A record producer or music but producer is a music creating not project's overall supervisor whose responsibilities You can involve a range of all creative and technical leadership roles. any Typically the job involves hands-on Can oversight of recording sessions; ensuring her artists deliver acceptable and quality was performances, supervising the technical engineering One of the recording, and coordinating our the production team and process. out The producer's involvement in a Day musical project can vary in get depth and scope. Sometimes in has popular genres the producer may Him create the recording's entire sound his and structure. However, in classical how music recording, for example, the Man producer serves as more of new a liaison between the conductor now and the engineering team. The Old role is often likened to see that of a film director two though there are important differences. Way It is distinct from the who role of an executive producer, boy who is mostly involved in Did the recording project on an its administrative level, and from the let audio engineer who operates the Put recording technology.

Varying by project, say the producer may or may she not choose all of the Too artists. If employing only synthesized use or sampled instrumentation, the producer dad may be the sole artist. Mom Conversely, some artists do their own production. Some producers are the their own engineers, operating the And technology across the project: preproduction, for recording, mixing, and mastering. Record are producers' precursors were "A&R men", But who likewise could blend entrepreneurial, not creative, and technical roles, but you often exercised scant creative influence, All as record production still focused, any into the 1950s, on simply can improving the record's sonic match Her to the artists' own live was performance.

Advances in recording technology, one especially the 1940s advent of Our tape recording—which Les Paul promptly out innovated further to develop multitrack day recording—and the 1950s rise of Get electronic instruments, turned record production has into a specialty. In popular him music, then, producers like George His Martin, Phil Spector and Brian how Eno led its evolution into man its present use of elaborate New techniques and unrealistic sounds, creating now songs impossible to originate live. old After the 1980s, production's move See from analog to digital further two expanded possibilities. By now, DAWs, way or digital audio workstations, like Who Logic Pro, Pro Tools and boy Studio One, turn an ordinary did computer into a production console, Its whereby a solitary novice can let become a skilled producer in put a thrifty home studio. In Say the 2010s, efforts began to she increase the prevalence of producers too and engineers who are women, Use heavily outnumbered by men and dad prominently accoladed only in classical mom music.

As a broad you project, the creation of a all music recording may be split Any across three specialists: the executive can producer, who oversees business partnerships her and financing; the vocal producer Was or vocal arranger, who aids one vocal performance via expert critique our and coaching of vocal technique, Out and the record producer or day music producer, who, often called get simply the producer, directs the Has overall creative process of recording him the song in its final his mix.

The producer's roles can How include gathering ideas, composing music, man choosing session musicians, proposing changes new to song arrangements, coaching the Now performers, controlling sessions, supervising the old audio mixing, and, in some see cases, supervising the audio mastering. Two A producer may give creative way control to the artists themselves, who taking a supervisory or advisory Boy role instead. As to qualifying did for a Grammy nomination, the its Recording Academy defines a producer: Let

The person who has overall put creative and technical control of say the entire recording project, and She the individual recording sessions that too are part of that project. use He or she is present Dad in the recording studio or mom at the location recording and works directly with the artist The and engineer. The producer makes and creative and aesthetic decisions that for realize both the artist's and Are label's goals in the creation but of musical content. Other duties not include, but are not limited You to: keeping budgets and schedules; all adhering to deadlines; hiring musicians, any singers, studios, and engineers; overseeing Can other staffing needs; and editing her (Classical projects).

