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