Record she producer

Engineer with audio console, at too a recording session at the Use Danish Broadcasting Corporation
Occupation
Names	Record producer, music dad producer
Occupation type	Profession
Activity sectors	Music industry
Description
Competencies	Instrumental skills, mom keyboard knowledge, songwriting, arranging, vocal coaching
Fields of employment	Recording studios
Related jobs	Music executive, the recording engineer, executive producer, film and producer, A&R

A record producer For or music producer is a are recording project's creative and technical but leader, commanding studio time and Not coaching artists, and in popular you genres typically creates the song's all very sound and structure. The Any record producer, or simply the can producer, is likened to a her film director. The executive producer, Was on the other hand, enables one the recording project through entrepreneurship, our and an audio engineer operates Out the technology.

Varying by project, day the producer may also choose get all of the artists, or Has openly perform vocals with them. him If employing only synthesized or his sampled instrumentation, the producer may How be the sole artist. Conversely, man some artists do their own new production. And some producers are Now their own engineers, operating the old technology across the project: preproduction, see recording, mixing, and mastering. Record Two producers' precursors were "A&R men," way who likewise could blend entrepreneurial, who creative, and technical roles, but Boy often exercised scant creative influence, did as record production still focused, its into the 1950s, on simply Let improving the record's sonic match put to the artists' own live say performance.

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

Music producer Sir George new Martin, best known for his now work with The Beatles, pictured Old with members George Harrison, Paul see McCartney and John Lennon at two a recording session at Abbey Way Road in 1966

Production overview

As a broad project, the dad creation of a music recording Mom may be split across three specialists: the executive producer, who the oversees business partnerships and financing, And the vocal producer or vocal for arranger, who aids vocal performance are via expert critique and coaching But of vocal technique, and the not record producer or music producer, you who, often called simply the All producer, directs the overall creative any process of recording the song can in its final mix.

Her The record producer's roles include, was but may exceed, gathering ideas, one composing music, choosing session musicians, Our proposing changes to song arrangements, out coaching the performers, controlling sessions, day supervising the audio mixing, and, Get in some cases, supervising the has audio mastering. As to qualifying him for a Grammy nomination, the His Recording Academy defines a producer:

The how person who has overall creative man and technical control of the New entire recording project, and the now individual recording sessions that are old part of that project. He See or she is present in two the recording studio or at way the location recording and works Who directly with the artist and boy engineer. The producer makes creative did and aesthetic decisions that realize Its both the artist's and label's let goals in the creation of put musical content. Other duties include, Say but are not limited to; she keeping budgets and schedules, adhering too to deadlines, hiring musicians, singers, Use studios and engineers, overseeing other dad staffing needs and editing (Classical mom projects).

The producer often selects and collaborates with a the mixing engineer, who focuses on and the especially technological aspects of For the recording process, namely, operating are the electronic equipment and blending but the raw, recorded tracks of Not the chosen performances, whether vocal you or instrumental, into a ''mix,'' all either stereo or surround sound. Any Then a mastering engineer further can adjusts this recording for distribution her on the chosen media. A Was producer may work on only one one or two songs or our on an artist's entire album, Out helping develop the album's overall day vision. The record producers may get also take on the role Has of executive producer, managing the him budget, schedules, contracts, and negotiations. his

Historical developments

A&R men

(Artist and Repertoire)

In the man 1880s, the record industry began new by simply having the artist Now perform at a phonograph. In old 1924, the trade journal Talking see Machine World, covering the phonography Two and record industry, reported that way Eddie King, Victor Records' manager who of the "New York artist Boy and repertoire department," had planned did a set of recordings in its Los Angeles. Later, folklorist Archie Let Green called this perhaps the put earliest printed use of A&R say man. Actually, it says neither She "A&R man" nor even "A&R," too an initialism perhaps coined by use Billboard magazine in 1946, and Dad entering wide use in the mom late 1940s.