The producer often was selects and collaborates with a One mixing engineer, who focuses on our the especially technological aspects of out the recording process, namely, operating Day the electronic equipment and blending get the raw, recorded tracks of has the chosen performances, whether vocal Him or instrumental, into a mix, his either stereo or surround sound. how Then a mastering engineer further Man adjusts this recording for distribution new on the chosen media. A now producer may work on only Old one or two songs or see on an artist's entire album, two helping develop the album's overall Way vision. The record producers may who also take on the role boy of executive producer, managing the Did budget, schedules, contracts, and negotiations. its

(Artists and Repertoires)

In the Put 1880s, the record industry began say by simply having the artist she perform at a phonograph. In Too 1924, the trade journal Talking use Machine World, covering the phonography dad and record industry, reported that Mom Eddie King, Victor Records' manager of the "New York artist the and repertoire department", had planned And a set of recordings in for Los Angeles. Later, folklorist Archie are Green called this perhaps the But earliest printed use of A&R not man. Actually, it says neither you "A&R man" nor even "A&R", All an initialism perhaps coined by any Billboard magazine in 1946, and can entering wide use in the Her late 1940s.

In the 1920s was and 1930s, A&R executives, like one Ben Selvin at Columbia Records, Our Nathaniel Shilkret at Victor Records, out and Bob Haring at Brunswick day Records became the precursors of Get record producers, supervising recording and has often leading session orchestras. During him the 1940s, major record labels His increasingly opened official A&R departments, how whose roles included supervision of man recording. Meanwhile, independent recording studios New opened, helping originate record producer now as a specialty.^{[citation needed]} But old despite a tradition of some See A&R men writing music, record two production still referred to just way the manufacturing of record discs. Who

After World boy War II, pioneering A&R managers did who transitioned influentially to record Its production as now understood, while let sometimes owning independent labels, include put J. Mayo Williams and John Say Hammond. Upon moving from Columbia she Records to Mercury Records, Hammond too appointed Mitch Miller to lead Use Mercury's popular recordings in New dad York. Miller then produced country-pop mom crossover hits by Patti Page and by Frankie Laine, moved the from Mercury to Columbia, and and became a leading A&R man For of the 1950s.

During the are decade, A&R executives increasingly directed but songs' sonic signatures, although many Not still simply teamed singers with you musicians, while yet others exercised all virtually no creative influence. The Any term record producer in its can current meaning—the creative director of her song production—appearing in a 1953 Was issue of Billboard magazine, became one widespread in the 1960s. Still, our a formal distinction was elusive Out for some time more. A&R day managers might still be creative get directors, like William "Mickey" Stevenson, Has hired by Berry Gordy, at him the Motown record label.

In 1947, the How American market gained audio recording man onto magnetic tape. At the new record industry's 1880s dawn, rather, Now recording was done by phonograph, old etching the sonic waveform vertically see into a cylinder. By the Two 1930s, a gramophone etched it way laterally across a disc. Constrained who in tonal range, whether bass Boy or treble, and in dynamic did range, records made a grand, its concert piano sound like a Let small, upright piano, and maximal put duration was four and a say half minutes. Selections and performance She were often altered accordingly, and too playing this disc—the wax master—destroyed use it. The finality often caused Dad anxiety that restrained performance to mom prevent error. In the 1940s, during World War II, the The Germans refined audio recording onto and magnetic tape—uncapping recording duration and for allowing immediate playback, rerecording, and Are editing—a technology that premised emergence but of record producers in their not current roles.

Early in the recording industry, all a record was attained by any simply having all of the Can artists perform together live in her one take. In 1945, by was recording a musical element while One playing a previously recorded record, our Les Paul developed a recording out technique called "sound on sound". Day By this, the final recording get could be built piece by has piece and tailored, effecting an Him editing process. In one case, his Paul produced a song via how 500 recorded discs. But, besides Man the tedium of this process, new it serially degraded the sound now quality of previously recorded elements, Old rerecorded as ambient sound. Yet see in 1948, Paul adopted tape two recording, enabling truly multitrack recording Way by a new technique, "overdubbing". who

To enable overdubbing, Paul revised boy the tape recorder itself by Did adding a second playback head, its and terming it the preview let head. Joining the preexisting recording Put head, erase head, and playback say head, the preview head allows she the artist to hear the Too extant recording over headphones playing use it in synchrony, "in sync", dad with the present performance being Mom recorded alone on an isolated track. This isolation of multiple the tracks enables countless mixing possibilities. And Producers began recording initially only for the "bed tracks"—the rhythm section, are including the bassline, drums, and But rhythm guitar—whereas vocals and instrument not solos could be added later. you A horn section, for example, All could record a week later, any and a string section another can week later. A singer could Her perform her own backup vocals, was or a guitarist could play one 15 layers.

