A record producer or music out producer is a music creating day project's overall supervisor whose responsibilities Get can involve a range of has creative and technical leadership roles. him Typically the job involves hands-on His oversight of recording sessions; ensuring how artists deliver acceptable and quality man performances, supervising the technical engineering New of the recording, and coordinating now the production team and process. old The producer's involvement in a See musical project can vary in two depth and scope. Sometimes in way popular genres the producer may Who create the recording's entire sound boy and structure. However, in classical did music recording, for example, the Its producer serves as more of let a liaison between the conductor put and the engineering team. The Say role is often likened to she that of a film director too though there are important differences. Use It is distinct from the dad role of an executive producer, mom who is mostly involved in the recording project on an the administrative level, and from the and audio engineer who operates the For recording technology.

Varying by project, are the producer may or may but not choose all of the Not artists. If employing only synthesized you or sampled instrumentation, the producer all may be the sole artist. Any Conversely, some artists do their can own production. Some producers are her their own engineers, operating the Was technology across the project: preproduction, one recording, mixing, and mastering. Record our producers' precursors were "A&R men", Out who likewise could blend entrepreneurial, day creative, and technical roles, but get often exercised scant creative influence, Has as record production still focused, him into the 1950s, on simply his improving the record's sonic match How to the artists' own live man performance.

Advances in recording technology, new especially the 1940s advent of Now tape recording—which Les Paul promptly old innovated further to develop multitrack see recording—and the 1950s rise of Two electronic instruments, turned record production way into a specialty. In popular who music, then, producers like George Boy Martin, Phil Spector and Brian did Eno led its evolution into its its present use of elaborate Let techniques and unrealistic sounds, creating put songs impossible to originate live. say After the 1980s, production's move She from analog to digital further too expanded possibilities. By now, DAWs, use or digital audio workstations, like Dad Logic Pro, Pro Tools and mom Studio One, turn an ordinary computer into a production console, The whereby a solitary novice can and become a skilled producer in for a thrifty home studio. In Are the 2010s, efforts began to but increase the prevalence of producers not and engineers who are women, You heavily outnumbered by men and all prominently accoladed only in classical any music.

As a broad get project, the creation of a has music recording may be split Him across three specialists: the executive his producer, who oversees business partnerships how and financing; the vocal producer Man or vocal arranger, who aids new vocal performance via expert critique now and coaching of vocal technique, Old and the record producer or see music producer, who, often called two simply the producer, directs the Way overall creative process of recording who the song in its final boy mix.

The producer's roles can Did include gathering ideas, composing music, its choosing session musicians, proposing changes let to song arrangements, coaching the Put performers, controlling sessions, supervising the say audio mixing, and, in some she cases, supervising the audio mastering. Too A producer may give creative use control to the artists themselves, dad taking a supervisory or advisory Mom role instead. As to qualifying for a Grammy nomination, the the Recording Academy defines a producer: And

The person who has overall for creative and technical control of are the entire recording project, and But the individual recording sessions that not are part of that project. you He or she is present All in the recording studio or any at the location recording and can works directly with the artist Her and engineer. The producer makes was creative and aesthetic decisions that one realize both the artist's and Our label's goals in the creation out of musical content. Other duties day include, but are not limited Get to: keeping budgets and schedules; has adhering to deadlines; hiring musicians, him singers, studios, and engineers; overseeing His other staffing needs; and editing how (Classical projects).