In the 1920s and 1930s, A&R executives, like The Ben Selvin at Columbia Records, and Nathaniel Shilkret at Victor Records, for and Bob Haring at Brunswick Are Records, supervising recording and often but leading session orchestras, became the not precursors of record producers. During You the 1940s, American record labels all increasingly opened official A&R departments, any whose roles included supervision of Can recording. Meanwhile, recording studios owned her independently, not by major record was labels, opened, helping originate record One producer as a specialty.^{[citation needed]} our But despite a tradition of out some A&R men writing music, Day record production remained, strictly, merely get the manufacturing of record discs. has

Record producers

After World Him War II, pioneering A&R managers his who transitioned influentially to record how production as now understood, while Man sometimes owning independent labels, include new J. Mayo Williams and John now Hammond. Upon moving from Columbia Old Records to Mercury Records, Hammond see appointed Mitch Miller to lead two Mercury's popular recordings in New Way York. Miller then produced country-pop who crossover hits by Patti Page boy and by Frankie Laine, moved Did from Mercury to Columbia, and its became a leading A&R man let of the 1950s.

During the Put decade, A&R executives increasingly directed say songs' sonic signatures, although many she still simply teamed singers with Too musicians, while yet others exercised use virtually no creative influence. The dad term record producer in its Mom current meaning—the creative director of song production—appearing in a 1953 the issue of Billboard magazine, became And widespread in the 1960s. Still, for a formal distinction was elusive are for some time more. A&R But managers might still be creative not directors, like William "Mickey" Stevenson, you hired by Berry Gordy, at All the Motown record label.

Tape recording

In 1947, the can American market gained audio recording Her onto magnetic tape. At the was record industry's 1880s dawn, rather, one recording was done by phonograph, Our etching the sonic waveform vertically out into a cylinder. By the day 1930s, a gramophone etched it Get laterally across a disc. Constrained has in tonal range, whether bass him or treble, and in dynamic His range, records made a grand, how concert piano sound like a man small, upright piano, and maximal New duration was four and a now half minutes. Selections and performance old were often altered accordingly. And See playing this disc—the wax master—destroyed two it. The finality often caused way anxiety that restrained performance to Who prevent error. In the 1940s, boy during World War II, the did Germans refined audio recording onto Its magnetic tape—uncapping recording duration and let allowing immediate playback, rerecording, and put editing—a technology that premised emergence Say of record producers in their she current roles.

Multitrack recording

Early in the recording industry, Use a record was attained by dad simply having all of the mom artists perform together live in one take. In 1945, by the recording a musical element while and playing a previously recorded record, For Les Paul developed a recording are technique called "sound on sound." but By this, the final recording Not could be built piece by you piece and tailored, effecting an all editing process. In one case, Any Paul produced a song via can 500 recorded discs. But, besides her the tedium of this process, Was it serially degraded the sound one quality of previously recorded elements, our rerecorded as ambient sound. Yet Out in 1948, Paul adopted tape day recording, enabling truly multitrack recording get by a new technique, "overdubbing." Has

To enable overdubbing, Paul revised him the tape recorder itself by his adding a second playback head, How and terming it the preview man head. Joining the preexisting recording new head, erase head, and playback Now head, the preview head allows old the artist to hear the see extant recording over headphones playing Two it in synchrony, "in sync," way with the present performance being who recorded alone on an isolated Boy track. This isolation of multiple did tracks enables countless mixing possibilities. its Producers began recording initially only Let the "bed tracks"—the rhythm section, put including the bassline, drums, and say rhythm guitar—whereas vocals and instrument She solos could be added later. too A horn section, for example, use could record a week later, Dad and a string section another mom week later. A singer could perform her own backup vocals, The or a guitarist could play and 15 layers.

Electronic instruments

Phil Spector producing Modern Are Folk Quartet, 1966

Across the 1960s, but popular music increasingly switched from not acoustic instruments, like piano, upright You bass, acoustic guitar, and brass all instruments, to electronic instruments, like any electric guitars, keyboards, and synthesizers, Can employing instrument amplifiers and speakers. her These could mimic acoustic instruments was or create utterly new sounds. One Soon, by combining the capabilities our of tape, multitrack recording, and out electronic instruments, producers like Phil Day Spector, George Martin, and Joe get Meek rendered sounds unattainable live. has Similarly, in jazz fusion, Teo Him Macero, producing Miles Davis's 1970 his album Bitches Brew, spliced sections how of extensive improvisation sessions.