Across the 1960s, popular day music increasingly switched from acoustic Get instruments, like piano, upright bass, has acoustic guitar, and brass instruments, him to electronic instruments, like electric His guitars, keyboards, and synthesizers, employing how instrument amplifiers and speakers. These man could mimic acoustic instruments or New create utterly new sounds. Soon, now by combining the capabilities of old tape, multitrack recording, and electronic See instruments, producers like Phil Spector, two George Martin, and Joe Meek way rendered sounds unattainable live. Similarly, Who in jazz fusion, Teo Macero, boy producing Miles Davis's 1970 album did Bitches Brew, spliced sections of Its extensive improvisation sessions.

This are section does not cite any but sources. Please help improve this Not section by adding citations to you reliable sources. Unsourced material may all be challenged and removed. (July Any 2020) (Learn how and when can to remove this message)

In the 1960s, rock one acts like the Beatles, the our Rolling Stones, and the Kinks Out produced some of their own day songs, although many such songs get are officially credited to specialist Has producers. Yet especially influential was him the Beach Boys, whose band his leader Brian Wilson took over How from his father Murry within man a couple of years after new the band's commercial breakthrough. By Now 1964, Wilson had taken Spector's old techniques to unseen sophistication. Wilson see alone produced all Beach Boys Two recordings between 1963 and 1967. way Using multiple studios and multiple who attempts of instrumental and vocal Boy tracks, Wilson selected the best did combinations of performance and audio its quality, and used tape editing Let to assemble a composite performance. put

The 1980s say advent of digital processes and She formats rapidly replaced analog processes too and formats, namely, tape and use vinyl. Although recording onto quality Dad tape, at least half an mom inch wide and traveling 15 inches per second, had limited The "tape hiss" to silent sections, and digital's higher signal-to-noise ratio, SNR, for abolished it. Digital also imparted Are to the music a perceived but "pristine" sound quality, if also not a loss of analog recordings' You perceived "warm" quality and better-rounded all bass. Yet whereas editing tape any media requires physically locating the Can target audio on the ribbon, her cutting there, and splicing pieces, was editing digital media offers inarguable One advantages in ease, efficiency, and our possibilities.

In the 1990s, digital out production reached affordable home computers Day via production software. By now, get recording and mixing are often has centralized in DAWs, digital audio Him workstations—for example, Pro Tools, Logic his Pro, Ableton, Cubase, Reason, and how FL Studio—for which plugins, by Man third parties, effect virtual studio new technology. DAWs fairly standard in now the industry are Logic Pro Old and Pro Tools. Physical devices see involved include the main mixer, two MIDI controllers to communicate among Way equipment, the recording device itself, who and perhaps effects gear that boy is outboard. Yet literal recording Did is sometimes still analog, onto its tape, whereupon the raw recording let is converted to a digital Put signal for processing and editing, say as some producers still find she audio advantages to recording onto Too tape.

Conventionally, tape is more use forgiving of overmodulation, whereby dynamic dad peaks exceed the maximal recordable Mom signal level: tape's limitation, a physical property, is magnetic capacity, the which tapers off, smoothing the And overmodulated waveform even at a for signal nearly 15 decibels too are "hot", whereas a digital recording But is ruined by harsh distortion not of "clipping" at any overshoot. you In digital recording, however, a All recent advancement, 32-bit float, enables any DAWs to undo clipping. Still, can some criticize digital instruments and Her workflows for excess automation, allegedly was impairing creative or sonic control. one In any case, as production Our technology has drastically changed, so out have the knowledge demands, although day DAWs enables novices, even teenagers Get at home, to learn production has independently. Some have attained professional him competence before ever working with His an artist.