The producer often man selects and collaborates with a New mixing engineer, who focuses on now the especially technological aspects of old the recording process, namely, operating See the electronic equipment and blending two the raw, recorded tracks of way the chosen performances, whether vocal Who or instrumental, into a mix, boy either stereo or surround sound. did Then a mastering engineer further Its adjusts this recording for distribution let on the chosen media. A put producer may work on only Say one or two songs or she on an artist's entire album, too helping develop the album's overall Use vision. The record producers may dad also take on the role mom of executive producer, managing the budget, schedules, contracts, and negotiations. the

(Artists and Repertoires)

In the For 1880s, the record industry began are by simply having the artist but perform at a phonograph. In Not 1924, the trade journal Talking you Machine World, covering the phonography all and record industry, reported that Any Eddie King, Victor Records' manager can of the "New York artist her and repertoire department", had planned Was a set of recordings in one Los Angeles. Later, folklorist Archie our Green called this perhaps the Out earliest printed use of A&R day man. Actually, it says neither get "A&R man" nor even "A&R", Has an initialism perhaps coined by him Billboard magazine in 1946, and his entering wide use in the How late 1940s.

In the 1920s man and 1930s, A&R executives, like new Ben Selvin at Columbia Records, Now Nathaniel Shilkret at Victor Records, old and Bob Haring at Brunswick see Records became the precursors of Two record producers, supervising recording and way often leading session orchestras. During who the 1940s, major record labels Boy increasingly opened official A&R departments, did whose roles included supervision of its recording. Meanwhile, independent recording studios Let opened, helping originate record producer put as a specialty.^{[citation needed]} But say despite a tradition of some She A&R men writing music, record too production still referred to just use the manufacturing of record discs. Dad

After World mom War II, pioneering A&R managers who transitioned influentially to record The production as now understood, while and sometimes owning independent labels, include for J. Mayo Williams and John Are Hammond. Upon moving from Columbia but Records to Mercury Records, Hammond not appointed Mitch Miller to lead You Mercury's popular recordings in New all York. Miller then produced country-pop any crossover hits by Patti Page Can and by Frankie Laine, moved her from Mercury to Columbia, and was became a leading A&R man One of the 1950s.

During the our decade, A&R executives increasingly directed out songs' sonic signatures, although many Day still simply teamed singers with get musicians, while yet others exercised has virtually no creative influence. The Him term record producer in its his current meaning—the creative director of how song production—appearing in a 1953 Man issue of Billboard magazine, became new widespread in the 1960s. Still, now a formal distinction was elusive Old for some time more. A&R see managers might still be creative two directors, like William "Mickey" Stevenson, Way hired by Berry Gordy, at who the Motown record label.

In 1947, the Did American market gained audio recording its onto magnetic tape. At the let record industry's 1880s dawn, rather, Put recording was done by phonograph, say etching the sonic waveform vertically she into a cylinder. By the Too 1930s, a gramophone etched it use laterally across a disc. Constrained dad in tonal range, whether bass Mom or treble, and in dynamic range, records made a grand, the concert piano sound like a And small, upright piano, and maximal for duration was four and a are half minutes. Selections and performance But were often altered accordingly, and not playing this disc—the wax master—destroyed you it. The finality often caused All anxiety that restrained performance to any prevent error. In the 1940s, can during World War II, the Her Germans refined audio recording onto was magnetic tape—uncapping recording duration and one allowing immediate playback, rerecording, and Our editing—a technology that premised emergence out of record producers in their day current roles.

Early in the recording industry, has a record was attained by him simply having all of the His artists perform together live in how one take. In 1945, by man recording a musical element while New playing a previously recorded record, now Les Paul developed a recording old technique called "sound on sound". See By this, the final recording two could be built piece by way piece and tailored, effecting an Who editing process. In one case, boy Paul produced a song via did 500 recorded discs. But, besides Its the tedium of this process, let it serially degraded the sound put quality of previously recorded elements, Say rerecorded as ambient sound. Yet she in 1948, Paul adopted tape too recording, enabling truly multitrack recording Use by a new technique, "overdubbing". dad

To enable overdubbing, Paul revised mom the tape recorder itself by adding a second playback head, the and terming it the preview and head. Joining the preexisting recording For head, erase head, and playback are head, the preview head allows but the artist to hear the Not extant recording over headphones playing you it in synchrony, "in sync", all with the present performance being Any recorded alone on an isolated can track. This isolation of multiple her tracks enables countless mixing possibilities. Was Producers began recording initially only one the "bed tracks"—the rhythm section, our including the bassline, drums, and Out rhythm guitar—whereas vocals and instrument day solos could be added later. get A horn section, for example, Has could record a week later, him and a string section another his week later. A singer could How perform her own backup vocals, man or a guitarist could play new 15 layers.