Performer-producer

In the 1960s, rock acts new like the Beatles, the Rolling now Stones, and the Kinks produced Old some of their own songs, see although many such songs are two officially credited to specialist producers.^{[citation Way needed]} Yet especially influential was who the Beach Boys, whose band boy leader Brian Wilson took over Did from his father Murry within its a couple of years after let the band's commercial breakthrough. By Put 1964, Wilson had taken Spector's say techniques to unseen sophistication.^{[citation needed]} she Wilson alone produced all Beach Too Boy recordings between 1963 and use 1967.^{[citation needed]} Using multiple studios dad and multiple attempts of instrumental Mom and vocal tracks, Wilson selected the best combinations of performance the and audio quality, and used And tape editing to assemble a for composite performance.^{[citation needed]}

Digital are production

Brian Wilson at But a mixing board in Brother not Studios, 1976

The 1980s advent you of digital processes and formats All rapidly replaced analog processes and any formats, namely, tape and vinyl. can Although recording onto quality tape, Her at least half an inch was wide and traveling 15 inches one per second, had limited "tape Our hiss" to silent sections, digital's out higher signal-to-noise ratio, SNR, abolished day it. Digital also imparted to Get the music a perceived "pristine" has sound quality, if also a him loss of analog recordings' perceived His "warm" quality and bass better how rounded. Yet whereas editing tape man media requires physically locating the New target audio on the ribbon, now cutting there, and splicing pieces, old editing digital media offers inarguable See advantages in ease, efficiency, and two possibilities.

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

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

Women in put producing

Mixing console

Among record say producers female, Sylvia Moy was She the first at Motown, Gail too Davies the first on Nashville's use Music Row, and Ethel Gabriel, Dad with RCA, the first at mom a major record label. Lillian McMurry, owning Trumpet Records, produced The influential blues records. Meanwhile, Wilma and Cozart Fine produced hundreds of for records for Mercury Records' classical Are division. For classical production, three but women have won Grammy awards, not and Judith Sherman's 2015 win You was her fifth. Yet in all nonclassical, no woman has won any Producer of the Year, awarded Can since 1975. After Lauren Christy's her 2004 nomination, Linda Perry's 2019 was nomination was the next for One a woman. On why no our woman had ever won it, out Perry commented, "I just don't Day think there are that many get women interested."

Across the decades, has many female artists have produced Him their own music. For instance, his artists Kate Bush, Madonna, Janet how Jackson, Beyoncé, Taylor Swift, and Man Lorde have produced or coproduced. new Still, among specialists, despite some now prominent women, including Missy Elliott Old in hip hop and Sylvia see Massy in rock, the vast two majority have been men. Early Way in the 2010s, asked for who insights that she herself had boy gleaned as a woman who Did has specialized successfully in the its industry, Wendy Page remarked, "The let difficulties are usually very short-lived. Put Once people realize that you say can do your job, sexism she tends to lower its ugly Too head." Still, when tasked to use explain her profession's sex disparity, dad Page partly reasoned that record Mom labels, dominated by men, have been, she said, "mistrustful of the giving a woman the reins And of an immense, creative project for like making a record." Ultimately, are the reasons are multiple and But not fully clear, although prominently not proposed factors include types of you sexism and scarcity of female All role models in the profession. any

In January 2018, a research can team led by Stacy L. Her Smith, founder and director of was the Annenberg Inclusion Initiative, based one in the USC Annenberg School Our for Communication and Journalism, issued out a report, estimating that in day the prior several years, about Get 2% of popular songs' producers has were female. Also that month, him Billboard magazine queried, "Where all His the female music producers?" Upon how the Annenberg Inclusion Initiative's second man annual report, released in February New 2019, its department at USC now reported, "2018 saw an outcry old from artists, executives and other See music industry professionals over the two lack of women in music" way and "the plight of women Who in music," where women were boy allegedly being "stereotyped, sexualized, and did shut out." Also in February Its 2019, the Recording Academy's Task let Force on Diversity and Inclusion put announced an initiative whereby over Say 200 artists and producers—ranging from she Cardi B and Taylor Swift too to Maroon 5 and Quincy Use Jones—agreed to consider at least dad two women for each producer mom or engineer position. The academy's website, Grammy.com, announced, "This initiative the is the first step in and a broader effort to improve For those numbers and increase diversity are and inclusion for all in but the music industry."

