Scratch Live allows manipulation see and playback of digital audiotwo files using traditional vinyl turntablesWay or CD players via special who timecode vinyl records or CDs. boy
The product is discontinued and Did has been replaced by Serato its DJ.
"Musical production" Our redirects here. For musical production out in the sense of a day live performance involving music and Get choreography, see Musical theatre.
A record producerdid is a music recording project's Its overall supervisor whose responsibilities can let involve a range of creative put and technical leadership roles. Typically Say the job involves hands-on oversight she of recording sessions: ensuring artists too deliver acceptable and quality performances, Use supervising the technical engineering of dad the recording, and coordinating the mom production team and process. The producer's involvement in a musical the project can vary in depth and and scope. Sometimes in popular For genres the producer may create are the recording's entire sound and but structure. However, in classical music Not recording, for example, the producer you serves as more of a all liaison between the conductor and Any the engineering team. The role can is often likened to that her of a film director though Was there are important differences. It one is distinct from the role our of an executive producer, who Out is mostly involved in the day recording project on an administrative get level, and from the audio Has engineer who operates the recording him technology.
Varying by project, the his producer may or may not How choose all of the artists.man If employing only synthesized or new sampled instrumentation, the producer may Now be the sole artist. Conversely, old some artists do their own see production. Some producers are their Two own engineers, operating the technology way across the project: preproduction, recording, who mixing, and mastering. Record producers' Boy precursors were "A&R men", who did likewise could blend entrepreneurial, creative, its and technical roles, but often Let exercised scant creative influence, as put record production still focused, into say the 1950s, on simply improving She the record's sonic match to too the artists' own live performance.use
Advances in recording technology, especially Dad the 1940s advent of tape mom recording—which Les Paul promptly innovated further to develop multitrack recording—and The the 1950s rise of electronic and instruments, turned record production into for a specialty. In popular music, Are then, producers like George Martin, but Phil Spector and Brian Enonot led its evolution into its You present use of elaborate techniques all and unrealistic sounds, creating songs any impossible to originate live. After Can the 1980s, production's move from her analog to digital further expanded was possibilities. By now, DAWs, or One digital audio workstations, like Logic our Pro, Pro Tools and Studio out One, turn an ordinary computer Day into a production console, whereby get a solitary novice can become has a skilled producer in a Him thrifty home studio. In the his 2010s, efforts began to increase how the prevalence of producers and Man engineers who are women, heavily new outnumbered by men and prominently now accoladed only in classical music.Old
As a broad project, let the creation of a music Put recording may be split across say three specialists: the executive producer, she who oversees business partnerships and Too financing; the vocal producer or use vocal arranger, who aids vocal dad performance via expert critique and Mom coaching of vocal technique, and the record producer or music the producer, who, often called simply And the producer, directs the overall for creative process of recording the are song in its final mix. But
The producer's roles can not include gathering ideas, composing music, you choosing session musicians, proposing changes All to song arrangements, coaching the any performers, controlling sessions, supervising the can audio mixing, and, in some Her cases, supervising the audio mastering. was A producer may give creative one control to the artists themselves, Our taking a supervisory or advisory out role instead. As to qualifying day for a Grammy nomination, the Get Recording Academy defines a producer:has
The person who has overall him creative and technical control of His the entire recording project, and how the individual recording sessions that man are part of that project. New He or she is present now in the recording studio or old at the location recording and See works directly with the artist two and engineer. The producer makes way creative and aesthetic decisions that Who realize both the artist's and boy label's goals in the creation did of musical content. Other duties Its include, but are not limited let to; keeping budgets and schedules, put adhering to deadlines, hiring musicians, Say singers, studios, and engineers, overseeing she other staffing needs and editing too (Classical projects).