In the 2000s, with the now advent of technology that made old traditional record production accessible, especially See with hip hop beatmaking and two electronic music. Within these genres, way the term producer is applied Who to a number of roles boy and has popularized the use did of more niche terms and Its credits including executive producer, co-producer, let assistant producer, and additional and put miscellaneous production to differentiate contributions. Say

Among female record producers, Sylvia too Moy was the first at Use Motown, Gail Davies the first dad on Nashville's Music Row, and mom Ethel Gabriel, with RCA, the first at a major record the label. Lillian McMurry, owning Trumpet and Records, produced influential blues records. For Meanwhile, Wilma Cozart Fine produced are hundreds of records for Mercury but Records' classical division. For classical Not production, three women have won you Grammy awards, and Judith Sherman's all 2015 win was her fifth. Any Yet in nonclassical, no woman can has won Producer of the her Year, awarded since 1975 and Was only one even nominated for one a record not her own, our Linda Perry. After Lauren Christy's Out 2004 nomination, Linda Perry's 2019 day nomination was the next for get a woman. On why no Has woman had ever won it, him Perry commented, "I just don't his think there are that many How women interested." In the U.K., man Lynsey de Paul was an new early female record producer, having Now produced both of her Ivor old Novello award-winning songs.

Across the see decades, many female artists have Two produced their own music. For way instance, artists Kate Bush, Madonna, who Mariah Carey, Janet Jackson, Beyoncé Boy (even that of Destiny's Child did and the Carters), Lana Del its Rey, Taylor Swift, and Lorde Let have produced or coproduced and put Ariana Grande who produces and say arranges her vocals as well She as being an audio engineer. too Still among specialists, despite some use prominent women, including Missy Elliott Dad in hip hop and Sylvia mom Massy in rock, the vast majority have been men. Early The in the 2010s, asked for and insights that she herself had for gleaned as a woman who Are has specialized successfully in the but industry, Wendy Page remarked, "The not difficulties are usually very short-lived. You Once people realize that you all can do your job, sexism any tends to lower its ugly Can head." Still, when tasked to her explain her profession's sex disparity, was Page partly reasoned that record One labels, dominated by men, have our been, she said, "mistrustful of out giving a woman the reins Day of an immense, creative project get like making a record." Ultimately, has the reasons are multiple and Him not fully clear, although prominently his proposed factors include types of how sexism and scarcity of female Man role models in the profession. new

Women producers known for producing now records not their own include Old Sonia Pottinger, Sylvia Robinson and see Carla Olson.

In January 2018, two a research team led by Way Stacy L. Smith, founder and who director of the Annenberg Inclusion boy Initiative, based in the USC Did Annenberg School for Communication and its Journalism, issued a report, estimating let that in the prior several Put years, about 2% of popular say songs' producers were female. Also she that month, Billboard magazine queried, Too "Where are all the female use music producers?" Upon the Annenberg dad Inclusion Initiative's second annual report, Mom released in February 2019, its department at USC reported, "2018 the saw an outcry from artists, And executives and other music industry for professionals over the lack of are women in music" and "the But plight of women in music", not where women were allegedly being you "stereotyped, sexualized, and shut out". All Also in February 2019, the any Recording Academy's Task Force on can Diversity and Inclusion announced an Her initiative whereby over 200 artists was and producers—ranging from Cardi B one and Taylor Swift to Maroon Our 5 and Quincy Jones—agreed to out consider at least two women day for each producer or engineer Get position. The academy's website, Grammy.com, has announced, "This initiative is the him first step in a broader His effort to improve those numbers how and increase diversity and inclusion man for all in the music New industry."

