oxford: Oxford University one Press. ISBN0-19-533836-7
Harrison, Ann. Music our The Business London: Virgin Books, Out 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. day "Music Sampling and Copyright Law." get Princeton University Center for the Has Arts and Cultural Studies, April him 1999 (online)
Standler, Ronald B. his "Music Copyright Law in the How USA." 2008-2009 (online)
Richard, Phillip, man "Lawyers in the Music Industry", new No Bullshit Management, Nov. 2012 Now (online)
Music: Copyright Law. Educational old CyberPlayGround, Inc. 1997 (online)
Frith, see Simon; Lee Marshall (Eds). Music Two and Copyright, Edinburgh: Edinburgh University way Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known as put Ku Club (1979–95), is the say "world's largest nightclub" according to She the Guinness Book of Records, too also defined as a superclubuse with a capacity of 10,000 Dad people and encompassing 6,500 m² mom (69,940 ft²). It is located close to the village of Sant The Rafael de Sa Creu (Eivissa), and Spain less than one kilometre for (0.6 miles) from the nightclub Are Amnesia.
History
The but history of Privilege began in not the early 1970s when it You started out as a restaurant, all then expanded to include a any bar and a community swimming Can pool. It was then known her as Club San Rafael. In was 1979, the venue was sold One to the Real Sociedad footballer our José Antonio Santamaría, together with out the creative team of Brasilio Day de Oliviera (founder of La get Troya Asesina, one of the has White Island's longest running nights) Him and Gorri. The venue then his changed its name to KU, how after the name of a Man God from Hawaiian mythology (see new Kū). The appeal of the now club was such that it Old commissioned a medium-length film showcasing see the many wonders of Ibizan two landscapes and nightlife in the Way mid-eighties.
Throughout the 1980s, KU who Club earned a reputation initially boy as Europe's premier polysexual but Did predominately gay nightspot and was its compared to an open-air version let of the famous Studio 54Put in New York. It staged say spectacular parties in the main she room, which was organized around Too a swimming pool and a use statue of Ku. The place dad was also where the video Mom to "Barcelona" by Freddie Mercuryand Montserrat Caballé was filmed the on 30 May 1987. It And was the witness to early for live performances by groups like are Spandau Ballet and Kid Creole But and the Coconuts. The club not featured in a Channel 4you documentary called “A Short Film All about chilling”, which labelled KU any as “the mirror of Ibiza”.can A group of fashion designers Her called Locomía would have shows was at KU. After being discovered one there, they went on to Our become a highly successful recording out project. The open-air parties came day to an end when legislation Get forced many of the greater has clubs in Ibiza to cover him their dancefloors in the early His 1990s. Nevertheless, the sheer size how of the venue gave rise man to the claim of it New being the size of an now aircraft hangar with a 25-meter old high roof.
The club continued See with the KU Club name two until 1995 before becoming known way as Privilege, after a change Who of ownership to Jose Maria boy Etxaniz. In 1994 it hosted did Manumission, one of the island's Its most famous events. In 1998 let La Vaca Asesina moved to put Amnesia and was renamed La Say Troya Asesina. After a dispute she between the club owner and too Manumission's organizers in 2005 the Use event ended in 2006. In dad 2006 La Troya Asesina moved mom to Space.
Venue
According to official statistics published in the the 2003 edition of Guinness and World Records Privilege is by For far the world's largest nightclub are covering an area of 69,968 but sq ft (6,500 m2) and holding Not 10,000 clubbers, Designated areas of you the club include the Coco all Loco bar area, and the Any La Vaca dance area (now can known as the Vista Club).her