The producer often Use selects and collaborates with a dad mixing engineer, who focuses on mom the especially technological aspects of the recording process, namely, operating the the electronic equipment and blending and the raw, recorded tracks of For the chosen performances, whether vocal are or instrumental, into a ''mix'', but either stereo or surround sound. Not Then a mastering engineer further you adjusts this recording for distribution all on the chosen media. A Any producer may work on only can one or two songs or her on an artist's entire album, Was helping develop the album's overall one vision. The record producers may our also take on the role Out of executive producer, managing the day budget, schedules, contracts, and negotiations. get
Historical developments
A&R team
Has
(Artists and Repertoires)
In the him 1880s, the record industry began his by simply having the artist How perform at a phonograph. In man 1924, the trade journal Talking new Machine World, covering the phonography Now and record industry, reported that old Eddie King, Victor Records' manager see of the "New York artist Two and repertoire department", had planned way a set of recordings in who Los Angeles. Later, folklorist Archie Boy Green called this perhaps the did earliest printed use of A&R its man. Actually, it says neither Let "A&R man" nor even "A&R", put an initialism perhaps coined by say Billboard magazine in 1946, and She entering wide use in the too late 1940s.
In the 1920s use and 1930s, A&R executives, like Dad Ben Selvin at Columbia Records, mom Nathaniel Shilkret at Victor Records, and Bob Haring at Brunswick The Records became the precursors of and record producers, supervising recording and for often leading session orchestras. During Are the 1940s, major record labelsbut increasingly opened official A&R departments, not whose roles included supervision of You recording. Meanwhile, independent recording studios all opened, helping originate record producerany as a specialty.[citation needed] But Can despite a tradition of some her A&R men writing music, record was production still referred to just One the manufacturing of record discs.our
Record producers
After World out War II, pioneering A&R managers Day who transitioned influentially to record get production as now understood, while has sometimes owning independent labels, include Him J. Mayo Williams and John his Hammond. Upon moving from Columbia how Records to Mercury Records, Hammond Man appointed Mitch Miller to lead new Mercury's popular recordings in New now York. Miller then produced country-pop Old crossover hits by Patti Pagesee and by Frankie Laine, moved two from Mercury to Columbia, and Way became a leading A&R man who of the 1950s.
During the boy decade, A&R executives increasingly directed Did songs' sonic signatures, although many its still simply teamed singers with let musicians, while yet others exercised Put virtually no creative influence. The say term record producer in its she current meaning—the creative director of Too song production—appearing in a 1953 use issue of Billboard magazine, became dad widespread in the 1960s. Still, Mom a formal distinction was elusive for some time more. A&R the managers might still be creative And directors, like William "Mickey" Stevenson, for hired by Berry Gordy, at are the Motown record label.
But
Tape recording
In 1947, the not American market gained audio recording you onto magnetic tape. At the All record industry's 1880s dawn, rather, any recording was done by phonograph, can etching the sonic waveform vertically Her into a cylinder. By the was 1930s, a gramophone etched it one laterally across a disc. Constrained Our in tonal range, whether bass out or treble, and in dynamic day range, records made a grand, Get concert piano sound like a has small, upright piano, and maximal him duration was four and a His half minutes. Selections and performance how were often altered accordingly, and man playing this disc—the wax master—destroyed New it. The finality often caused now anxiety that restrained performance to old prevent error. In the 1940s, See during World War II, the two Germans refined audio recording onto way magnetic tape—uncapping recording duration and Who allowing immediate playback, rerecording, and boy editing—a technology that premised emergence did of record producers in their Its current roles.