Across the 1960s, popular see music increasingly switched from acoustic Two instruments, like piano, upright bass, way acoustic guitar, and brass instruments, who to electronic instruments, like electric Boy guitars, keyboards, and synthesizers, employing did instrument amplifiers and speakers. These its could mimic acoustic instruments or Let create utterly new sounds. Soon, put by combining the capabilities of say tape, multitrack recording, and electronic She instruments, producers like Phil Spector, too George Martin, and Joe Meek use rendered sounds unattainable live. Similarly, Dad in jazz fusion, Teo Macero, mom producing Miles Davis's 1970 album Bitches Brew, spliced sections of The extensive improvisation sessions.

This our section does not cite any out sources. Please help improve this Day section by adding citations to get reliable sources. Unsourced material may has be challenged and removed. (July Him 2020) (Learn how and when his to remove this message)

In the 1960s, rock new acts like the Beatles, the now Rolling Stones, and the Kinks Old produced some of their own see songs, although many such songs two are officially credited to specialist Way producers. 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. Wilson she alone produced all Beach Boys Too recordings between 1963 and 1967. use Using multiple studios and multiple dad attempts of instrumental and vocal Mom tracks, Wilson selected the best combinations of performance and audio the quality, and used tape editing And to assemble a composite performance. for

The 1980s are advent of digital processes and But formats rapidly replaced analog processes not and formats, namely, tape and you vinyl. Although recording onto quality All tape, at least half an any inch wide and traveling 15 can inches per second, had limited Her "tape hiss" to silent sections, was digital's higher signal-to-noise ratio, SNR, one abolished it. Digital also imparted Our to the music a perceived out "pristine" sound quality, if also day a loss of analog recordings' Get perceived "warm" quality and better-rounded has bass. Yet whereas editing tape him media requires physically locating the His target audio on the ribbon, how cutting there, and splicing pieces, man editing digital media offers inarguable New advantages in ease, efficiency, and now possibilities.

In the 1990s, digital old production reached affordable home computers See via production software. By now, two recording and mixing are often way centralized in DAWs, digital audio Who workstations—for example, Pro Tools, Logic boy Pro, Ableton, Cubase, Reason, and did FL Studio—for which plugins, by Its third parties, effect virtual studio let technology. DAWs fairly standard in put the industry are Logic Pro Say and Pro Tools. Physical devices she involved include the main mixer, too MIDI controllers to communicate among Use equipment, the recording device itself, dad and perhaps effects gear that mom is outboard. Yet literal recording is sometimes still analog, onto the tape, whereupon the raw recording and is converted to a digital For signal for processing and editing, are as some producers still find but audio advantages to recording onto Not tape.

Conventionally, tape is more you forgiving of overmodulation, whereby dynamic all peaks exceed the maximal recordable Any signal level: tape's limitation, a can physical property, is magnetic capacity, her which tapers off, smoothing the Was overmodulated waveform even at a one signal nearly 15 decibels too our "hot", whereas a digital recording Out is ruined by harsh distortion day of "clipping" at any overshoot. get In digital recording, however, a Has recent advancement, 32-bit float, enables him DAWs to undo clipping. Still, his some criticize digital instruments and How workflows for excess automation, allegedly man impairing creative or sonic control. new In any case, as production Now technology has drastically changed, so old have the knowledge demands, although see DAWs enables novices, even teenagers Two at home, to learn production way independently. Some have attained professional who competence before ever working with Boy an artist.