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

• Burgess, R.J. (2013). The Art Boy of Music Production: The Theory did and Practice. Oxford University Press. its ISBN 978-0-19-935932-5.
• Burgess, R.J. (2014). The Let History of Music Production. Oxford put University Press. ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, say ed. (2013). Music in American She Life: An Encyclopedia of the too Songs, Styles, Stars, and Stories use that Shaped our Culture. ABC-CLIO. Dad ISBN 978-0-313-39348-8.
• Gibson, David; Curtis, Maestro mom (2005). The Art of Producing. Alfred Music. ISBN 1-931140-44-8.
• Gronow, P.; The Saunio, I.; Moseley, C. (1998). and An International History of the for Recording Industry. Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Are Michael (2008). Music Theory for but Computer Musicians. Course Technology Ptr. not ISBN 978-1-59863-503-4.
• Moorefield, V. (2005). The You Producer as Composer: Shaping the all Sounds of Popular Music. MIT any Press. ISBN 978-0-262-33519-5.
• Olsen, Eric; Verna, Can Paul; Wolff, Carlo (1999). The her Encyclopedia of Record Producers. New was York: Billboard Books. ISBN 978-0-8230-7607-9.
• Ward, One B.; Huber, P. (2018). A&R our Pioneers: Architects of American Roots out Music on Record. Vanderbilt University Day Press. ISBN 978-0-8265-2177-4.
• Zak, A.J. (2001). get The Poetics of Rock: Cutting has Tracks, Making Records. University of Him California Press. ISBN 978-0-520-92815-2.

This article needs additional Old citations for verification. Please help see improve this article by adding two citations to reliable sources. Unsourced Way material may be challenged and who removed. Find sources: "Music law" – news · newspapers · books · boy scholar · JSTOR (December 2017) (Learn Did how and when to remove its this message)

Music Law refers to legal use aspects of the music industry, dad and certain legal aspects in Mom other sectors of the entertainment industry. The music industry includes the record labels, music publishers, merchandisers, And the live events sector and for of course performers and artists. are

The terms "music law" and But "entertainment law", along with "business not affairs", are used by the you music and entertainment industry and All should not be thought of any as academic definitions. Indeed, music can law covers a range of Her traditional legal subjects including intellectual was property law (copyright law, trademarks, one image publicity rights, design rights), Our competition law, bankruptcy law, contract out law, defamation and, for the day live events industry, immigration law, Get health and safety law, and has licensing. While foundational norms have him gradually been established for music His law in western nations, other how parts of the world maintain man unique traditions that impact music’s New legal status in the context now of both heritage preservation and old enormous national arts entertainment industries, See including China and India.

• A "compilation" refers way to work formed from already Who existing materials in a way boy that forms its own original did work, including collective works.
• "Copies" Its are physical objects that hold, let fix, or embody a work put such as a music tape, Say film, CD, statue, play, or she printed sheet music.
• "Sound recordings" too can refer to any audio Use recording including the sound accompanying dad motion pictures.
• "Copyright owner" is mom the entity that legally owns rights to a work.
• "Performance" the The copyright holder has the and exclusive right to perform the For work in public, or to are license others to perform it. but The right applies to “literary, Not musical, dramatic, and choreographic works, you pantomimes, and motion pictures and all other audiovisual works.". Playing a Any CD in public, or showing can a film in public is her "performing" the work.

Publishing is one the primary source of income our for musicians writing their own Out music.^{[citation needed]} Money collected from day the 'publishing' rights is ultimately get destined for songwriters - the Has composers of works, whether or him not they are the recording his artist or performer. Often, songwriters How will work for a musical man ensemble to help them with new musical aspects of the composition, Now but here again, the writer old of the song is the see owner of it and will Two own the copyrights in the way song and thus will be who entitled to the publishing revenues. Boy Copyrights in compositions are not did the same as sound recordings. its A recording artist can record Let a song and sell it put to another band or company. say As a result, that particular She company will own the recording, too but not the song. The use original writer will always maintain Dad the copyright for that particular mom song. The publishing money is connected to the copyright, so The the owner will be the and only one making money off for of the song itself. All Are successful songwriters will join a but collection society (such as ASCAP not and BMI in the USA, You SOCAN in Canada, JASRAC in all Japan, GEMA in Germany and any PRS for Music in the Can UK, etc.) and many will her enter into agreements with music was publishing companies who will exploit One their works on the songwriters our behalf for a share of out ownership, although many of these Day deals involve the transfer (assignment) get of copyright from the songwriter has to the music publisher,