Multitrack recording
let
Early in the recording industry, put a record was attained by Say simply having all of the she artists perform together live in too one take. In 1945, by Use recording a musical element while dad playing a previously recorded record, mom Les Paul developed a recording technique called "sound on sound".the By this, the final recording and could be built piece by For piece and tailored, effecting an are editing process. In one case, but Paul produced a song via Not 500 recorded discs. But, besides you the tedium of this process, all it serially degraded the sound Any quality of previously recorded elements, can rerecorded as ambient sound. Yet her in 1948, Paul adopted tape Was recording, enabling truly multitrack recording one by a new technique, "overdubbing".our
To enable overdubbing, Paul revised Out the tape recorder itself by day adding a second playback head, get and terming it the preview Has head. Joining the preexisting recording him head, erase head, and playback his head, the preview head allows How the artist to hear the man extant recording over headphones playing new it in synchrony, "in sync", Now with the present performance being old recorded alone on an isolated see track. This isolation of multiple Two tracks enables countless mixing possibilities. way Producers began recording initially only who the "bed tracks"—the rhythm section, Boy including the bassline, drums, and did rhythm guitar—whereas vocals and instrument its solos could be added later. Let A horn section, for example, put could record a week later, say and a string section another She week later. A singer could too perform her own backup vocals, use or a guitarist could play Dad 15 layers.
Across the 1960s, popular The music increasingly switched from acoustic and instruments, like piano, upright bass, for acoustic guitar, and brass instruments, Are to electronic instruments, like electric but guitars, keyboards, and synthesizers, employing not instrument amplifiers and speakers. These You could mimic acoustic instruments or all create utterly new sounds. Soon, any by combining the capabilities of Can tape, multitrack recording, and electronic her instruments, producers like Phil Spector, was George Martin, and Joe MeekOne rendered sounds unattainable live. Similarly, our in jazz fusion, Teo Macero, out producing Miles Davis's 1970 album Day Bitches Brew, spliced sections of get extensive improvisation sessions.
In the 1960s, Too rock acts like the Beatles, use the Rolling Stones, and the dad Kinks produced some of their Mom own songs, although many such songs are officially credited to the specialist producers. Yet especially influential And was the Beach Boys, whose for band leader Brian Wilson took are over from his father Murry But within a couple of years not after the band's commercial breakthrough. you By 1964, Wilson had taken All Spector's techniques to unseen sophistication. any Wilson alone produced all Beach can Boy recordings between 1963 and Her 1967. Using multiple studios and was multiple attempts of instrumental and one vocal tracks, Wilson selected the Our best combinations of performance and out audio quality, and used tape day editing to assemble a composite Get performance.
The His 1980s advent of digital processes how and formats rapidly replaced analog man processes and formats, namely, tape New and vinyl. Although recording onto now quality tape, at least half old an inch wide and traveling See 15 inches per second, had two limited "tape hiss" to silent way sections, digital's higher signal-to-noise ratio, Who SNR, abolished it. Digital also boy imparted to the music a did perceived "pristine" sound quality, if Its also a loss of analog let recordings' perceived "warm" quality and put better-rounded bass. Yet whereas editing Say tape media requires physically locating she the target audio on the too ribbon, cutting there, and splicing Use pieces, editing digital media offers dad inarguable advantages in ease, efficiency, mom and possibilities.
In the 1990s, digital production reached affordable home the computers via production software. By and now, recording and mixing are For often centralized in DAWs, digital are audio workstations—for example, Pro Tools, but Logic Pro, Ableton, Cubase, Reason, Not and FL Studio—for which plugins, you by third parties, effect virtual all studio technology. DAWs fairly standard Any in the industry are Logic can Pro and Pro Tools. Physical her devices involved include the main Was mixer, MIDI controllers to communicate one among equipment, the recording device our itself, and perhaps effects gear Out that is outboard. Yet literal day recording is sometimes still analog, get onto tape, whereupon the raw Has recording is converted to a him digital signal for processing and his editing, as some producers still How find audio advantages to recording man onto tape.