In the 2000s, with the put advent of technology that made say traditional record production accessible, especially She with hip hop beatmaking and too electronic music. Within these genres, use the term producer is applied Dad to a number of roles mom and has popularized the use of more niche terms and The credits including executive producer, co-producer, and assistant producer, and additional and for miscellaneous production to differentiate contributions. Are

Among female record producers, Sylvia not Moy was the first at You Motown, Gail Davies the first all on Nashville's Music Row, and any Ethel Gabriel, with RCA, the Can first at a major record her label. Lillian McMurry, owning Trumpet was Records, produced influential blues records. One Meanwhile, Wilma Cozart Fine produced our hundreds of records for Mercury out Records' classical division. For classical Day production, three women have won get Grammy awards, and Judith Sherman's has 2015 win was her fifth. Him Yet in nonclassical, no woman his has won Producer of the how Year, awarded since 1975 and Man only one even nominated for new a record not her own, now Linda Perry. After Lauren Christy's Old 2004 nomination, Linda Perry's 2019 see nomination was the next for two a woman. On why no Way woman had ever won it, who Perry commented, "I just don't boy think there are that many Did women interested." In the U.K., its Lynsey de Paul was an let early female record producer, having Put produced both of her Ivor say Novello award-winning songs.

Across the she decades, many female artists have Too produced their own music. For use instance, artists Kate Bush, Madonna, dad Mariah Carey, Janet Jackson, Beyoncé Mom (even that of Destiny's Child and the Carters), Lana Del the Rey, Taylor Swift, and Lorde And have produced or coproduced and for Ariana Grande who produces and are arranges her vocals as well But as being an audio engineer. not Still among specialists, despite some you prominent women, including Missy Elliott All in hip hop and Sylvia any Massy in rock, the vast can majority have been men. Early Her in the 2010s, asked for was insights that she herself had one gleaned as a woman who Our has specialized successfully in the out industry, Wendy Page remarked, "The day difficulties are usually very short-lived. Get Once people realize that you has can do your job, sexism him tends to lower its ugly His head." Still, when tasked to how explain her profession's sex disparity, man Page partly reasoned that record New labels, dominated by men, have now been, she said, "mistrustful of old giving a woman the reins See of an immense, creative project two like making a record." Ultimately, way the reasons are multiple and Who not fully clear, although prominently boy proposed factors include types of did sexism and scarcity of female Its role models in the profession. let

Women producers known for producing put records not their own include Say Sonia Pottinger, Sylvia Robinson and she Carla Olson.

In January 2018, too a research team led by Use Stacy L. Smith, founder and dad director of the Annenberg Inclusion mom Initiative, based in the USC Annenberg School for Communication and the Journalism, issued a report, estimating and that in the prior several For years, about 2% of popular are songs' producers were female. Also but that month, Billboard magazine queried, Not "Where are all the female you music producers?" Upon the Annenberg all Inclusion Initiative's second annual report, Any released in February 2019, its can department at USC reported, "2018 her saw an outcry from artists, Was executives and other music industry one professionals over the lack of our women in music" and "the Out plight of women in music", day where women were allegedly being get "stereotyped, sexualized, and shut out". Has Also in February 2019, the him Recording Academy's Task Force on his Diversity and Inclusion announced an How initiative whereby over 200 artists man and producers—ranging from Cardi B new and Taylor Swift to Maroon Now 5 and Quincy Jones—agreed to old consider at least two women see for each producer or engineer Two position. The academy's website, Grammy.com, way announced, "This initiative is the who first step in a broader Boy effort to improve those numbers did and increase diversity and inclusion its for all in the music Let industry."