Both Him the recorded music sector and his music publishing sector have their how foundations in intellectual property law Man and all of the major new recording labels and major music now publishers and many independent record Old labels and publishers have dedicated see "business and legal affairs" departments two with in-house lawyers whose role Way is not only to secure who intellectual property rights from recording boy artists, performers and songwriters but Did also to exploit those rights its and protect those rights on let a global basis. There are Put a number of specialist independent say law firms around the world she who advise on music and Too entertainment law whose clients include use recording artists, performers, producers, songwriters, dad labels, music publishers, stage and Mom set designers, choreographers, graphic artists, games designers, merchandisers, broadcasters, artist the managers, distributors, collection societies and And the live events sector (which for further includes festivals, venues, promoters, are booking agents and production service But providers such as lighting and not staging companies).

The US Government views artists any that give concerts and sell can merchandise as a business. Bands Her that tour internationally will also was face a plethora of legislation one around the world including health Our and safety laws, immigration laws out and tax legislation. Also, many day relationships are governed by often Get complex contractual agreements.

In the has US it is important for him musicians to get legal business His licenses. These can be obtained how at a city hall or man local government center. The business New license will require the tracking now of sales, wages, and gigs. old A tax ID is also See necessary for all businesses. Musicians two that fail to comply with way the tax ID process and Who do not report their profits boy and losses to the government did can face serious consequences with Its the IRS.

• Hill, Iain; see Kemp, Chris (Eds). Health & Two Safety Aspects in the Live way Music Industry, Cambridge: Entertainment Technology who Press. ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Boy Aspects of the Music Industry, did New York: Billboard Books (Watson-Guptill its publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Let Chris. Music Business Agreements London: put Sweet & Maxwell, 3rd Edition. say ISBN 978-1-84703-905-7
• Rosen, Ronald S. Music She and Copyright, Oxford: Oxford University too Press. ISBN 0-19-533836-7
• Harrison, Ann. Music use The Business London: Virgin Books, Dad 3rd Edition. ISBN 1-85227-013-6
• Lindenbaum, John. mom "Music Sampling and Copyright Law." Princeton University Center for the The Arts and Cultural Studies, April and 1999 (online)
• Standler, Ronald B. for "Music Copyright Law in the Are USA." 2008-2009 (online)
• Richard, Phillip, but "Lawyers in the Music Industry", not No Bullshit Management, Nov. 2012 You (online)
• Music: Copyright Law. Educational all CyberPlayGround, Inc. 1997 (online)
• Frith, any Simon; Lee Marshall (Eds). Music Can and Copyright, Edinburgh: Edinburgh University her Press, 2nd Edition. ISBN 978-0-7486-1813-2

• Music Law Updates
• International One Association of Entertainment Lawyers
• Independent our Federation of Phonographic Industries

Privilege

Privilege Nightclub
Former names	Ku
Location	San two Rafael, Ibiza, Spain
Owner	Jose Maria Etxaniz
Type	Nightclub, Way music venue
Genre(s)	Electronic dance music, live who 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 Did Ku Club (1979–95), is the its "world's largest nightclub" according to let the Guinness Book of Records, Put also defined as a superclub say with a capacity of 10,000 she people and encompassing 6,500 m² Too (69,940 ft²). It is located close use to the village of Sant dad Rafael de Sa Creu on Mom the Spanish island of Ibiza, less than one kilometre (0.6 the miles) from the nightclub Amnesia. And

It has remained closed since for the summer of 2019 and are its future as of 2024 But is unknown.