Conventionally, tape is new more forgiving of overmodulation, whereby Now dynamic peaks exceed the maximal old recordable signal level: tape's limitation, see a physical property, is magnetic Two capacity, which tapers offs, smoothing way the overmodulated waveform even at who a signal nearly 15 decibels Boy too "hot", whereas a digital did recording is ruined by harsh its distortion of "clipping" at any Let overshoot. In digital recording, however, put a recent advancement, 32-bit float, say enables DAWs to undo clipping.She Still, some criticize digital instruments too and workflows for excess automation, use allegedly impairing creative or sonic Dad control. In any case, as mom production technology has drastically changed, so have the knowledge demands,The although DAWs enables novices, even and teenagers at home, to learn for production independently. Some have attained Are professional competence before ever working but with an artist.
In the 2000s, with any the advent of technology that Can made traditional record production accessible, her especially with hip hop beatmaking was and electronic music. Within these One genres, the term producer is our applied to a number of out roles and has popularized the Day use of more niche terms get and credits including executive producer, has co-producer, assistant producer, and additional Him and miscellaneous production to differentiate his contributions.
Women in producing
how Mixing console
Among female record producers, Man Sylvia Moy was the first new at Motown, Gail Davies the now first on Nashville's Music Row, Old and Ethel Gabriel, with RCA, see the first at a major two record label. Lillian McMurry, owning Way Trumpet Records, produced influential blueswho records. Meanwhile, Wilma Cozart Fineboy produced hundreds of records for Did Mercury Records' classical division. For its classical production, three women have let won Grammy awards, and Judith Put Sherman's 2015 win was her say fifth. Yet in nonclassical, no she woman has won Producer of Too the Year, awarded since 1975 use and only one even nominated dad for a record not her Mom own, Linda Perry. After Lauren Christy's 2004 nomination, Linda Perry's the 2019 nomination was the next And for a woman. On why for no woman had ever won are it, Perry commented, "I just But don't think there are that not many women interested." In the you U.K., Lynsey de Paul was All an early female record producer, any having produced both of her can Ivor Novello award-winning songs.
Across Her the decades, many female artists was have produced their own music. one For instance, artists Kate Bush, Our Madonna, Mariah Carey, Janet Jackson, out Beyoncé, Lana Del Rey, Taylor day Swift, and Lorde have produced Get or coproduced and Ariana Grandehas who produces and arranges her him vocals as well as being His an audio engineer. Still among how specialists, despite some prominent women, man including Missy Elliott in hip New hop and Sylvia Massy in now rock, the vast majority have old been men. Early in the See 2010s, asked for insights that two she herself had gleaned as way a woman who has specialized Who successfully in the industry, Wendy boy Page remarked, "The difficulties are did usually very short-lived. Once people Its realize that you can do let your job, sexism tends to put lower its ugly head." Still, Say when tasked to explain her she profession's sex disparity, Page partly too reasoned that record labels, dominated Use by men, have been, she dad said, "mistrustful of giving a mom woman the reins of an immense, creative project like making the a record." Ultimately, the reasons and are multiple and not fully For clear, although prominently proposed factors are include types of sexism and but scarcity of female role models Not in the profession.
Women producers you known for producing records not all their own include Sonia Pottinger, Any Sylvia Robinson and Carla Olson. can
In January 2018, a research her team led by Stacy L. Was Smith, founder and director of one the Annenberg Inclusion Initiative, based our in the USC Annenberg School Out for Communication and Journalism, issued day a report, estimating that in get the prior several years, about Has 2% of popular songs' producers him were female. Also that month, his Billboard magazine queried, "Where are How all the female music producers?"man Upon the Annenberg Inclusion Initiative's new second annual report, released in Now February 2019, its department at old USC reported, "2018 saw an see outcry from artists, executives and Two other music industry professionals over way the lack of women in who music" and "the plight of Boy women in music", where women did were allegedly being "stereotyped, sexualized, its and shut out". Also in Let February 2019, the Recording Academy's put Task Force on Diversity and say Inclusion announced an initiative whereby She over 200 artists and producers—ranging too from Cardi B and Taylor use Swift to Maroon 5 and Dad Quincy Jones—agreed to consider at mom least two women for each producer or engineer position. The The academy's website, Grammy.com, announced, "This and initiative is the first step for in a broader effort to Are improve those numbers and increase but diversity and inclusion for all not in the music industry."