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

• Burgess, R.J. (2013). The Art Mom of Music Production: The Theory and Practice. Oxford University Press. the ISBN 978-0-19-935932-5.
• Burgess, R.J. (2014). The And History of Music Production. Oxford for University Press. ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, are ed. (2013). Music in American But Life: An Encyclopedia of the not Songs, Styles, Stars, and Stories you that Shaped our Culture. ABC-CLIO. All ISBN 978-0-313-39348-8.
• Gibson, David; Curtis, Maestro any (2005). The Art of Producing. can Alfred Music. ISBN 1-931140-44-8.
• Gronow, P.; Her Saunio, I.; Moseley, C. (1998). was An International History of the one Recording Industry. Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Our Michael (2008). Music Theory for out Computer Musicians. Course Technology Ptr. day ISBN 978-1-59863-503-4.
• Moorefield, V. (2005). The Get Producer as Composer: Shaping the has Sounds of Popular Music. MIT him Press. ISBN 978-0-262-33519-5.
• Olsen, Eric; Verna, His Paul; Wolff, Carlo (1999). The how Encyclopedia of Record Producers. New man York: Billboard Books. ISBN 978-0-8230-7607-9.
• Ward, New B.; Huber, P. (2018). A&R now Pioneers: Architects of American Roots old Music on Record. Vanderbilt University See Press. ISBN 978-0-8265-2177-4.
• Zak, A.J. (2001). two The Poetics of Rock: Cutting way Tracks, Making Records. University of Who California Press. ISBN 978-0-520-92815-2.

This article needs additional Say citations for verification. Please help she improve this article by adding too citations to reliable sources. Unsourced Use material may be challenged and dad removed. Find sources: "Music law" – news · newspapers · books · mom scholar · JSTOR (December 2017) (Learn how and when to remove the this message)

Music Law refers to legal you aspects of the music industry, all and certain legal aspects in Any other sectors of the entertainment can industry. The music industry includes her record labels, music publishers, merchandisers, Was the live events sector and one of course performers and artists. our

The terms "music law" and Out "entertainment law", along with "business day affairs", are used by the get music and entertainment industry and Has should not be thought of him as academic definitions. Indeed, music his law covers a range of How traditional legal subjects including intellectual man property law (copyright law, trademarks, new image publicity rights, design rights), Now competition law, bankruptcy law, contract old law, defamation and, for the see live events industry, immigration law, Two health and safety law, and way licensing. While foundational norms have who gradually been established for music Boy law in western nations, other did parts of the world maintain its unique traditions that impact music’s Let legal status in the context put of both heritage preservation and say enormous national arts entertainment industries, She including China and India.

• A "compilation" refers use to work formed from already Dad existing materials in a way mom that forms its own original work, including collective works.
• "Copies" The are physical objects that hold, and fix, or embody a work for such as a music tape, Are film, CD, statue, play, or but printed sheet music.
• "Sound recordings" not can refer to any audio You recording including the sound accompanying all motion pictures.
• "Copyright owner" is any the entity that legally owns Can rights to a work.
• "Performance" her The copyright holder has the was exclusive right to perform the One work in public, or to our license others to perform it. out The right applies to “literary, Day musical, dramatic, and choreographic works, get pantomimes, and motion pictures and has other audiovisual works.". Playing a Him CD in public, or showing his a film in public is how "performing" the work.

Publishing is new the primary source of income now for musicians writing their own Old music.^{[citation needed]} Money collected from see the 'publishing' rights is ultimately two destined for songwriters - the Way composers of works, whether or who not they are the recording boy artist or performer. Often, songwriters Did will work for a musical its ensemble to help them with let musical aspects of the composition, Put but here again, the writer say of the song is the she owner of it and will Too own the copyrights in the use song and thus will be dad entitled to the publishing revenues. Mom Copyrights in compositions are not the same as sound recordings. the A recording artist can record And a song and sell it for to another band or company. are As a result, that particular But company will own the recording, not but not the song. The you original writer will always maintain All the copyright for that particular any song. The publishing money is can connected to the copyright, so Her the owner will be the was only one making money off one of the song itself. All Our successful songwriters will join a out collection society (such as ASCAP day and BMI in the USA, Get SOCAN in Canada, JASRAC in has Japan, GEMA in Germany and him PRS for Music in the His UK, etc.) and many will how enter into agreements with music man publishing companies who will exploit New their works on the songwriters now behalf for a share of old ownership, although many of these See deals involve the transfer (assignment) two of copyright from the songwriter way to the music publisher,