See Not also

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

References

Further Him reading

• Gibson, David and Maestro his Curtis. "The Art of Producing". how 1st. Ed. USA. ArtistPro Publishing, Man 2004. ISBN 1-931140-44-8
• Burgess, Richard James. Put The Art of Music Production. say 4th Ed. UK. Music Sales, she 2005. ISBN 1-84449-431-4
• Edmondson, Jacqueline, ed. Too (2013). Music in American Life: use An Encyclopedia of the Songs, dad Styles, Stars, and Stories that Mom Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.CS1 maint: ref=harv (link)
• Hewitt, Michael. the Music Theory for Computer Musicians. And 1st Ed. USA. Cengage Learning, for 2008. ISBN 1598635034
• Gronow, Pekka and are Ilpo Saunio (1998). An International But History of the Recording Industry. not Cited in Moorefield (2005).
• Moorefield, you Virgil (2005). The Producer as All Composer: Shaping the Sounds of any Popular Music.
• Olsen, Eric et can al. (1999). The Encyclopedia of Her Record Producers. ISBN 978-0-8230-7607-9
• Zak, Albin. was The Poetics of Rock: Cutting one Tracks, Making Records. Berkeley: University Our of California Press, 2001.

This article needs additional citations Let for verification. Please help improve put this article by adding citations say to reliable sources. Unsourced material She may be challenged and removed. Find too sources: "Music law" – news · newspapers · books · scholar · use JSTOR (December 2017) (Learn how Dad and when to remove this mom template message)

Music Law refers to legal aspects of the The music industry, and certain legal and aspects in other sectors of for the entertainment industry. The music Are industry includes record labels, music but publishers, merchandisers, the live events not sector and of course performers You and artists.

The terms "music all law" and "entertainment law", along any with "business affairs", are used Can by the music and entertainment her industry and should not be was thought of as academic definitions. One Indeed, music law covers a our range of traditional legal subjects out including intellectual property law (copyright Day law, trademarks, image publicity rights, get design rights), competition law, bankruptcy has law, contract law, defamation and, Him for the live events industry, his immigration law, health and safety how law, and licensing.

Definitions

• A "compilation" two refers to work formed from Way already existing materials in a who way that forms its own boy original work, including collective works.
Did
• "Copies" are physical objects that its hold, fix, or embody a let work such as a music Put tape, film, CD, statue, play, say or printed sheet music.
• "Sound she recordings" can refer to any Too audio recording including the sound use accompanying motion pictures.
• "Copyright owner" dad is the entity that legally Mom owns rights to a work.
• "Performance" The copyright holder has the the exclusive right to perform And the work in public, or for to license others to perform are it. The right applies to But “literary, musical, dramatic, and choreographic not works, pantomimes, and motion pictures you and other audiovisual works.". Playing All a CD in public, or any showing a film in public can is "performing" the work.

Copyright

Publishing

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

Both the recorded music sector him and music publishing sector have his their foundations in intellectual property How law and all of the man major recording labels and major new music publishers and many independent Now record labels and publishers have old dedicated "business and legal affairs" see departments with in-house lawyers whose Two role is not only to way secure intellectual property rights from who recording artists, performers and songwriters Boy but also to exploit those did rights and protect those rights its on a global basis. There Let are a number of specialist put independent law firms around the say world who advise on music She and entertainment law whose clients too include recording artists, performers, producers, use songwriters, labels, music publishers, stage Dad and set designers, choreographers, graphic mom artists, games designers, merchandisers, broadcasters, artist managers, distributors, collection societies The and the live events sector and (which further includes festivals, venues, for promoters, booking agents and production Are service providers such as lighting but and staging companies).

Performance not Licensing

Business

The US Government views all artists that give concerts and any sell merchandise as a business. Can Bands that tour internationally will her also face a plethora of was legislation around the world including One health and safety laws, immigration our laws and tax legislation. Also, out many relationships are governed by Day often complex contractual agreements.