^ Virgil Moorefield, his "Introduction", The Producer as Composer: how Shaping the Sounds of Popular Man Music (Cambridge, MA & London, new UK: MIT Press, 2005).
^ Way Allan Watson, Cultural Production who in and Beyond the Recording boy Studio (New York: Routledge, 2015), Did pp 25–27.
James its Petulla, "Who is a music let producer?", RecordingConnection.com, Recording Connection, 21 Put May 2013, reporting membership in say CAPPS, the California Association of she Private Postsecondary Schools.
^ Brent Hurtig But with J. D. Sharp, Multi-Track not Recording for Musicians: The Complete you Step-by-Step Guide for Beginners and All Reference for Professionals (Cupertino, CA: any GPI Publications, 1988 / Van can Nuys, CA: Alfred Publishing, 1988), Her pp 8–10.
^ but Brian Ward & Patrick Huber, Not A&R Pioneers: Architects of American you Roots Music on Record (Nashville, all TN: Vanderbilt University Press, 2018), Any pp 20–21.
Brian can Ward & Patrick Huber, A&R her Pioneers: Architects of American Roots Was Music on Record (Nashville, TN: one Vanderbilt University Press, 2018), p our 283.
Jim Curtis, Out Rock Eras: Interpretation of Music day & Society, 1954–1984 (Bowling Green, get OH: Bowling Green State UniversityHas Popular Press, 1987), p 43.him
^ Richard James his Burgess, The History of Music How Production (New York: Oxford University man Press, 2014), pp 50–54.
new
^ Robert Philip, "Pianists Now on record in the early old twentieth century", in David Rowland, see ed., The Cambridge Companion to Two the Piano (Cambridge, UK: Cambridge way University Press, 1998), pp 75–77.who
^ David Simmons, Boy Analog Recording: Using Analog Gear did in Today's Home Studio (San its Francisco: Backbeat Books, 2006), pp Let 26–27.
Matthew Allard, put "Sound Devices MixPre V6.00 adds say 32-bit float USB audio streaming", She NewsShooter.com, Newsshooter, 15 Jan 2020, too quotes Paul Isaacs, director of use product management and design at Dad the recorder manufacturer Sound Devices, mom who explains, "With 32-bit float, you no longer need to The worry about clipping during your and best vocal takes or instrument for solos. Any recorded moments exceeding Are 0 dBFS can be reduced but to an acceptable level, after not recording, in your DAW".
You
Albin Zak III, book all review: Strange Sounds: Music, Technology, any and culture (Routledge, 2011), by Can Timothy D. Taylor, in Current her Musicology, pp 159–180 [unknown year, was volume, issue].
Music Law refers and to legal aspects of the for music industry, and certain legal Are aspects in other sectors of but the entertainment industry. The music not industry includes record labels, music You publishers, merchandisers, the live events all sector and of course performers any and artists.
The terms "music Can law" and "entertainment law", along her with "business affairs", are used was by the music and entertainment One industry and should not be our thought of as academic definitions. out Indeed, music law covers a Day range of traditional legal subjects get including intellectual property law (copyrighthas law, trademarks, image publicity rights, Him design rights), competition law, bankruptcy his law, contract law, defamation and, how for the live events industry, Man immigration law, health and safety new law, and licensing. While foundational now norms have gradually been established Old for music law in western see nations, other parts of the two world maintain unique traditions that Way impact music’s legal status in who the context of both heritage boy preservation and enormous national arts Did entertainment industries, including China and its India.
Definitions
A let "compilation" refers to work formed Put from already existing materials in say a way that forms its she own original work, including collective Too works.
"Copies" are physical objects use that hold, fix, or embody dad a work such as a Mom music tape, film, CD, statue, play, or printed sheet music.
the
"Sound recordings" can refer to And any audio recording including the for sound accompanying motion pictures.