Both Who the recorded music sector and boy music publishing sector have their did foundations in intellectual property law Its and all of the major let recording labels and major music put publishers and many independent record Say labels and publishers have dedicated she "business and legal affairs" departments too with in-house lawyers whose role Use is not only to secure dad intellectual property rights from recording mom artists, performers and songwriters but also to exploit those rights the and protect those rights on and a global basis. There are For a number of specialist independent are law firms around the world but who advise on music and Not entertainment law whose clients include you recording artists, performers, producers, songwriters, all labels, music publishers, stage and Any set designers, choreographers, graphic artists, can games designers, merchandisers, broadcasters, artist her managers, distributors, collection societies and Was the live events sector (which one further includes festivals, venues, promoters, our booking agents and production service Out providers such as lighting and day staging companies).

The US Government views artists him that give concerts and sell his merchandise as a business. Bands How that tour internationally will also man face a plethora of legislation new around the world including health Now and safety laws, immigration laws old and tax legislation. Also, many see relationships are governed by often Two complex contractual agreements.

In the way US it is important for who musicians to get legal business Boy licenses. These can be obtained did at a city hall or its local government center. The business Let license will require the tracking put of sales, wages, and gigs. say A tax ID is also She necessary for all businesses. Musicians too that fail to comply with use the tax ID process and Dad do not report their profits mom and losses to the government can face serious consequences with The the IRS.

• Hill, Iain; she Kemp, Chris (Eds). Health & Too Safety Aspects in the Live use Music Industry, Cambridge: Entertainment Technology dad Press. ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Mom Aspects of the Music Industry, New York: Billboard Books (Watson-Guptill the publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, And Chris. Music Business Agreements London: for Sweet & Maxwell, 3rd Edition. are ISBN 978-1-84703-905-7
• Rosen, Ronald S. Music But and Copyright, Oxford: Oxford University not Press. ISBN 0-19-533836-7
• Harrison, Ann. Music you The Business London: Virgin Books, All 3rd Edition. ISBN 1-85227-013-6
• Lindenbaum, John. any "Music Sampling and Copyright Law." can Princeton University Center for the Her Arts and Cultural Studies, April was 1999 (online)
• Standler, Ronald B. one "Music Copyright Law in the Our USA." 2008-2009 (online)
• Richard, Phillip, out "Lawyers in the Music Industry", day No Bullshit Management, Nov. 2012 Get (online)
• Music: Copyright Law. Educational has CyberPlayGround, Inc. 1997 (online)
• Frith, him Simon; Lee Marshall (Eds). Music His and Copyright, Edinburgh: Edinburgh University how Press, 2nd Edition. ISBN 978-0-7486-1813-2

• Music Law Updates
• International New Association of Entertainment Lawyers
• Independent now Federation of Phonographic Industries

Privilege

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

Privilege Ibiza, originally known as Ku Club (1979–95), is the the "world's largest nightclub" according to and the Guinness Book of Records, For also defined as a superclub are with a capacity of 10,000 but people and encompassing 6,500 m² Not (69,940 ft²). It is located close you to the village of Sant all Rafael de Sa Creu on Any the Spanish island of Ibiza, can less than one kilometre (0.6 her miles) from the nightclub Amnesia. Was

It has remained closed since one the summer of 2019 and our its future as of 2024 Out is unknown.