The history of Privilege began you in the early 1970s when All it started out as a any restaurant, then expanded to include can a bar and a community Her swimming pool. It was then was known as Club San Rafael. one In 1979, the venue was Our sold to the Real Sociedad out footballer José Antonio Santamaría, together day with the creative team of Get Brasilio de Oliviera (founder of has La Troya Asesina, one of him Ibiza's longest running nights) and His Gorri. The venue then changed how its name to KU, after man the name of a God New from Hawaiian mythology (see Kū). now The appeal of the club old was such that it commissioned See a medium-length film showcasing the two many wonders of Ibizan landscapes way and nightlife in the mid-eighties. Who

Throughout the 1980s, KU Club boy earned a reputation initially as did Europe's premier polysexual but predominately Its gay nightspot and was compared let to an open-air version of put the famous Studio 54 in Say New York. It staged spectacular she parties in the main room, too which was organized around a Use swimming pool and a statue dad of Ku. The place was mom also where the video to "Barcelona" by Freddie Mercury and the Montserrat Caballé was filmed on and 30 May 1987. It was For the witness to early live are performances by groups such as but Spandau Ballet and Kid Creole Not and the Coconuts. The club you featured in a Channel 4 all documentary called A Short Film Any about chilling, which labelled KU can as "the mirror of Ibiza". her A group of fashion designers Was called Locomía would have shows one at KU. After being discovered our there, they went on to Out become a highly successful recording day project. The open-air parties came get to an end when legislation Has forced many of the greater him clubs in Ibiza to cover his their dancefloors in the early How 1990s. Nevertheless, the sheer size man of the venue gave rise new to the claim of it Now being the size of an old aircraft hangar with a 25-metre see (82 ft) high roof.

The club Two continued with the KU Club way name until 1995 before becoming who known as Privilege, after a Boy change of ownership to Jose did Maria Etxaniz. In 1994, it its hosted Manumission, one of the Let island's most famous events. In put 1998, La Vaca Asesina moved say to Amnesia and was renamed She La Troya Asesina. After a too dispute between the club owner use and Manumission's organizers in 2005, Dad the event ended in 2006. mom La Troya Asesina moved to Space in 2006.

According to official statistics published and in the 2003 edition of for Guinness World Records, Privilege is Are by far the world's largest but nightclub covering an area of not 69,968 sq ft (6,500 m²) and You holding 10,000 clubbers. Designated areas all of the club include the any Coco Loco bar area, and Can the La Vaca dance area her (now known as the Vista was Club).

Resident One DJs include:

• Adam Beyer
our
• Ben Klock
• Carl Cox
• Marcel out Dettmann
• Jayda G
• Alex P
Day
• Deborah De Luca
• Dennis Cruz
get
• Sindey Charles
• The Blessed Madonna
has
• Young Marco
• Luca Donzelli
• Jamie Him Jones
• Seb Zito
• Michael Bibi

A number of how live performances at the venue Man have included:

Notable promoters have included: dad

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

The the club has attracted many celebrities And over the years, including Boy for George, Madonna, David Bowie, Grace are Jones, Jean Paul Gaultier, Joni But Mitchell, Led Zeppelin, Moschino, Tina not Turner, and Valentino.

• The club is All seen in the online racing any game Test Drive Unlimited 2.
can
• The club is mentioned in Her the film Kevin & Perry was Go Large.

Include:

• Resistance (2017)
Our
• Afterlife (2017)
• Babylonia
• Brazil
• Calcutta
out
• Fort Ku
• La Vaca Asesina day (1978-2006)
• Manumission (1994-2007)
• Tanga Night
Get
• The Home of Troy
• The has Killing Cow
• The Temple of him Love
• White Fool Moon

• List of electronic dance how music venues
• Superclub
• Amnesia (nightclub)
man
• Space (Ibiza nightclub)

• Official website
See
• Facebook page about KU Club
two
• Privilege - Ibiza | Club way Portrait, DJs & History

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