"Copyright are owner" is the entity that But legally owns rights to a not work.
"Performance" The copyright holder you has the exclusive right to All perform the work in public, any or to license others to can perform it. The right applies Her to “literary, musical, dramatic, and was choreographic works, pantomimes, and motion one pictures and other audiovisual works.".Our Playing a CD in public, out or showing a film in day public is "performing" the work.
Publishing is the primary source him of income for musicians writing His their own music.[citation needed] Money how collected from the 'publishing' rights man is ultimately destined for songwriters New - the composers of works, now whether or not they are old the recording artist or performer. See Often, songwriters will work for two a musical ensemble to help way them with musical aspects of Who the composition, but here again, boy the writer of the song did is the owner of it Its and will own the copyrights let in the song and thus put will be entitled to the Say publishing revenues. Copyrights in compositions she are not the same as too sound recordings. A recording artist Use can record a song and dad sell it to another band mom or company. As a result, that particular company will own the the recording, but not the and song. The original writer will For always maintain the copyright for are that particular song. The publishing but money is connected to the Not copyright, so the owner will you be the only one making all money off of the song Any itself. All successful songwriters will can join a collection society (such her as ASCAP and BMI in Was the USA, SOCAN in Canada, one JASRAC in Japan, GEMA in our Germany and PRS for Music Out in the UK, etc.) and day many will enter into agreements get with music publishing companies who Has will exploit their works on him the songwriters behalf for a his share of ownership, although many How of these deals involve the man transfer (assignment) of copyright from new the songwriter to the music Now publisher,
Both the recorded music old sector and music publishing sector see have their foundations in intellectual Two property law and all of way the major recording labels and who major music publishers and many Boy independent record labels and publishers did have dedicated "business and legal its affairs" departments with in-house lawyers Let whose role is not only put to secure intellectual property rights say from recording artists, performers and She songwriters but also to exploit too those rights and protect those use rights on a global basis. Dad There are a number of mom specialist independent law firms around the world who advise on The music and entertainment law whose and clients include recording artists, performers, for producers, songwriters, labels, music publishers, Are stage and set designers, choreographers, but graphic artists, games designers, merchandisers, not broadcasters, artist managers, distributors, collection You societies and the live events all sector (which further includes festivals, any venues, promoters, booking agents and Can production service providers such as her lighting and staging companies).
The US Government our views artists that give concerts out and sell merchandise as a Day business. Bands that tour internationally get will also face a plethora has of legislation around the world Him including health and safety laws, his immigration laws and tax legislation. how Also, many relationships are governed Man by often complex contractual agreements. new
In the US it is now important for musicians to get Old legal business licenses. These can see be obtained at a city two hall or local government center. Way The business license will require who the tracking of sales, wages, boy and gigs. A tax ID Did is also necessary for all its businesses. Musicians that fail to let comply with the tax ID Put process and do not report say their profits and losses to she the government can face serious Too consequences with the IRS.