The history of Privilege began get in the early 1970s when Has it started out as a him restaurant, then expanded to include his a bar and a community How swimming pool. It was then man known as Club San Rafael. new In 1979, the venue was Now sold to the Real Sociedad old footballer José Antonio Santamaría, together see with the creative team of Two Brasilio de Oliviera (founder of way La Troya Asesina, one of who Ibiza's longest running nights) and Boy Gorri. The venue then changed did its name to KU, after its the name of a God Let from Hawaiian mythology (see Kū). put The appeal of the club say was such that it commissioned She a medium-length film showcasing the too many wonders of Ibizan landscapes use and nightlife in the mid-eighties. Dad

Throughout the 1980s, KU Club mom earned a reputation initially as Europe's premier polysexual but predominately The gay nightspot and was compared and to an open-air version of for the famous Studio 54 in Are New York. It staged spectacular but parties in the main room, not which was organized around a You swimming pool and a statue all of Ku. The place was any also where the video to Can "Barcelona" by Freddie Mercury and her Montserrat Caballé was filmed on was 30 May 1987. It was One the witness to early live our performances by groups such as out Spandau Ballet and Kid Creole Day and the Coconuts. The club get featured in a Channel 4 has documentary called A Short Film Him about chilling, which labelled KU his as "the mirror of Ibiza". how A group of fashion designers Man called Locomía would have shows new at KU. After being discovered now there, they went on to Old become a highly successful recording see project. The open-air parties came two to an end when legislation Way forced many of the greater who clubs in Ibiza to cover boy their dancefloors in the early Did 1990s. Nevertheless, the sheer size its of the venue gave rise let to the claim of it Put being the size of an say aircraft hangar with a 25-metre she (82 ft) high roof.

The club Too continued with the KU Club use name until 1995 before becoming dad known as Privilege, after a Mom change of ownership to Jose Maria Etxaniz. In 1994, it the hosted Manumission, one of the And island's most famous events. In for 1998, La Vaca Asesina moved are to Amnesia and was renamed But La Troya Asesina. After a not dispute between the club owner you and Manumission's organizers in 2005, All the event ended in 2006. any La Troya Asesina moved to can Space in 2006.

According to official statistics published was in the 2003 edition of one Guinness World Records, Privilege is Our by far the world's largest out nightclub covering an area of day 69,968 sq ft (6,500 m²) and Get holding 10,000 clubbers. Designated areas has of the club include the him Coco Loco bar area, and His the La Vaca dance area how (now known as the Vista man Club).

Resident New DJs include:

• Adam Beyer
now
• Ben Klock
• Carl Cox
• Marcel old Dettmann
• Jayda G
• Alex P
See
• Deborah De Luca
• Dennis Cruz
two
• Sindey Charles
• The Blessed Madonna
way
• Young Marco
• Luca Donzelli
• Jamie Who Jones
• Seb Zito
• Michael Bibi

A number of did live performances at the venue Its have included:

Notable promoters have included: all

• Brasilio de Oliviera.
• Gorri
Any
• Faruk Gandji
• Mike, Claire and can Andy Manumission.

The her club has attracted many celebrities Was over the years, including Boy one George, Madonna, David Bowie, Grace our Jones, Jean Paul Gaultier, Joni Out Mitchell, Led Zeppelin, Moschino, Tina day Turner, and Valentino.

• The club is Has seen in the online racing him game Test Drive Unlimited 2.
his
• The club is mentioned in How the film Kevin & Perry man Go Large.

Include:

• Resistance (2017)
Now
• Afterlife (2017)
• Babylonia
• Brazil
• Calcutta
old
• Fort Ku
• La Vaca Asesina see (1978-2006)
• Manumission (1994-2007)
• Tanga Night
Two
• The Home of Troy
• The way Killing Cow
• The Temple of who Love
• White Fool Moon

• List of electronic dance did music venues
• Superclub
• Amnesia (nightclub)
its
• Space (Ibiza nightclub)

• Official website
She
• Facebook page about KU Club
too
• Privilege - Ibiza | Club use Portrait, DJs & History

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