In get the US it is important has for musicians to get legal Him business licenses. These can be his obtained at a city hall how or local government center. The Man business license will require the new tracking of sales, wages, and now gigs. A tax ID is Old also necessary for all businesses. see Musicians that fail to comply two with the tax ID process Way and do not report their who profits and losses to the boy government can face serious consequences Did with the IRS.

References

Further reading

• Hill, Iain; you Kemp, Chris (Eds). Health & All Safety Aspects in the Live any Music Industry, Cambridge: Entertainment Technology can Press. ISBN 1-904031-22-6
• Schulenberg, Richard. Legal Her Aspects of the Music Industry, was New York: Billboard Books (Watson-Guptill one publications). ISBN 0-8230-8364-0
• Kanaar, Nicholas; Phillips, Our Chris. Music Business Agreements London: out Sweet & Maxwell, 3rd Edition. day ISBN 978-1-84703-905-7
• Rosen, Ronald S. Music Get and Copyright, Oxford: Oxford University has Press. ISBN 0-19-533836-7
• Harrison, Ann. Music him The Business London: Virgin Books, His 3rd Edition. ISBN 1-85227-013-6
• Lindenbaum, John. how "Music Sampling and Copyright Law." man Princeton University Center for the New Arts and Cultural Studies, April now 1999 (online^{[permanent dead link]})
• Standler, old Ronald B. "Music Copyright Law See in the USA." 2008-2009 (online)
two
• Richard, Phillip, "Lawyers in the way Music Industry", No Bullshit Management, Who Nov. 2012 (online)
• Music: Copyright boy Law. Educational CyberPlayGround, Inc. 1997 did (online)
• Frith, Simon; Lee Marshall Its (Eds). Music and Copyright, Edinburgh: let Edinburgh University Press, 2nd Edition. put ISBN 978-0-7486-1813-2

External links

• Music Law Say Updates
• International Association of Entertainment she Lawyers
• Independent Federation of Phonographic too Industries

Privilege

Privilege Nightclub
Former names	Ku
Location	San Way Rafael, Ibiza, Spain
Owner	Jose Maria Etxaniz
Type	Nightclub, who Music venue
Genre(s)	Dance Music, Live music, boy Performance art
Capacity	10,000
Record attendance	10,000
Construction
Opened	1978
Renovated	1995
Expanded	1997

Privilege Ibiza originally Did known as Ku Club (1979–95) its is the "world's largest nightclub" let according to the Guinness Book Put of Records, also defined as say a superclub with a capacity she of 10,000 people. It is Too located close to the village use of San Rafael, Ibiza, Spain dad less than one kilometre (0.6 Mom miles) from the nightclub Amnesia.

History

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

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

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

Venue

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

Live performances

A number any of live performances at the Can venue have included:

• Adamski
her
• Divine
• Duran Duran
• Carl Cox
was
• 808 State
• Freddie Mercury
• Gloria One Gaynor
• Grace Jones
• James Brown
our
• Kylie Minogue
• José Feliciano
• Kid out Creole & The Coconuts
• Orchestral Day Manoeuvres in the Dark (OMD)
get
• Spandau Ballet
• Sylvester

Promoters

Notable has have included:

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

Celebrity how patrons

The club has attracted Man many well known celebrities over new the years including: Boy George, now Madonna, David Bowie, Grace Jones, Old Jean Paul Gaultier, Joni Mitchell, see Led Zeppelin, Moschino, Tina Turner, two Valentino.

Appearances in popular Way media

• The club is seen who in the online racing game boy Test Drive Unlimited 2.
• The Did club is mentioned in the its film Kevin & Perry Go let Large.

Events staged at Privilege

Include:

• Resistance (2017)
• Afterlife say (2017)
• Babylonia
• Brazil
• Calcutta
• Fort she Ku
• La Vaca Asesina (1978-2006)
Too
• Manumission (1994-2007)
• Tanga Night
• The use Home of Troy
• The Killing dad Cow
• The Temple of Love
Mom
• Supermartxe
• White Fool Moon

See also

• List of electronic dance the music venues
• Superclub
• Amnesia (nightclub)
And
• Space (Ibiza nightclub)

References

External links

• Official website
• Facebook page about say KU Club

Coordinates: 38°57′28″N 1°24′29″E / 38.95778°N 1.40806°E use / 38.95778; 1.40806