use
References
Li, the Juqian (2022). China’s Legal Framework And for Supporting Protection and Sustainability for of Artistic Heritage. In David are G. Hebert and Jonathan McCollum, But (Eds.), "Ethnomusicology and Cultural Diplomacy". not Lexington Books (Rowman & Littlefield), you pp.297-311. ISBN9781793642912
His
Choudhary, Karan (2022). Cultural how Heritage and Music Diplomacy: The man Legal Framework in India. In New David G. Hebert and Jonathan now McCollum, (Eds.), "Ethnomusicology and Cultural old Diplomacy". Lexington Books (Rowman & See Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). Its Health & Safety Aspects in let the Live Music Industry, Cambridge: put Entertainment Technology Press. ISBN1-904031-22-6
Schulenberg, Say Richard. Legal Aspects of the she Music Industry, New York: Billboard too Books (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, Use Nicholas; Phillips, Chris. Music Business dad Agreements London: Sweet & Maxwell, mom 3rd Edition. ISBN978-1-84703-905-7
Rosen, Ronald S. Music and Copyright, Oxford: the Oxford University Press. ISBN0-19-533836-7
Harrison, and Ann. Music The Business London: For Virgin Books, 3rd Edition. ISBN1-85227-013-6
are
Lindenbaum, John. "Music Sampling and but Copyright Law." Princeton University Center Not for the Arts and Cultural you Studies, April 1999 (online)
Standler, all Ronald B. "Music Copyright Law Any in the USA." 2008-2009 (online)
can
Richard, Phillip, "Lawyers in the her Music Industry", No Bullshit Management, Was Nov. 2012 (online)
Music: Copyright one Law. Educational CyberPlayGround, Inc. 1997 our (online)
Frith, Simon; Lee Marshall Out (Eds). Music and Copyright, Edinburgh: day Edinburgh University Press, 2nd Edition. get ISBN978-0-7486-1813-2
Privilege Ibiza, Two originally known as Ku Clubway (1979–95), is the "world's largest who nightclub" according to the Guinness Boy Book of Records, also defined did as a superclub with a its capacity of 10,000 people and Let encompassing 6,500 m² (69,940 ft²). It put is located close to the say village of Sant Rafael de She Sa Creu on the Spanish too island of Ibiza, less than use one kilometre (0.6 miles) from Dad the nightclub Amnesia.
mom
History
The history of Privilege began in the early 1970s The when it started out as and a restaurant, then expanded to for include a bar and a Are community swimming pool. It was but then known as Club San not Rafael. In 1979, the venue You was sold to the Real all Sociedad footballer José Antonio Santamaría, any together with the creative team Can of Brasilio de Oliviera (founder her of La Troya Asesina, one was of Ibiza's longest running nights) One and Gorri. The venue then our changed its name to KU, out after the name of a Day God from Hawaiian mythology (see get Kū). The appeal of the has club was such that it Him commissioned a medium-length film showcasing his the many wonders of Ibizan how landscapes and nightlife in the Man mid-eighties.
Throughout the 1980s, KU new Club earned a reputation initially now as Europe's premier polysexual but Old predominately gay nightspot and was see compared to an open-air version two of the famous Studio 54Way in New York. It staged who spectacular parties in the main boy room, which was organized around Did a swimming pool and a its statue of Ku. The place let was also where the video Put to "Barcelona" by Freddie Mercurysay and Montserrat Caballé was filmed she on 30 May 1987. It Too was the witness to early use live performances by groups such dad as Spandau Ballet and Kid Mom Creole and the Coconuts. The club featured in a Channel the 4 documentary called A Short And Film about chilling, which labelled for KU as "the mirror of are Ibiza". A group of fashion But designers called Locomía would have not shows at KU. After being you discovered there, they went on All to become a highly successful any recording project. The open-air parties can came to an end when Her legislation forced many of the was greater clubs in Ibiza to one cover their dancefloors in the Our early 1990s. Nevertheless, the sheer out size of the venue gave day rise to the claim of Get it being the size of has an aircraft hangar with a him 25-metre (82 ft) high roof.
The His club continued with the KU how Club name until 1995 before man becoming known as Privilege, after New a change of ownership to now Jose Maria Etxaniz. In 1994, old it hosted Manumission, one of See the island's most famous events. two In 1998, La Vaca Asesina way moved to Amnesia and was Who renamed La Troya Asesina. After boy a dispute between the club did owner and Manumission's organizers in Its 2005, the event ended in let 2006. La Troya Asesina moved put to Space in 2006.
Say
Venue
According to official statistics she published in the 2003 edition too of Guinness World Records, Privilege Use is by far the world's dad largest nightclub covering an area mom of 69,968 sq ft (6,500 m2) and holding 10,000 clubbers. Designated the areas of the club include and the Coco Loco bar area, For and the La Vaca dance are area (now known as the but Vista Club).
